By Barra Boydell

Christ Church has had a posh and sundry heritage because the cathedral church of Dublin, one in all Anglican cathedrals within the capital of a predominantly Catholic nation and the church of the British management in eire ahead of 1922. An Irish cathedral in the English culture, but via a lot of its historical past it used to be basically an English cathedral in a overseas land. With shut musical hyperlinks to cathedrals in England, to St Patrick's cathedral in Dublin, and to the city's wider political and cultural existence, Christ Church has the longest documented tune background of any Irish establishment, delivering a different point of view at the background of tune in Ireland.Barra Boydell, a number one authority on Irish song background, has written an in depth examine drawing at the such a lot wide musical and archival assets present for any Irish cathedral. The choir, its composers and musicians, repertoire and organs are mentioned in the wider context of urban and nation, and of the non secular and political dynamics that have formed Anglo-Irish relationships seeing that medieval instances. greater than only a historical past of tune at one cathedral, this e-book makes a massive contribution to English cathedral song stories in addition to to Irish musical and cultural history.BARRA BOYDELL is Senior Lecturer in track, nationwide college of eire, Maynooth.

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Extra info for A History of Music at Christ Church Cathedral, Dublin

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Four was usually the smallest number of boys specified in 62 63 64 65 66 Bowers, ‘To Chorus from Quartet’, p. 38; cf. Bowers, ‘Musicians’, p. 223 in the context of the Lady chapel choir of the priory of Winchester in the mid-fifteenth century. Grindle, Cathedral Music, pp. 7–8. Bowers, ‘To Chorus from Quartet’, p. 27. It was at times questioned whether monks should be occupied in the study and singing of elaborate polyphonic music: significantly for the Augustinian context of Christ Church, Cardinal Wolsey’s statutes written for Augustinian canons in 1519 forbade the use of polyphony in the choir, into which outsiders were not allowed during services.

The precise meaning is not clear, but the 67 68 69 70 71 In 1533 the Lady chapel choir of the Augustinian priory of Llanthony Secunda near Gloucester explicitly included ‘foure childerne well and suffycyently enstructed that is to say too meanys and too trebles’; this was usual in a monastic context in which the number of monks or canons available to sing polyphony was small, as at Christ Church (Bowers, ‘Vocal Scoring’, pp. 56–7; ‘To Chorus from Quartet’, p. 35). ’ ‘Tam in alto Choro ejusdem Ecclesiae Cathedralis in omnibus Divinis serviciis cantandum et deserviendum prout talibus Paraphonistis hujusmodi Ecclesiis Cathed: incumbit deservire, et usualiter pro honore Dei habetur cantare, quam ad custodiendam et adjuvandam missam Beatae Mariae Virginis, quae cotidie celebrata est, et celebrari consuevit propter honorem Dei et ejusdem gloriosissimae Virginis infra magnam Capellam, vocatam Capellam Beatae Mariae Virginis, scituatam in parte boriali magnae altaris dictae Ecclesiae Cath: .

39 Polyphony The Dublin troper is probably best known as the source of a three-voice setting of the Annunciation song Angelus ad virginem which has been inserted in a later hand. 40 One can readily appreciate Angelus ad virginem, whether in the three-voice version preserved in the Dublin troper or as a monophonic solo, being sung either by the canons of Christ Church or actor-singers under their direction as part of an Annunciation play within the tradition of sacred drama outlined earlier, but it is unclear to what extent polyphonic liturgical music may have been sung at Christ Church during the medieval period.

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