Roger Bowers, Choral Institutions within the English Church:- Their constitution and development 1340 - 1500 (PhD, University of East Anglia, 1975)

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Chapters 1 - 3 (21.5 MB) | Chapter 4 (25.5 MB) | Chapter 5 (23.7 MB) | Chapter 6 (22.2 MB) | Appendices (18.5 MB)

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This text of this dissertation is offered to DIAMM users with much diffidence and reserve, for it is old material now much compromised by change and decay. The research by which it is informed was conducted between 1969 and 1972; it was presented for examination in 1975 and, unsurprisingly, significant elements of its content have been superseded by better work undertaken subsequently by others. Nevertheless, most of its substance remains unpublished, and perhaps there are parts of it which still have value, arising not least from its endeavour to offer cover of its subject-matter that eschewed selectivity in favour of an approach that was comprehensive and all-embracing.

Insofar as the detailed content of this dissertation has been superseded by further work of my own (much of it published in books and journals of non-musicological character), readers are invited to consult any of the publications appearing on the list downloadable here, which is complete up to 1 January 2010.

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Abstract

[Taken from 'Introductory:'] This thesis deals with the history of English liturgical choirs between the years 1340 and 1500. It seeks to enlighten the history of pre-Reformation English church music by relating to it the history of the personnel to whom its performance was entrusted. In the period of 160 years which is covered, the forces available to perform liturgical and religious music in England experienced an eventful history. In the first place, the number of choral establishments which already existed in 1340 was greately expanded not only by a steady stream of wholly new collegiate and other foundations, but also by the adoption of musical responsibilities by existing religious institutions which previously had shown no particular enthusiasm for music. Further, the constitution and composition of liturgical choirs, and the functions and duties expected of their various members, underwent far-reaching modifications over the time. As one period succeeded another, the statutes of new establishments reflected changing conceptions of what constituted the idea (or best practical) force for performing the church music of its time; to which older-established instutinos had either to adapt the composition of their own personnel, or get left behind. This research seeks to expose and clarify the nature of these successive modifications, and to offer explanations for why they were found necessary.

Table of Contents

  • Part 1. Introductory
    • 1.1 Scope, context and parameters of study1001
    • 1.2 Method and organisation of research1004
    • 1.3 Some unavoidable omissions1005
    • 1.4 Previous work in this field of research1007
    • 1.5 Acknowledgements1008
  • Part 2. The choral institutions in 1340
    • 2.1 The requirements of the liturgy2001
    • 2.2 Collegiate churches2002
      • 2.2.1 Colleges of prebendal canons2003
        • 2.2.1.A The secular cathedrals:- the choral staff2003
        • 2.2.1.B The secular cathedrals:- the direction of the music and services2032
        • 2.2.1.C Other colleges of prebendal canons2041
      • 2.2.2 Colleges of chantry priests2048
    • 2.3 Hospitals2053
    • 2.4 University colleges2056
    • 2.5 Household chapels2058
      • 2.5.1 The Chapel Royal2059
      • 2.5.2 Household chapels of the lay and spiritual magnates2061
    • 2.6 The monasteries2062
    • 2.7 The choirs and the performance of polyphonic music2062
  • Part 3. 1340 - 82: The growth of royal and aristocratic patronage
    • 3.1 Royalty and aristocracy as patrons of church musicians3001
    • 3.2 New collegiate foundations 1340-823003
      • 3.2.1 The choral forces of the foundations3003
      • 3.2.2 St. George's Chapel, Windsor, 1361-853019
    • 3.3 The household chapels of teh lay and spiritual magnates3024
      • 3.3.1 The Chapel Royal3024
      • 3.3.2 Other household chapels3030
  • Part 4. 1382 - 1425: Lollardy and the establishment backlash
    • 4.1 The Lollard assault4001
    • 4.2 The Establishment reaction4007
      • 4.2.1 New collegiate foundations 1382-14264010
      • 4.2.2 The expansion of household chapels4021
      • 4.2.3 The response at the old-established cathedrals and colleges4035
    • 4.3 The genesis of the lay clerk4040
      • 4.3.1 Newly-founded colleges4042
      • 4.3.2 Established collegiate churches4045
      • 4.3.3 Household chapels4046
      • 4.3.4 The contribution of the lay clerks4049
    • 4.4 The multiplication of choristers4051
    • 4.5 Musical priorities and innovations4054
      • 4.5.1 The influence of patrons4054
      • 4.5.2 Musical competence in the order of priorities4055
      • 4.5.3 The contribution of the choristers4056
      • 4.5.4 The cultivation of the votive antiphon4059
      • 4.5.5 The use of the organ4064
    • 4.6 The response of the monasteries4068
      • 4.6.1 The monks' choirs4068
      • 4.6.2 The Lady Chapel choirs4075
    • 4.7 The cultivation of polyphonic music4101
  • Part 5. 1425 - 60:- Consolidation
    • 5.1 Developments in the music of the church 1425-605001
    • 5.2 The choirs between 1425 and 14605004
      • 5.2.1 New and refounded choral institutions5005
      • 5.2.2 The secular cathedrals5015
      • 5.2.3 Household chapels5023
      • 5.2.4 Monastic Lady Chapel choirs5032
    • 5.3 The cultivation of polyphonic music5046
      • 5.3.1 The incidence of polyphonic music5047
      • 5.3.2 Provision for the performance of polyphonic music5056
      • 5.3.3 The incidence and deployment of choral polyphony5068
    • 5.4 The contribution of the choristers and their instructor5081
      • 5.4.1 The optimum number of choisters5081
      • 5.4.2 The expansion of the choristers' contribution to the conduct of the services5082
      • 5.4.3 The role and status of the post of Instructor of the Choristers5088
      • 5.4.4 The rationale of the employment of boys in choir5093
    • 5.5 The organist5096
      • 5.5.1 The introduction of the post of organist5096
      • 5.5.2 The use of the organ at service5098
  • Part 6. 1460-1500 :- The demands of teh composers - choral polyphony, the florid style and the treble voice
    • 6.1 The comopsers and the choirs6001
    • 6.2 The expansion of the vocal texture and compass of polyphonic music6003
      • 6.2.1 The texture and performing pitch of 15th century music6003
      • 6.2.2 The introduction of treble and bass voices into composed polyphony6013
      • 6.2.3 The adoption of full choral polyphony by the choirs6020
    • 6.3 The effects on teh choirs of musical developments 1460-15006026
      • 6.3.1 New foundations, 1460-15006028
      • 6.3.2 The modernisation of old-established choral institutions6035
      • 6.3.3 The search for a balanced chorus6059
    • 6.4 The training of choristers6066
      • 6.4.1 The provision of specialist instructors6066
      • 6.4.2 The duties of the Instructors of the Choristers6081
      • 6.4.3 The streamlining of the post of Instructor6086
    • 6.5 The role of the gentlemen of the choir6091
      • 6.5.1 The cultivation of choral polyphony6091
      • 6.5.2 The provision of expert singers6093
    • 6.6 Conclusion

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