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dc.contributor.advisorBradley, Ian C.
dc.contributor.advisorFerguson, Michael
dc.contributor.authorSexton, Ian Richard
dc.coverage.spatial392 p.en_US
dc.date.accessioned2021-03-10T14:42:09Z
dc.date.available2021-03-10T14:42:09Z
dc.date.issued2020-11-30
dc.identifier.urihttp://hdl.handle.net/10023/21589
dc.description.abstractThe Book of Common Prayer (BCP) is more than four hundred and fifty years old and part of the very fabric of Anglicanism throughout the world. It has a vast catalogue of musical repertory, both in the form of settings of the text of the BCP, but also settings of other sacred texts used at BCP services. This music achieved an archaic personality from the early days of the BCP, but many later periods in the life of the Established Church have engendered and even promoted this archaic personality quite conspicuously. Musical archaism, in turn, has supported the formal, conservative and archaic personality of the BCP and its practice more generally. At times, there has even been a model of increased archaism in the BCP where there is music, when compared to where there is none. Other notable facets to the BCP that are fashioned by its music include a patriarchal, hierarchical and antiphonal identity, all of which have strong connexions with archaism. A number of circumstances in the historical story of the BCP have given rise to archaic practice. These include the Reformation; the Marian exiles and the metrical psalter; the influence of English stage music on writing for the Established Church; consciously archaic publishers such as Greene and Boyce; the Ecclesiological Movement (or the Cambridge Camden Movement) and the Tractarian Movement (or the Oxford Movement) and their systematic archaic and antiphonal schemes. The archaic nature of the Tudor words of the Prayer Book is a continuous and increasing feature of the BCP from about the time of the Restoration onwards. Finally, there is a Prayer Book ethos, spirit, or myth, that is provoked by all these ingredients. It is to be found in the BCP to this day, particularly in quires and places where they sing.en_US
dc.language.isoenen_US
dc.publisherUniversity of St Andrews
dc.subjectThe Book of Common Prayeren_US
dc.subjectArchaismen_US
dc.subjectAnglican Musicen_US
dc.subjectQuires and places where they singen_US
dc.subjectInterregnumen_US
dc.subjectMusic of the Marian exilesen_US
dc.subjectPerichoresisen_US
dc.subjectMyth and Ritualen_US
dc.subjectPatriarchyen_US
dc.subjectDeificationen_US
dc.subjectChurch of Englanden_US
dc.subject1549en_US
dc.subjectCranmeren_US
dc.subject1662en_US
dc.subjectMusic of the Prayer Booken_US
dc.subjectMerbeckeen_US
dc.subject.lccBX5145.S48
dc.subject.lcshChurch of England. Book of common prayeren
dc.subject.lcshAnglican Communion--Liturgy--Texts--Historyen
dc.subject.lcshMusic--Religious aspectsen
dc.titleReinforcing archaism : the role of musical settings in the history and meaning of the Book of Common Prayeren_US
dc.typeThesisen_US
dc.type.qualificationlevelDoctoralen_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US
dc.publisher.departmentThe New College or College of the Assumption of the Blessed Virgin Mary (Commonly known as St Mary's College), St Andrewsen_US
dc.rights.embargodate2025-09-28
dc.rights.embargoreasonThesis restricted in accordance with University regulations. Print and electronic copy restricted until 28th September 2025en
dc.identifier.doihttps://doi.org/10.17630/sta/38


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