THE SINGING CHURCH - an outline history of the music sung by choir and people. By C. Henry Phillips B.A., D.Mus., A.C.D.C.M. sometime Lecturer and Sub-Warden of the College of St. Nicholas, Chislehurst. First published in Mcmxlv by Faber and Faber Limited 24 Russell Square London W.C.1. - This edition prepared for katapi by Paul Ingram 2004.
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INDEX TO MUSIC EXAMPLES

      Page.
1.   Plainsong hymn, Veni redemptor - Ambrose 25
2.   Plainsong hymn, Ut queant laxis 29
3.   Examples of podatus and torculus 30
4.   Examples of cephalicus 31
5.   Examples of quilisma, and strophicus 31
6.   Typical phrases of the Dorian mode: 32
7.   Plainsong hymn, Ad cenam agni 33
8.   Plainsong hymn, The royal banners 34
9.   Kyrie iii from Kyrie Splendor Eterne 34
10.   Examples of plainsong melody: 35
  (a) Hymn, O come, redeemer  
  (b) Sequence, Saviour eternal  
  (c) Sarum Litany  
11.   Psalm 23 to tone viii, ending i, with accompaniment 40
12.   Psalm 114, verse 1 to Tonus Peregrinus 42
13.   Byrd, Treble from Magnificat of Short Service 67
14.   Merbecke, Melody from Creed 69
15.   Mundy, Treble from O Lord, the maker 70
16.   Gibbons, Treble from Magnificat in F 70
17.   Gibbons, Tenor from Hosanna 71
18.   Gibbons, O Lord, increase my faith 72
19.   Gibbons, Treble from Magnificat in F 74
20.   Tudor cadence idioms: 74
  (a) Tallis, Alto from Salvator mundi  
  (b) Gibbons, 1st Treble from Hosanna  
  (c) Gibbons, 1st Alto from Hosanna  
21.   Purcell, Treble from Rejoice in the Lord 75
22.   Example of underlaying 75
23.   Weelkes, Tenor from Hosanna 75
24.   Tye, Laudate nomen 76
25.   Byrd, 5-pt. Mass 76
26.   Byrd, Ave verum 77
27.   Tallis, Salvator mundi 77
28.   Gibbons, O Lord, increase my faith 78
29.   Examples of consecutives 79
30.   Examples of ornamental resolutions:  
  (a) Byrd, Alto from 5-pt. Mass 79
  (b) Tallis, Treble from O Lord, give thy Holy Spirit 80
  (c) Gibbons, Treble from Almighty and everlasting God 80
31.   Plain and musica ficta forms of the modes 82
32.   Phrygian cadences 83
33.   Examples of the English Cadence:  
  (a) Byrd, 5-pt. Mass 83
  (b) Byrd, Christe qui lux 83
  (c) Tallis, Salvator mundi 84
34.   Gibbons, Final chord from Nunc dimittis in F 85
35.   Compass of choir voices in Tudor music 86
36.   Tomkins, Note on pitch from' Musica Deo Sacra', 1668 86
37.   Restoration chants:  
  (a) Christ Church Tune page 112
  (b) Imperial Tune 113
38.   Interlude to a hymn-tune in Chetham, 1811 122
39.   Purcell, Bass verse from Behold I bring you 128
40.   Wesley, Recitative from Blessed be the God 128
41.   Merbecke, Melody from Creed 128
42.   Locke, Verse from Lord, let me know mine end 136
43.   Example of Handelian inverted cadence 145
44.   Smart, Treble from Te Deum in F 170
45.   Boyce, Treble from Te Deum in A 170
46.   Smart, Treble from Te Deum in F 170
47.   Croft, Verse from God is gone up 172
48.   Greene, O clap your hands 174
49.   Wesley, Magnificat in E 177
50.   Example of a hymn sung to a chant from an old choir-book 201
51.   Turner, Chant in A variously barred 204
52-62.   Examples of pointing from modern psalters 205-209
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