The music of The Whole Book of Psalms (first printed in 1562) was not a product of English tradition, but a new congregational system brought home from Geneva. Psalm tunes in Edward VI’s time had been secular, iambic and based on dance rhythms; in so far as Thomas Sternhold’s metrical psalms were sung in church, they were chanted by choirs to Sarum tones. The tunes created for congregational use by the Marian exiles had to satisfy Calvin’s principle that they must be distinct from secular songs. They avoided strong rhythms and imitated the Huguenot psalter, which catered for a very different French prosody. Elizabethan congregations were enthusiastic about singing, but did not take to many of these tunes. Evidence shows a growing tendency for the printed tunes to be ignored in practice, and to be replaced by orally transmitted ‘common tunes’ restoring the secular Edwardian idiom. These, rather than the Elizabethan tunes, became the lasting model for the English hymn tune.

中文翻译：

---

妥协的受害者：伊丽莎白时代的诗篇曲调

的音乐诗篇全书（首次印刷于 1562 年）不是英国传统的产物，而是从日内瓦带回家的一种新的公理制度。爱德华六世时代的诗篇曲调是世俗的、抑扬格的和基于舞蹈节奏的；只要托马斯·斯特恩霍尔德的格律诗篇在教堂里被唱过，合唱团就会用萨鲁姆音调来唱它们。玛丽安流放者为会众创作的曲调必须满足加尔文的原则，即它们必须与世俗歌曲不同。他们避免了强烈的节奏，并模仿了胡格诺派的诗篇，它迎合了一种非常不同的法国韵律。伊丽莎白时代的会众热衷于唱歌，但并没有接受其中的许多曲调。有证据表明，印刷曲调在实践中越来越容易被忽视，取而代之的是口头传播的“普通曲调”，恢复了世俗的爱德华时代的成语。