Journal of the Royal Musical Association Pub Date : 2021-04-19 , DOI: 10.1017/rma.2021.4 NICHOLAS TEMPERLEY
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.
整本诗篇的音乐（最早于1562年印刷）不是英国传统的产物，而是一种新的会众制度从日内瓦带回了家。爱德华六世时期的诗篇世俗，含混，基于舞蹈节奏; 就在教堂里演唱托马斯·斯特恩霍尔德（Thomas Sternhold）的格律赞美诗时，却被合唱团高唱萨鲁姆（Sarum）音调。玛丽安流亡者为集会使用而创作的音乐必须满足加尔文的原则，即他们必须与世俗歌曲区分开。他们避免了强烈的节奏，并模仿了雨格诺特的诗篇，迎合了一种截然不同的法国韵律。伊丽莎白女王的会众对唱歌充满热情，但并没有接受其中的许多曲调。证据表明，印刷乐曲在实践中逐渐被忽略，并被口头传播的“通用乐曲”所取代，恢复了世俗的爱德华时代的成语，这一趋势日益明显。