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pronounced in the eighteenth century-a drift that

tended to set aside those broad choral effects that

keep church music from too close similarity to

secular music. During the latter part of this cen

tury became established in usage that special form

of " chant " which is usually called " Anglican," a

form which is doubtless historically connected with

the " Psalm-tones " of the Gregorian system but

has been developed along different lines from the

latter. The stock of psalm tunes was also grad

ually augmented, though their variety was restricted

by the fact that the metrical versions to which they

belonged were in but a few meters. Prominent

names in this period are Michael Wise, c. 1648-87;

Pelham Humphrey, 1647-74; Henry Purcell, 1658

1695; John Blow, 1648-1708; and Jeremiah Clarke,

d. 1707. The whole of the eighteenth century was

a time of lethargy and barrenness, except for the

work of a few sterling composers, like William

Croft, 1678-1727; Maurice Greens, 1695-1755; and

William Boyce, 1710-79. During this century, how

ever, came the prodigious influence of Handel upon

the musical life of England, which in many ways

affected the whole standard of church music by

magnifying the choral oratorio as a characteristic

musical form. During this century, too, occurred

the notable defections from the Church of England

that established the Independent and Methodist

forms of dissent, with some others, as influential

elements in English religious life. The dissenters

generally were eager for congregational hymn-sing

ing, and it was their interest that brought about

the multiplication of " hymns " as distinct from

" psalms," together with the consequent multipli

cation of much more flexible tunes than had been

earlier attempted. It is here that is to be sought

the origin of that type of hymn-tune which is some

times called the " part-song " tune, to distinguish

it from the heavier " chorale," which later devel

oped into a striking feature of English church music.

During the nineteenth century there was a steady

and vigorous advance in the quality of English in

terest in things musical. At the outset this was

promoted largely from within the Church, but later

it received impetus more from without.

8. Nine. But the effect upon the musical aspects

teenth of public worship has been continuous.

Century. With the rapid advance in methods of musical instruction of all kinds, including the foundation of many strong music-schools, and with the increase in such facilities for musical knowledge as popular choral societies, public concerts of various degree, including the opera, etc., the number of competent musicians has been greatly augmented and the whole standard of popular appreciation elevated. Even when the objects in view were not at all churchly, the gains have been unmistakable for church music.

In the field of choir music, the century begins with a serious effort on the part of certain cathedral musicians, like Thomas Attwood, 1765-1838; Samuel Wesley, 1766-1837, and others, to provide a new literature of anthems and other service music, of different degrees of elaboration, which should be at once devotional and expressed in modern musical idiom. Still more fertile was the middle portion of

the century, under leaders like John Goss, 1800-80; Samuel Sebastian Wesley, 1810-76; Henry Smart, 1813-79; Frederick Arthur Gore Ouseley, 1825-89, and many more. The current style of expression during this period was strongly influenced, perhaps too much so, by the extreme popularity of Mendelssohn in England and t'ie vogue of his concert oratorios. Almost all church composers exercised their talents in the field of oratorio-writing as well as in church music proper. In the latter part of the century the general current of production moves on with volume and momentum, but with a steadily increasing amount of attention to striking emotional effects, sometimes verging upon the theatrical and merely sensational, yet on the whole with an earnest purpose to make the resources of modern musical utterance genuinely serviceable in religious worship. Prominent composers in this time are John Bacchus Dykes, 1823-76; Joseph Bamby, 1838-96; John Stainer, 1840-1901; Arthur Seymour Sullivan, 1842-1900; and Charles Hubert Hastings Parry, b. 1848. Besides the fine list of anthems and services, of cantatas and oratorios, from these writers, many of them contributed worthily to the remarkable body of hymn-tunes for congregational use which has brought the impress of English church music to bear everywhere throughout the English-speaking world and among churches of every name. It is during this latest period, also, that the advance of English organ music has become most noticeable, bringing into view a large number of expert players, with an immense quantity of works, usually devised with special reference to effectiveness in connection with public worship.

BIBLIOGRAPHY: On Hebrew music consult: J. L. Saalchatz, Oeschichte and Wiirdipung den Musik bei den Hebrdern, Berlin, 1829; C. Engel, Music of the Most Ancient Nations, London, 1864; E. Hutchinson, Music of the Bible, Boston, 1864; F. Delitzsch, Ph.ysiologie and Musik in ihrer Bedeutunp, Leipsie, 1868; E. David, La Musique chez lee Juifs, Paris, 1873; F. Jaeox, Bible Music, London and Boston, 1872, new ed., London, 1878; F. L. Cohen, Rise and Development of Synagogue Music, in Anglo-Jewish Historical Papers, pp. 80-135, London, 1888; Sir John Stainer, The Music of the Bible, New York, 1890; F. Consolo, Libro dei canti d'Israele, Florence, 1892; J. Weiss, Die musikalischen instruments in den heiligen Schriften des A. T., Graz, 1895; E. Pacer, Traditional Hebrew Melodies, London, 1896; F. Vigouroux, La Bible et les dieouvertes modernes iv. 305-322, Paris, 1896; idem, Dictionnaire, xxvii. 1347-60, Paris, 1906; Biichler, in ZATW, xix.-xx., 1899-1900; H. Gressman, Musik and Musikinstrumente im Allen Testament, Giessen, 1903; H. Smith, The World's Earliest Music, London 1904; C. H. Comill, Music in the O. T., Chicago, 1909; C. Engel, Music of the most Ancient Nations, particularly f the Assyrians, Egyptians, and Hebrews, with special Reference to the recent Discoveries in Western Asia and Egypt, New York, 1910; P. Wagner, Judaism in Music London, 1910; J. Wellhausen in SBOT, vol. on Psalms; Bensinger, Archdologie, pp. 237246; DB, iii. 456-463; EB, iii. 3225-43; JE, ix. 118-135; the commentaries on the passages named in the text.

On 11., works of an encyclopedic character are: S. Kuemmerle, Encyclopadie den evanpelischen Kirchenmusdk, 4 vols., Giitersloh~ 1888-95; G. Schilling, Universallexikon den Tonkuna, 2d ed.. 7 vols., Stuttgart, 1840-42; J. W.