By Barra Boydell
Christ Church has had a posh and sundry historical past because the cathedral church of Dublin, one in all Anglican cathedrals within the capital of a predominantly Catholic kingdom and the church of the British management in eire sooner than 1922. An Irish cathedral in the English culture, but via a lot of its historical past it used to be primarily an English cathedral in a international land. With shut musical hyperlinks to cathedrals in England, to St Patrick's cathedral in Dublin, and to the city's wider political and cultural lifestyles, Christ Church has the longest documented tune heritage of any Irish establishment, offering a different point of view at the background of song in Ireland.Barra Boydell, a number one authority on Irish tune heritage, has written an in depth learn drawing at the such a lot broad musical and archival assets present for any Irish cathedral. The choir, its composers and musicians, repertoire and organs are mentioned in the wider context of urban and kingdom, and of the spiritual and political dynamics that have formed Anglo-Irish relationships seeing that medieval instances. greater than only a historical past of track at one cathedral, this ebook makes an enormous contribution to English cathedral tune experiences in addition to to Irish musical and cultural history.BARRA BOYDELL is Senior Lecturer in song, nationwide college of eire, Maynooth.
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Additional info for A History of Music at Christ Church Cathedral, Dublin
Martin, ‘Crowning of a King’. Fletcher, Drama, pp. 90–113. 14 A HISTORY OF MUSIC AT CHRIST CHURCH CATHEDRAL Musical sources associated with Christ Church A twelfth-century carved capital in the cathedral depicts (secular) musicians and dancers (Plate 2) and a mid-fourteenth-century account roll makes passing reference to visiting musicians, again secular and outside a religious context,15 but otherwise there is little direct evidence relating to music at Christ Church before the late fifteenth century.
If so, the prior and chapter may have felt it desirable to secure the longer-term existence and training of a choir of singing boys in order to assure the benefits which the music they represented must by then have been contributing in terms of both liturgical and civic prestige. David Wynchester, who had become prior relatively recently in 1489, may also have wanted to put his mark on the provision of music in the cathedral. In view of this extensive documentation relating to the establishment of boy singers and a master to train them, it is all the more to be regretted that neither music nor any specific references to repertoire have survived from Christ Church from the entire period between the early fifteenth and the early seventeenth centuries.
872; Caldwell, English Music, pp. 23, 26. Berry & Gellnick, ‘Cistercian Monks’. 22 A HISTORY OF MUSIC AT CHRIST CHURCH CATHEDRAL tones [vocibus duplicatis] against the simplicity of the Order . . Anyone who transgresses this . . 47 If, as in England, at least some of the Cistercians in Ireland were singing polyphony, it is more than likely that the Augustinians at Christ Church, who were under no such restriction, would also have been singing polyphony. The close links between Christ Church and centres in England such as Winchester where polyphony was sung as early as the late tenth and early eleventh centuries have already been noted.
A History of Music at Christ Church Cathedral, Dublin by Barra Boydell