Bøker i Oxford Studies in British Church Music-serien

This volume aims to present a detailed exploration of the revival of the English plainchant in the 18th and 19th century. It examines ecclesiastical history and the work of John Francis Wade and Roman Catholic and Anglican apologetics.

This is the first major study of Handel's English church music. It covers well-known works such as Zadok the Priest, but also introduces an an engaging but little-known repertory. Handel's Chapel Royal music was the result of a close but changing relationship with Britain's Hanoverian royal family.

In this title, Ian Spink, an authority on 17th-century English music, has carried out an investigation of the musical sources of the Restoration period, and of the archives of every cathedral and choral foundation. It takes in the work of Purcell, Locke, and Handel, and many lesser masters such as Humfrey, Blow, Clarke, Weldon, and Croft.

The importance of 'the things spiritual' in Britten's work has long been ignored. In his book Graham Elliott examines this importance in his anlaysis of the composer's choice and treatment of subjects, and his use of musical influences - especially plainsong - which have a direct association with spirituality.

Born into one of England's best-known families, Samuel Sebastian Wesley (1810-76) was not only the foremost organist and church musician of his generation, but a vigorous campaigner for higher standards in cathedral music. Peter Horton has drawn on a wide range of source material to produce a detailed account of Wesley's life and career.

This text describes the development of English liturgical chant as performed in the Church of England and transmitted to related churches in Scotland and America. The most familiar of several forms of chant is used for psalms and canticles by many choirs and congregations.