Christopher Tye (d. 1572) began as a choirboy at King's College, Cambridge, in 1497, was organist at Ely from 1541, perhaps also in the Chapel Royal for a time, and became a clergyman in 1560. Besides his curious metrical version of the Book of Acts with varied musical settings (1553), he left extensive works in MS., including masses, Latin and English motets, a Passion, etc. (before 1560). His style was singularly able and unartificial.
John Redford (d. before 1559), organist and choirmaster at St. Paul's, London, about 1535, was the best instrumental writer of his day, leaving many organ-pieces of historic interest.
Thomas Tallis (d. 1585), born about 1510, organist at Waltham Abbey till 1540 and in the Chapel Royal till 1577, obtained a monopoly of music-publishing in 1575 (with his pupil Byrd). Besides the tunes, canticles and motets published during his life (1560-75), he left a mass, many more motets (including a gigantic one for eight 5-voiced choirs), several remarkable anthems and a few madrigals. He is sometimes called 'the father of English cathedral music,' since he was the link between the old and the new schools (see sec. 68).
68. The Prayer Book and Music.—A reconstructed liturgy
was one of the earliest undertakings of the new national Church.
Edward VI. authorized two successive forms (1549, 1552) and
Elizabeth still a third (1559), the last of which remained in use
for more than a century. While in these the outlines closely
resembled those of Roman services, yet in practice Morning
and Evening Prayer (corresponding not to the Mass, but to
Breviary offices) received a special accent, with a musical
treatment equal to that of the Communion itself. In consequence,
Anglican ritual music has always tended to be quite
distinct in its texts and spirit.
The English Reformation was a peculiarly complicated movement.
Although the reactions on the Continent under Luther and Zwingli were
immediately known in England and approved by many, the secession of
Henry VIII. was occasioned by his personal pique at the Pope's attitude
toward his marriages. At first the English love of independence was
quite as influential as any convictions about doctrine. But later, when
Mary had exasperated the nation by her cruelties and when the refugees
returned from Geneva at Elizabeth's accession, the Anglican position
became decidedly Calvinistic. Thenceforward two parties began to form—the
moderates, who would keep all possible continuity with the ancient
church, and the radicals (later called Puritans), who preferred to sweep
away all traditions and begin afresh. The latter were more and more
inclined to oppose ritual music because of its associations with the
Catholic system.
For a time it was demanded that whatever music was used
should so fit the syllables with solid chords that every word of
