Following an extended period of neglect, the early 1840s saw a dramatic revival
of interest in English church music and its history, which coincided with the
period of heightened religious sensitivity between the publication of Newman‘s
Tract 90 in early 1841 and his conversion to Roman Catholicism in October 1845.
This article examines the activities and writings of three men who made
important contributions to the reformation of the music of the English church
that took place at this time: Rev. Frederick Oakeley; Rev. John Jebb and the
painter William Dyce. It pays particular attention to the relationship between
their beliefs about and attitudes towards the English Reformation and their
musical activities, and argues that such important works as Jebb‘s monumental
Choral Service of the United Church of England and Ireland
(1843) are best understood in the context of the religious and ecclesiological
debates that were raging at that time.
by slow degrees by
Gray, the high church bishop, after 1848. St James’, Sydney’s modest Anglican
church, had an organ and choir from the 1820s, but criticisms of the quality of singing and
music appeared in newspapers throughout the 1820s and 1830s. 47
Colonial royal ceremonial and Anglican privilege from 1872
All this changed in the final three decades of the
nineteenth century. The British story is well known. In 1872, William Gladstone, as prime
minister, convinced Victoria to re-engage with public life and
pages identify themes from an ordinary young woman’s life: music, dancing, children, male company and even a suggestion of a marriage proposal (see Figure 2.1 ). Her lively social life was a part of her life in the secular world. She was of the world: fashionable, sporty, sensible and kind. These traits were repeated again and again throughout the book.
Figure 2.1 Young woman leaving her hostel and dancing. Illustrations from Bride of a King (London: Daughters of Our Lady of Good Counsel, c. 1958), pp. 16–17
The ‘call’ to a vocation was not portrayed