FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W764821856> ?p ?o ?g. }

• W764821856 startingPage "1" @default.
• W764821856 abstract "This survey explores music making from 1749 through to 1900. Its focus is the Diocese of Cape Town which, at first, encompassed the whole of South Africa, but gradually sub-divided. As a result, the ambit of this study gets gradually smaller and smaller, focussing essentially on parishes in and around the Western Cape Province.BEFORE BISHOP ROBERT GRAY (1749-1848)Since the Cape was on the sea route between Europe and the East, it is not surprising that the first service according to the Book of Common Prayer was held there for British sailors and soldiers on shore leave; in 1749 the British fleet, under Admiral Boscawen, en route from India, put into Table Bay, and the Dutch governor agreed to allow the British chaplain from the fleet to hold a service in the Dutch church.1Church historians do not know which service was used (Holy Communion or Daily Office) and whether music was a part of it or not. It was probably either Matins or Evensong, depending on the time of day. Since metrical psalmody was the unrivalled musical genre in parishes during the mid-eighteenth century, it is fair to assume that well-known psalms (probably from the Tate and Brady2 version) may have been sung. Metrical psalmody was the fashionable form of congregational song which enjoyed legal status in Britain, but hymnody was also beginning to emerge in the context.3 The denominational configuration of the military congregation was not mentioned. Were all naval personnel Anglican? Surely not. Although they may have had to be Anglican to work in the civil service,4 a number of them may have been non-conformists or Methodists. Being so far from home, members of the congregation may have been bold enough to sing a hymn by Isaac Watts or Charles Wesley.For the next hundred years, until the arrival of Bishop Robert Gray in February 1848,5 clergy were colonial chaplains appointed to serve the local naval and military contingents, and after 1814 the burgeoning colonial community in the Cape. mission work was not considered necessary at that point, the chaplains' charge being to minister to the English expatriates working at the Cape. As a result, the congregations were entirely English. However, in the years after the British had taken formal possession of the Cape and the Church had gained official status in 1814, it became fashionable for Dutch and German locals to attend an English service as well as their own.6 It is unlikely that the musical traditions of the Dutch and the English cross-fertilized at this point, especially since the English Church would have been trying, whether consciously or not, to assert its cultural dominance as the new established church.Most of the churches in those early years must have been rather simple. The first English Church building, St. George's, was only completed in 1834.7 St. Paul's in Rondebosch was built soon afterwards, also in 1834. Until then, Anglicans had shared buildings with Dutch Reformed churches.8 The congregations appear to have been largely independent from each other9 and their buildings were often erected by subscription.10 It is difficult to determine the churchmanship of these parishes,* 11 and what music, if any, they sang. In the late 1820s the St. George's congregation was using Tate and Brady's metrical psalter. This was seen by some as an impediment, rather than a blessing.12 In 1839 the Rev. John Heavyside, a colonial chaplain stationed at St. George's in Grahamstown, published A Manual of Psalmody for Public Worship, for use at the parish. It proved so popular that it was still being used during the episcopacy of Nathaniel Merriman in the late nineteenth century.13 It is quite probable that the other congregations probably sang what they knew and loved from their home parishes in England. Undoubtedly, for most ordinary folk this would have been metrical psalmody.14 Contemporary sources only make mention of the type of music sung at gatherings, but there is no information regarding the methods of performance. …" @default.
• W764821856 created "2016-06-24" @default.
• W764821856 creator A5083149305 @default.
• W764821856 date "2014-03-01" @default.
• W764821856 modified "2023-09-28" @default.
• W764821856 title "The Roots of Anglican Music in Southern Africa: A Historical Survey of Anglican Music in the Cape" @default.
• W764821856 hasPublicationYear "2014" @default.
• W764821856 type Work @default.
• W764821856 sameAs 764821856 @default.
• W764821856 citedByCount "1" @default.
• W764821856 countsByYear W7648218562021 @default.
• W764821856 crossrefType "journal-article" @default.
• W764821856 hasAuthorship W764821856A5083149305 @default.
• W764821856 hasConcept C138885662 @default.
• W764821856 hasConcept C142362112 @default.
• W764821856 hasConcept C153349607 @default.
• W764821856 hasConcept C166957645 @default.
• W764821856 hasConcept C17744445 @default.
• W764821856 hasConcept C195244886 @default.
• W764821856 hasConcept C199539241 @default.
• W764821856 hasConcept C24667770 @default.
• W764821856 hasConcept C2777477151 @default.
• W764821856 hasConcept C2777628658 @default.
• W764821856 hasConcept C2779343474 @default.
• W764821856 hasConcept C32772713 @default.
• W764821856 hasConcept C558565934 @default.
• W764821856 hasConcept C95457728 @default.
• W764821856 hasConceptScore W764821856C138885662 @default.
• W764821856 hasConceptScore W764821856C142362112 @default.
• W764821856 hasConceptScore W764821856C153349607 @default.
• W764821856 hasConceptScore W764821856C166957645 @default.
• W764821856 hasConceptScore W764821856C17744445 @default.
• W764821856 hasConceptScore W764821856C195244886 @default.
• W764821856 hasConceptScore W764821856C199539241 @default.
• W764821856 hasConceptScore W764821856C24667770 @default.
• W764821856 hasConceptScore W764821856C2777477151 @default.
• W764821856 hasConceptScore W764821856C2777628658 @default.
• W764821856 hasConceptScore W764821856C2779343474 @default.
• W764821856 hasConceptScore W764821856C32772713 @default.
• W764821856 hasConceptScore W764821856C558565934 @default.
• W764821856 hasConceptScore W764821856C95457728 @default.
• W764821856 hasIssue "1" @default.
• W764821856 hasLocation W7648218561 @default.
• W764821856 hasOpenAccess W764821856 @default.
• W764821856 hasPrimaryLocation W7648218561 @default.
• W764821856 hasRelatedWork W115266681 @default.
• W764821856 hasRelatedWork W1856385467 @default.
• W764821856 hasRelatedWork W1988301964 @default.
• W764821856 hasRelatedWork W2011986644 @default.
• W764821856 hasRelatedWork W2030344353 @default.
• W764821856 hasRelatedWork W2204402677 @default.
• W764821856 hasRelatedWork W226693720 @default.
• W764821856 hasRelatedWork W2319888257 @default.
• W764821856 hasRelatedWork W2477526948 @default.
• W764821856 hasRelatedWork W255874205 @default.
• W764821856 hasRelatedWork W289608377 @default.
• W764821856 hasRelatedWork W294738627 @default.
• W764821856 hasRelatedWork W2978435856 @default.
• W764821856 hasRelatedWork W305587855 @default.
• W764821856 hasRelatedWork W321629089 @default.
• W764821856 hasRelatedWork W327916051 @default.
• W764821856 hasRelatedWork W345054695 @default.
• W764821856 hasRelatedWork W74612735 @default.
• W764821856 hasRelatedWork W844204696 @default.
• W764821856 hasRelatedWork W211925700 @default.
• W764821856 hasVolume "83" @default.
• W764821856 isParatext "false" @default.
• W764821856 isRetracted "false" @default.
• W764821856 magId "764821856" @default.
• W764821856 workType "article" @default.