Англикандық ән салу өнері

Form of church singing

Anglican chant, also known as English chant, is a way to sing unmetrical texts, including psalms and canticles from the Bible, by matching the natural speech rhythm of the words to the notes of a simple harmonized melody. This distinctive type of chant is a significant element of Anglican church music. Anglican chant was formerly in widespread use in Anglican and Episcopal churches, but today, Anglican chant is sung primarily in Anglican cathedrals and parish churches that have retained a choral liturgical tradition. Additionally, Anglican chant may be sung in Roman Catholic, Lutheran, Presbyterian, and Reformed churches. Anglican chant grew out of the plainchant tradition during the English Reformation. When singing a text in Anglican chant, the natural rhythm of the words as they would be spoken by a careful speaker governs how the music is fitted to the words. The majority of the words are freely and rhythmically chanted over the reciting notes, which are found in the first, fourth, eighth, eleventh (etc.) bars of the chant and with the other notes of the music appropriately fitted to the words at the end of each half verse. Formerly the rhythm of the non reciting notes was strictly observed, but nowadays the rhythm is based on the natural cadence of speech. Thus, the length of each of these notes bears little relation to the normal musical value of a note such as a minim or semibreve. Anglican chant was well established by the 18th century. The earliest known examples are single chants written by John Blow, Henry Purcell, and their contemporaries. Earlier examples by Tudor composers such as Tallis, Farrant, and others are not original. The earliest double chants are from about 1700.

Psalms may be sung unaccompanied or accompanied by an organ or other instrument. Organists use a variety of registrations to mirror the changing mood of the words from verse to verse; but the organ should never be so loud that the words cannot be clearly heard. Organists may sometimes utilize word painting, using effects such as a deep pedal note on the word "thunder", or a harsh reed tone for "darkness" contrasting with a mixture for "light".

A further stylistic technique is used in cathedrals and churches which use an antiphonal style of singing. In this case, the choir is divided into two equal half choirs, each having representation for the four musical parts, and usually facing one another. They are typically named Decani (usually the half choir to the south side) and Cantoris (usually the half choir to the north side). Then the choir may employ either of the techniques known as quarter chanting and half chanting. In quarter chanting (which is more true to the structure of the Hebrew poetry), the side that starts (usually decani) sing the first quarter of the chant (and thus the first half of the verse). The side that did not start (usually cantoris) then sing the second quarter of the chant (and thus the second half of the verse). This sequence then repeats. In half chanting (which is more true to antiphonal singing in the Gregorian style), decani sing the first two quarters of the chant, and cantoris the next two quarters (so that each half choir sings a whole verse at a time). With antiphonal singing, the first two verses, the Gloria and perhaps the last two verses are often sung by the whole choir. A few choirs elaborate further, e. g. by having some verses sung by soloists, trebles only, alto/tenor/bass only (with the treble line transferred into one of the other parts) or one part or soloists singing the melody while the rest of the choir hums. Occasionally some or all trebles may sing a descant; this usually happens only in the final verse of the psalm or the Gloria.