"Church music." . . "Quelle." . . . . "Angleterre" . . "Church of England." . . "Geschichte (1800-1900)" . . "Geschichte 1800-1900" . "Victoriaanse tijd." . . "Música sacra Anglaterra." . . "Kirchenmusik." . . "1800 - 1899" . . "Church music 19th century England." . . "Música religiosa Inglaterra Historia." . . "MUSIC Religious Contemporary Christian." . . "England" . . "England." . "Church music England 19th century." . . "MUSIC History & Criticism." . . "Historische Musikpraxis." . . "MUSIC Religious Christian." . . "Geschichte (1550-1900)" . . "Kerkmuziek." . . "Musique d'église Communion anglicane." . . . . . . . . "In Victorian England, Tallis was ever-present: in performances of his music, in accounts of his biography, and through his representation in physical monuments. Known in the nineteenth century as the 'Father of English Church Music', Tallis occupies a central position in the history of the music of the Anglican Church. This book examines in detail the reception of two works that lie at the stylistic extremes of his output: Spem in alium, revived in the 1830s, though generally not greatly admired, and the Responses, which were very popular. A close study of the performances, manuscripts and editions of these works casts light on the intersections between the antiquarian, liturgical and aesthetic goals of nineteenth-century editors and musicians. By tracing Tallis's reception in nineteenth-century England, the author charts the hold Tallis had on the Victorians and the ways in which Anglican - and English - identity was defined and challenged." . "In Victorian England, Tallis was ever-present: in performances of his music, in accounts of his biography, and through his representation in physical monuments. Known in the nineteenth century as the 'Father of English Church Music', Tallis occupies a central position in the history of the music of the Anglican Church. This book examines in detail the reception of two works that lie at the stylistic extremes of his output: Spem in alium, revived in the 1830s, though generally not greatly admired, and the Responses, which were very popular. A close study of the performances, manuscripts and editions of these works casts light on the intersections between the antiquarian, liturgical and aesthetic goals of nineteenth-century editors and musicians. By tracing Tallis's reception in nineteenth-century England, the author charts the hold Tallis had on the Victorians and the ways in which Anglican - and English - identity was defined and challenged."@en . . . . . . . . . . . . . . . . . . . . . . . "Thomas Tallis and his music in Victorian England"@es . "Thomas Tallis and his music in Victorian England"@en . "Thomas Tallis and his music in Victorian England" . . . "Thomas Tallis and his Music in Victorian England"@en . . . . . "Church history" . "Church history"@en . "Electronic books"@en . . . . . . . . . . . . . . . "Verenigd Koninkrijk van Groot-Brittannië en Noord-Ierland." . . "Church music Anglican Communion." . . "Rezeption." . . "Kirchenmusik Grossbritannien Geschichte 19. Jh." . . "Musique d'église Angleterre 19e siècle." . .