English Choral Practice - Cambridge Studies in Performance Practice

In this review of English Choral Practice readers will find a focused survey of performance practice across the fifteenth to seventeenth centuries, aimed at musicians, choir directors and early-music scholars. John Morehen's collection of specialist essays provides the single biggest reason to buy: it ties practical matters of singing and rehearsal to primary sources and local contexts, making it useful both as a reference and as a guide to historically informed choral work. The tone is academic but accessible, and the volume brings together research that fills a gap in English church-music studies.

Key Features

• Comprehensive historical scope: Covers English choral practice in the fifteenth, sixteenth and seventeenth centuries, giving readers a long-term view of stylistic development.
• Specialist essays: Written by experts in the field, each essay examines a distinct performance issue with scholarly evidence and interpretation.
• Practical concerns addressed: Discusses vocal tessitura, performing pitch and chorister training, which makes the work relevant to modern choirmasters.
• Pronunciation systems: Explores systems of pronunciation for Latin- and English-texted music, assisting historically informed diction decisions.
• Manuscript context: Investigates the local circumstances of source compilation, revealing links between domestic and church music.
• Evidence-based conclusions: Uses surviving sources to support its claims, offering readers direct connections to primary materials.

Who It's For

Early-music performers, choral directors and graduate students will gain the most from this book because it presents specific problems of practice alongside source-based solutions; directors who wish to adjust pitch, tessitura or pronunciation with historical justification will find concrete guidance. Those preparing lectures or advanced seminars on English Reformation music will also find the essays valuable for background and citation.

It is less suitable for beginners seeking general introductions to choral singing or for casual readers looking for score collections; the book assumes some familiarity with historical musicology and primary-source terminology.

Pros & Cons

Pros

• Brings together specialist perspectives that illuminate performance practice across three centuries.
• Connects practical singing questions, like tessitura and pitch, to manuscript evidence and local practice.
• Discusses pronunciation systems for both Latin and English, useful for historically informed performance.
• Examines chorister training and daily practice, making it applicable to working choirs.

Cons

• The scholarly tone and focus on primary sources make it less approachable for readers without prior knowledge of early-music terms.

Specifications

Title	English Choral Practice
Series	Cambridge Studies in Performance Practice, Series Number 5
Editor / Author	John Morehen
Historical coverage	Fifteenth, sixteenth and seventeenth centuries
Topics covered	Choir development, vocal tessitura, performing pitch, pronunciation, chorister training
Approach	Essay collection by specialists using surviving sources

Our Verdict

English Choral Practice is a valuable, evidence-led resource for anyone serious about historically informed English choral performance; its specialist essays tie practical singing issues to manuscript sources and local contexts, offering good value for directors, performers and scholars who need source-backed guidance.

Frequently Asked Questions

Does this book cover pronunciation for both Latin and English?
Yes. Several essays explore systems of pronunciation suited to Latin- and English-texted music and their implications for performance.

Is the book practical for modern choirmasters?
It addresses practical concerns such as tessitura, pitch and chorister training, so working choirmasters can apply many of its recommendations with awareness of historical context.

Is prior musicological knowledge required?
The volume is scholarly in tone and draws on primary sources, so readers with some familiarity with early-music terminology will benefit most.