A nice find at Google Books tonight: "THE CANTICLES AT EVENSONG, TOGETHER WITH THE OFFICE RESPONSES AND A TABLE OF PSALM-TONES: EDITED BY THE REVEREND CHARLES WINFRED DOUGLAS BACHELOR OF MUSIC CANON OF FOND DU LAC." - (The Saint Dunstan Edition)
Here's the link to the book itself, which was published in 1915 (and cost 50 cents).
From the Intro:
The following Table of Psalm-tones has been compiled with the purpose of providing greater melodic wealth than is afforded by the Sarum Tonale, while retaining the greater part of the latter in its accustomed order as a basis. To this end, traditional Continental mediations have been added in the forms presented by the Vatican Antiphoner; together with supplementary endings, among which all save the third ending of the fourth Tone are of ancient use, either in England or on the Continent. This exception is a slight modification (made by the Benedictines of Solesmes) of an ancient ending. The additional mediations are distinguished in the Table by the letters B and C; and the solemn mediations for Magnificat by the letter S. Wherever more than a single mediation is given for a Tone, the Sarum form is marked by the letter A. As the numbering of the Sarum endings adopted in recent English Psalters has become widely familiar, it is retained: the additional endings either being substituted for certain of the Sarum set that are practically never used; or else assigned further numbers after the complete enumeration of the Sarum group.
There are more notes at the link. Winfred Douglas is well-known in the Anglican world for his efforts at renewing the chant tradition;
here's a bit about him at Cyberhymnal.
While at Syracuse University, Douglas sang at St. Paul’s Episcopal Cathedral. He earned his Bachelor of Music degree from Syracuse in 1891, then took Holy Orders. He moved to Evergreen, Colorado, for health reasons, and became an Episcopal priest in 1899. He edited the Episcopal New Hymnal in 1918, and helped develop the 1940 Episcopal hymnal as well.
The monastic orders began to revive in England only during the mid-19th Century, fully 300 years after the dissolution of the monasteries by Henry VIII. Winfed Douglas was instrumental in renewing the chant tradition.
Here's something about him from the website of the Community of St. Mary East, an Episcopal monastic order from New York:
When the Rev. Canon C. Winfred Douglas became the choirmaster for the Community in 1906, he introduced a new edition of A Manual of Plain Song(4) to the choir, and later his own St. Dunstan Psalter(5). Prior to assuming his new position, he spent time in England, France, and Germany studying early church music. What he always valued most was the course in plainsong given by the Benedictine monks, who, exiled from their home monastery at Solesmes, had taken up residence at Quarr Abbey in the Isle of Wight. In an article for The
Catholic Choirmaster published in March 1926, Canon Douglas explained his reasoning for welcoming the opportunity to be choirmaster for the Community of St. Mary.
"Parish Churches are too subject to changing policies with changing rectors for much hope of permanent stability in a musical tradition. It seemed to the writer that seminaries and schools, with their comparatively fixed policies, and above all, religious orders, offered the best field for constructive work... St. Mary's Convent and the group of institutions clustered around it seemed an admirable field for the establishment of a Plainsong tradition."(6)
The transition from modern notation, measured rhythm and polyphonic settings tothe Solesmes method of unison, equi-measured square notation chant presented quite an adjustment for the Sisters. Canon Douglas' patience and skill had them singing
Compline in ten days and the other simple offices over the next weeks. The school girls also learned the chant with the Sisters. Over the years many alumnae returned to Peekskill to sing at major liturgical feasts in St. Mary's Chapel.
The Night Office was first recited in May 1874 from the Neale edition of the Sarum Office(7). On March 12, 1916, a shortened form of the Benedictine Night Hours was introduced(8), and a revision of this came into use Pentecost, June 13, 1943. At Tenebrae and on great feasts such as Christmas, Purification, and Easter, the Night Office was sung in full, adapted from monastic melodies in use in the Latin with local variances since at least the tenth century.
Below is an iFrame that contains the first page of the Psalm Tone chart; you can scroll through it from this post.
Some claim that to constantly be striking a ‘note of grace, grace, grace’ in our sermons is not helpful in our culture today. The objection goes like this: “Surely Phariseeism and moralism is not a problem in our culture today. Rather, our problem is license and antinomianism. People lack a sense of right or wrong. It is ‘carrying coal to Newcastle’ to talk about grace all the time to postmodern people.” But I don’t believe that’s the case. Unless you point to the ‘good news’ of grace, people won’t even be able to bear the ‘bad news’ of God’s judgment. Also, unless you critique moralism, many irreligious people won’t know the difference between moralism and what you’re offering. The way to get antinomians to move away from lawlessness is to distinguish the gospel from legalism. Why? Because modern and post-modern people have been rejecting Christianity for years thinking that it was indistinguishable from moralism. Non-Christians will always automatically hear gospel presentations as appeals to become moral and religious, unless in your preaching you use the good news of grace to deconstruct legalism. Only if you show them there’s a difference–that what they really rejected wasn’t real Christianity at all–will they even begin to consider Christianity.
