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Gloria Patri, also known as Glory Be to the Father (or, colloquially, the “Glory Be”), is a doxology, a short hymn of praise to God in various Christian liturgies. It is also referred to as the Minor Doxology (Doxologia Minor) or Lesser Doxology, to distinguish it from the Greater Doxology, the Gloria in Excelsis Deo.

A Latin chant setting of the Gloria Patri from the Liber Usualis, with two euouae alternatives.

Greek version[link]

The Greek wording is as follows:

Δόξα Πατρὶ καὶ Υἱῷ καὶ Ἁγίῳ Πνεύματι,

καὶ νῦν καὶ ἀεὶ καὶ εἰς τοὺς αἰῶνας τῶν αἰώνων. Ἀμήν.

Glory to the Father, and to the Son, and to the Holy Spirit,

Both now and always, and unto the ages of ages. Amen.

The earliest forms of the first part of this Trinitarian doxology are addressed to the Father through (διά) the Son and in (ἐν) or with (μετά) the Holy Spirit, but in the fourth century the custom of using and (καί) became universal among Catholics in reaction to Arian use of the prepositions to suggest subordinationism.^[1] In Greek, the second part became^[1] that given above, which is used by the Eastern Orthodox Churches (and the Eastern Catholic Churches of Byzantine Rite) and by the Oriental Orthodox Churches.

Syrian version[link]

Shouha tababa, W-brona, W-ruha dqudsha,

min’alam w’adamma L-’alam, Amen.^[2]

Glory be to the Father and to the Son and to the Holy Spirit,

from everlasting and for ever and ever (one translation)^[3]

OR

forever and ever. Amen (another translation).^[4][5]

According to Worship Music: A Concise Dictionary, the lesser doxology is of Syrian origin.^[6]

This form, as the cited sources show, is used by the Assyrian Church of the East and the Chaldean Catholic Church.

Roman Rite Latin version[link]

Pronunciation of the Glory Be to the Father (Gloria patri) in Latin with a strong American English accent.

Gloria Patri, et Filio, et Spiritui Sancto,

Sicut erat in principio, et nunc, et semper, et in saecula saeculorum. Amen.

Glory to the Father, and to the Son, and to the Holy Spirit,

As it was in the beginning, also now, and always, and to ages of ages. Amen.

In 529 the Second Synod of Vasio in Gaul (modern (Vaison) said in its fifth canon that the second part of the doxology, with the words Sicut erat in principio, was used in Rome, the East, and Africa, and ordered it to be said likewise in Gaul.^[1] Writing in the 1909 Catholic Encyclopedia, Adrian Fortescue, while remarking that what the synod said of the East was false, took the synod's decree to mean that the form originally used in the West was the same as the Greek form.^[1] From about the seventh century the present Roman Rite version became almost universal throughout the West.^[1]

Mozarabic Rite Latin version[link]

Gloria et honor Patri et Filio et Spiritui sancto

in saecula saeculorum.^[1]

Glory and honour to the Father and to the Son and to the Holy Spirit

for ages of ages.

The similarity between this version used in the then extreme west of the church and the Syrian version used in the extreme east is noteworthy.

English version[link]

This doxology in the Anglican Churches is most commonly found in the following traditional form:

Glory be to the Father, and to the Son :

and to the Holy Ghost;

As it was in the beginning, is now, and ever shall be :

world without end. Amen.

The translations of semper as ever shall be, and in saecula saeculorum as world without end date from Cranmer's Book of Common Prayer, and are most commonly found in Anglican usage, as well as the derivative usage of older Lutheran liturgical books.

In the contemporary usage of the Roman Catholic, Anglican, and Lutheran churches, the following translation by the International Consultation on English Texts (ICET) has been widely used since 1971:

Glory to the Father, and to the Son, and to the Holy Spirit:

as it was in the beginning, is now, and will be for ever. Amen.

This is the version found in the Roman Catholic Liturgy of the Hours^[7] used, for instance, in the United States, while the corresponding Divine Office^[8] used, for instance, in Australia, England and Wales, and Ireland has:

Glory to the Father, and to the Son, and to the Holy Spirit.

As it was in the beginning, is now, and ever shall be, world without end. Amen.

More recent Anglican usage has introduced a further variant (found in Common Worship):

Glory to the Father and to the Son

and to the Holy Spirit;

as it was in the beginning is now

and shall be for ever. Amen.

Especially in Anglican circles there are various alternative forms of the Gloria designed to avoid masculine language. The form included in Common Worship is:

Glory to God, Source of all being,

Eternal Word and Holy Spirit;

as it was in the beginning is now

and shall be for ever. Amen.

The doxology has a different translation in the use of the English-speaking Orthodox and Greek-Catholic Churches, as following:

Glory to the Father and the Son and the Holy Spirit,

now and forever and to the ages of ages. Amen.

Use[link]

In the Eastern Orthodox Churches, the Oriental Orthodox Churches, the Assyrian Church of the East and the Eastern Catholic Churches, the Lesser Doxology is frequently used at diverse points in services and private prayers. Among other instances, it is said three times by the reader during the usual beginning of every service, and as part of the dismissal at the end. When it is used in a series of hymns it is chanted either before the last hymn or before the penultimate hymn. In the latter case, it is divided in half, the "Glory..." being chanted before the penultimate hymn, and "Both now..." being chanted before the final hymn (which is usually a Theotokion).

In the Roman Rite, the Gloria Patri is frequently chanted or recited in the Liturgy of the Hours or Divine Office (prayed by the clergy, many religious orders and congregations, and, more frequently since Vatican II, by laity as well), principally at the end of psalms and canticles and in the responsories. It also figures in the Introit of the pre-1970 form of Mass in the Roman Rite. The prayer figures prominently in non-liturgical devotions, notably the rosary, where "Glory be" is recited before the large beads (on which an "Our Father" is prayed) which separate the five sets of ten smaller beads, called decades, upon each of which a Hail Mary is prayed.

Amongst Anglicans, the Gloria Patri is mainly used to conclude the singing or recitation of psalms and canticles at the Daily Offices of Morning and Evening Prayer.

Lutherans have historically added the Gloria Patri both after the chanting of the Responsorial Psalm and following the Nunc Dimittis during their Divine Service, as well as during Matins and Vespers in the Canonical hours. The Gloria Patri is also frequently used in evangelical Presbyterian churches. In Methodism, the Gloria Patri (usually in the traditional English form above) is frequently sung to conclude the "responsive reading" that takes the place of the Office Psalmody.

Media[link]

	Gloria Patri Gloria Patri setting by Henry Wellington Greatorex
Problems listening to this file? See media help.

See also[link]

• Greater doxology

References[link]

•  This article incorporates text from a publication now in the public domain: Herbermann, Charles, ed. (1913). Catholic Encyclopedia. Robert Appleton Company. 

External links[link]

• "Doxology" at New Advent
• Glory Be
• The Glory Be and other prayers of the Rosary in many languages
• A website with the Lord's Prayer in multiple languages; some of the languages also have the Glory Be

v t e Prayers and the Catholic Church Note: Prayers in italics are normally indulgenced. Prayers of the Mass Agnus Dei · Apostles' Creed · Confiteor · Gloria in excelsis Deo · Gloria Patri · Kyrie Eleison · Litany of the Saints · Nicene Creed · Pater Noster · Sanctus · Signum Crucis Marian prayers Alma Redemptoris Mater · Angelus · Ave Maria · Ave Maris Stella · Ave Regina Caelorum · Fatima Prayer · Magnificat · Memorare · Regina Coeli · Rosary · Salve Regina · Sub Tuum Praesidium · Three Hail Marys Other prayers Act of Contrition · Adoro te devote · Angele Dei · Anima Christi · Athanasian Creed · Ave Verum Corpus · Benedictus · De Profundis · Jesus Prayer · Laudes Divinae · Miserere mei · Morning offering · Nunc Dimittis · O Salutaris Hostia · Prayer before a Crucifix · Prayer of Saint Francis · Prayer to Saint Michael · Requiem Aeternam · Spiritual Communion · Tantum Ergo · Te Deum · Thanksgiving after Communion · Veni Creator Spiritus · Veni Sancte Spiritus · Visit to the Blessed Sacrament · Way of the Cross Category · Portal

v t e Order of the Divine Service in Lutheranism Preparatory Service Entrance hymn and Trinitarian formula (known as the Invocation) · Penitential Rite including the Confiteor and Declaration of Grace (or Asperges on Easter) Elevation of the host The Service of the Word Introit · Gloria Patri · Kýrie · Gloria · Dominus Vobiscum · Oremus · Collect · Old Testament reading · gradual (or Responsorial Psalm) · Epistle · Alleluia (tract during Lent) · Gospel · Hymn of the day · Homily or Postil (Sermon) · Nicene Creed (Athanasian Creed on Trinity Sunday)  · Offertory · Prayers of the Faithful The Service of the Eucharist Preface (Sursum corda / Sanctus / Hosanna) · Eucharistic Prayer (Epiclesis / Words of Institution / Memorial Acclamation) · Lord's Prayer · Sign of peace / pax (elevation)  · Agnus Dei  · Distribution  · Nunc dimittis  · Postcommunion  · Benedicamus Domino  · Benediction  · Dismissal · Ite missa est Participants Acolyte · bishop · cantor · choir · crucifer · deacon · elder · laity · lector · Pastor (or Priest) · usher Parts of the Sanctuary altar · altar bell · altar crucifix · altar rails · kneeler · piscina · processional cross · tabernacle Candles altar candle · paschal candle · sanctuary lamp · votive candle Liturgical vessels ciborium · chalice · cruet · Liturgical objects collection basket · holy water · incense (use) · paten · sacramental bread (wafer) · sacramental wine · thurible Vestments alb · chasuble · dalmatic · geneva gown · humeral veil · stole · surplice · tunicle · Liturgical books and hymnals Agenda · Evangelical Lutheran Hymn-Book · Evangelical Lutheran Hymnary · Evangelical Lutheran Worship · Lutheran Book of Worship · Lutheran Hymnal · Lutheran Hymnal with Supplement · Lutheran Service Book · Lutheran Worship · Service Book and Hymnal Lutheranism Portal

John Rutter
Born	John Milford Rutter (1945-09-24) September 24, 1945 (age 66) London
Nationality	United Kingdom
Alma mater	Clare College, Cambridge
Occupation	Composer, conductor
Known for	Founded the Cambridge Singers, prolific composer
Awards	National Patron of Delta Omicron (1985); Commander of the Order of the British Empire (2007)

John Milford Rutter CBE (born (1945-09-24)24 September 1945) is a British composer, conductor, editor, arranger and record producer, mainly of choral music.

Biography[link]

Born in London, Rutter was educated at Highgate School, where a fellow pupil was John Tavener.^[1] He read music at Clare College, Cambridge, where he was a member of the choir. He served as director of music at Clare College from 1975 to 1979 and led the choir to international prominence.

In 1974, Rutter visited the United States at the invitation of choral musician Melvin (Mel) Olson and conducted the premiere of his cantata "Gloria" in Omaha, Nebraska, in the Witherspoon Hall of Joslyn Art Museum. The composition, commissioned by Olson's Voices of Mel Olson chorale, has become a much-performed favourite over the years.^{[citation needed]}

In 1981 Rutter founded his own choir, the Cambridge Singers, which he conducts and with which he has made many recordings of sacred choral repertoire (including his own works), particularly under his own label Collegium Records. He resides at Duxford in Cambridgeshire and frequently conducts many choirs and orchestras around the world.

In 1980 he was made an honorary Fellow of Westminster Choir College, Princeton, and in 1988 a Fellow of the Guild of Church Musicians. In 1996 the Archbishop of Canterbury conferred a Lambeth Doctorate of Music upon him in recognition of his contribution to church music. In 2008, he was made an honorary Bencher of the Middle Temple while playing a significant role in the 2008 Temple Festival.

From 1985 to 1992 Rutter suffered severely from myalgic encephalomyelitis (ME; or Chronic fatigue syndrome), which restricted his output; after 1985 he stopped writing music on commission, as he was unable to guarantee meeting deadlines.^[2]

Rutter also works as an arranger and editor, most notably (in his youth) of the extraordinarily successful Carols for Choirs anthology series in collaboration with Sir David Willcocks.

He was inducted as a National Patron of Delta Omicron, an international professional music fraternity in 1985.^[3][4]

Compositions[link]

Rutter's compositions are chiefly choral, and include Christmas carols, anthems and extended works such as a Gloria, a Magnificat, and a Requiem.

The world premiere of Rutter's Requiem (1985), and of his authoritative edition of Faure's Requiem, took place with the Fox Valley Festival Chorus, in Illinois. In 2002 his setting of Psalm 150, commissioned for the Queen's Golden Jubilee, was performed at the Jubilee thanksgiving service in St Paul's Cathedral, London. Similarly, he was commissioned to write a new anthem, "This is the day which the Lord hath made" for the Wedding of Prince William and Catherine Middleton in 2011, performed at Westminster Abbey during the service.^[5]

He has also written an opera for young people called Bang!

Rutter's work is published principally by Oxford University Press in England and by Hinshaw Music in the US. He has been recorded by many choirs, but conducts his own recordings principally on his Collegium label.

Influences[link]

Rutter's music is eclectic, showing the influences of the French and English choral traditions of the early 20th century, as well as of light music and American classic songwriting. Almost every choral anthem and hymn that he writes,^{[citation needed]} in addition to the standard piano/organ accompaniment, has a subsequent orchestral accompaniment as well, utilizing various different instrumentations, such as strings only, strings and woodwinds, or full orchestra with brass and percussion, among others.

Despite composing and conducting much religious music, Rutter told the US television program 60 Minutes in 2003 that he was not particularly a religious man, yet still deeply spiritual and inspired by the spirituality of sacred verses and prayers.^[6] The 60 Minutes program, which aired a week before Christmas 2003, focused on Rutter's popularity with choral groups in the United States, Britain and other parts of the world, and on his composition, Mass of the Children, composed after the sudden death of his son Christopher while a student at Clare College, Cambridge (where Rutter himself had studied).

In a 2009 interview,^{[citation needed]} Rutter discussed his understanding of "genius" and its unique ability to transform lives - whether that genius is communicated in the form of music or other mediums. He likened the purity of music to that of mathematics, and even connected the two with a reference to the discoveries of the early Greeks that frequencies of harmonic pitches are related by whole-number ratios.

Reception[link]

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Rutter's music is very popular, particularly in the USA (NBC's Today Show called him "the world's greatest living composer and conductor of choral music")^{[cite this quote]}. In the UK it receives a more mixed reception^{[citation needed]}: while one conservative British composer, David Arditti, does not regard him as a sufficiently "serious" composer,^[7] others hold him in high regard, as illustrated by the following quotation from a review in the London Evening Standard (25/09/2005): "For the infectiousness of his melodic invention and consummate craftsmanship, Rutter has few peers."

List of compositions and arrangements[link]

Carols[link]

Choral works[link]

Most of these works are arrangements.

Anthems and other compositions[link]

Most of these works are original compositions, including new musical settings of standard texts, whilst others are arrangements of traditional hymns.

Music with narration[link]

• Wind in the Willows
• Brother Heinrich's Christmas
• The Reluctant Dragon

References[link]

Footnotes[link]

Notations[link]

• Kennedy, Michael (2006), The Oxford Dictionary of Music, 985 pages, ISBN 0-19-861459-4

External links[link]

• Rutter at the Oxford University Press website
• Collegium Records
• John Rutter interviewed by Alan Macfarlane, 28 January 2009 (film)
• John Rutter interviewed by C Music TV, October 2010 from YouTube
• John Rutter interviewed by C Music TV, October 2010 from C Music TV
• This is the Day, performed at the royal wedding, 2011

Thomas Tallis

Thomas Tallis (c. 1505 – 23 November 1585) was an English composer. Tallis flourished as a church musician in 16th century Tudor England. He occupies a primary place in anthologies of English church music, and is considered among the best of England's early composers. He is honoured for his original voice in English musicianship.^[1] No contemporary portrait of Tallis survives: the earliest, painted by Gerard van der Gucht, dates from 150 years after Tallis died, and there is no certainty that it is a likeness.^[2]

Life[link]

Early years[link]

Little is known about Tallis's early life, but there seems to be agreement that he was born in the early 16th century, toward the close of the reign of Henry VII. Little is known about Tallis's childhood and his significance with music at that age. However, there are suggestions that he was a child of the chapel royal St. James's palace, the same singing establishment which he later went to as a man.^[3] His first known appointment to a musical position was as organist of Dover Priory in 1530–31, a Benedictine priory at Dover (now Dover College) in 1532.^[4] His career took him to London, then (probably in the autumn of 1538) to the Augustinian abbey of Holy Cross at Waltham until the abbey was dissolved in 1540. Tallis acquired a volume at the dissolution of the monastery of Waltham Holy Cross and preserved it; one of the treatises in it was by Leonel Power, and the treatise itself prohibits consecutive unisons, fifths, and octaves.^[5]

Tallis's next post was at Canterbury Cathedral. He was next sent to Court as Gentleman of the Chapel Royal in 1543 (which later became a Protestant establishment^[6]), where he composed and performed for Henry VIII,^[7] Edward VI (1547–1553), Queen Mary (1553–1558), and Queen Elizabeth I (1558 until Tallis died in 1585).^[8] Throughout his service to successive monarchs as organist and composer, Tallis avoided the religious controversies that raged around him, though, like William Byrd, he stayed an "unreformed Roman Catholic."^[9] Tallis was capable of switching the style of his compositions to suit the different monarchs' vastly different demands.^[10] Among other important composers of the time, including Christopher Tye and Robert White, Tallis stood out. Walker observes, "He had more versatility of style than either, and his general handling of his material was more consistently easy and certain."^[11] Tallis was also a teacher, not only of William Byrd, but also of Elway Bevin, an organist of Bristol Cathedral and gentleman of the Chapel Royal.^[12]

Tallis married around 1552; his wife, Joan, outlived him by four years. They apparently had no children. Late in his life he lived in Greenwich, possibly close to the royal palace: a local tradition holds that he lived on Stockwell Street.^[13]

Work with William Byrd[link]

Queen Mary granted Tallis a lease on a manor in Kent that provided a comfortable annual income.^[14] In 1575, Queen Elizabeth granted to him and William Byrd a 21-year monopoly for polyphonic music^[15] and a patent to print and publish music, which was one of the first arrangements of that type in the country.^[16] Tallis's monopoly covered 'set songe or songes in parts', and he composed in English, Latin, French, Italian, or other tongues as long as they served for music in the Church or chamber.^[17] Tallis had exclusive rights to print any music, in any language. He and William Byrd were the only ones allowed to use the paper that was used in printing music. Tallis and Byrd used their monopoly to produce Cantiones quae ab argumento sacrae vocantur but the piece did not sell well and they appealed to Queen Elizabeth for her support.^[18] People were naturally wary of their new publications, and it certainly did not help their case that they were both avowed Roman Catholics.^[19] Not only that, they were strictly forbidden to sell any imported music. "We straightly by the same forbid...to be brought out of any forren Realmes...any songe or songes made and printed in any foreen countrie." Also, Byrd and Tallis were not given "the rights to music type fonts, printing patents were not under their command, and they didn't actually own a printing press."^[20]

Tallis retained respect during a succession of opposing religious movements and deflected the violence that claimed Catholics and Protestants alike.^[21]

Death[link]

Thomas Tallis died peacefully in his house in Greenwich in November 1585. Most historians agree that he died on the twenty-third.^[22] He was buried in the chancel of the parish of St Alfege's Church in Greenwich.^[23] The chancel was torn down in 1720, and none of the memorials remain. Strype claims to have found a brass plate with an engraving on it, which reads:

<poem>“Entered here doth ly a worthy wyght, Who for long tyme in musick bore the bell: His name to shew, was THOMAS TALLYS hyght, In honest virtuous lyff he dyd excell.

“He serv’d long tyme in chappel with grete prayse Fower sovereygnes reygnes (a thing not often seen); I meane Kyng Henry and Prynce Edward’s dayes, Quene Mary, and Elizabeth oure Quene.

“He mary’d was, though children he had none, And lyv’d in love full thre and thirty yeres Wyth loyal spowse, whose name yclypt was JONE, Who here entomb’d him company now beares.

“As he dyd lyve, so also did he dy, In myld and quyet sort (O happy man!) To God ful oft for mercy did he cry, Wherefore he lyves, let deth do what he can.”^[24]</poem>

Byrd wrote the musical elegy Ye Sacred Muses on Tallis's death.

Veneration[link]

Tallis is honoured together with William Byrd and John Merbecke with a feast day on the liturgical calendar of the Episcopal Church (USA) on 21 November.

Works[link]

	Lamentatione Jeremiae Prophetae Recorded live in Madonna dei Monti, Rome by The Tudor Consort in November 2005 (5Mb) If ye love me (2Mb)
Problems listening to these files? See media help.

See List of compositions by Thomas Tallis

Early works[link]

The earliest surviving works by Tallis, Salve intemerata virgo, Ave rosa sine spinis and Ave Dei patris filia are devotional antiphons to the Virgin Mary, which were used outside the liturgy and were cultivated in England until the fall of Cardinal Wolsey. Henry VIII's break with Roman Catholicism in 1534 and the rise of Thomas Cranmer noticeably influenced the style of music written. Texts became largely confined to the liturgy.^[25] The writing of Tallis and his contemporaries became less florid. Tallis's Mass for four voices is marked with tendencies toward a syllabic (which is a setting of text where each syllable is sung to one pitch) and chordal (consisting of or emphasising chords) style and a diminished use of melisma. Tallis provides a rhythmic variety and differentiation of moods depending on the meaning of his texts.^[26] Tallis helped found a relationship that was specific to the combining of words and music.^[27] He also wrote several excellent Lutheran chorales.^[28]

The reformed Anglican liturgy was inaugurated during the short reign of Edward VI (1547–53),^[29] and Tallis was one of the first church musicians to write anthems set to English words, although Latin continued to be used.^[30] The Catholic Mary Tudor set about undoing the religious reforms of the preceding decades. Following her accession in 1553, the Roman Rite was restored and compositional style reverted to the elaborate writing prevalent early in the century.^[31] Two of Tallis's major works, Gaude gloriosa Dei Mater and the Christmas Mass Puer natus est nobis are believed to be from this period. Only Puer natus est nobis can be accurately dated to 1554. As was the prevailing practice, these pieces were intended to exalt the image of the Queen as well as to praise the Mother of God.^[32]

Some of Tallis's works were compiled and printed in the Mulliner Book by Thomas Mulliner before Queen Elizabeth's reign, and may have been used by the Queen herself when she was younger. Elizabeth succeeded her half-sister in 1558, and the Act of Settlement in the following year abolished the Roman Liturgy^[33] and firmly established the Book of Common Prayer.^[34] Composers at court resumed writing English anthems, although the practice of setting Latin texts continued, growing more peripheral over time.

The mood of the country in the beginning of Elizabeth's reign leant toward the puritan, which discouraged the liturgical polyphony. Tallis wrote nine psalm chant tunes for four voices for Archbishop Parker's Psalter, published in 1567.^[35] One of the nine tunes, the "Third Mode Melody", inspired the composition of Fantasia on a Theme of Thomas Tallis by Ralph Vaughan Williams in 1910.^[36] Tallis's better-known works from the Elizabethan years include his settings of the Lamentations (of Jeremiah the Prophet)^[37] for the Holy Week services and the unique motet Spem in alium written for eight five-voice choirs. Tallis is mostly remembered for his role in composing office hymns and this motet, Spem in alium. Too often we forget to look at his compositions for other monarchs; several of Tallis's anthems written in Edward's reign such as his If ye love me, ought to be considered on the same level as his Elizabethan works.^[38] This is partially because we do not have all of his works from previous periods; eleven of eighteen Latin-texted pieces by Tallis from Elizabeth's reign were published, "which ensured their survival in a way not available to the earlier material."^[39]

Later works[link]

Toward the end of his life, Tallis resisted the musical development seen in his younger contemporaries such as William Byrd, who embraced compositional complexity and adopted texts built by combining disparate biblical extracts.^[40] Tallis's experiments during this time period were considered rather unusual.^[41] Tallis was content to draw his texts from the Liturgy^[42] and wrote for the worship services in the Chapel Royal.^[43] Tallis composed during a difficult period during the conflict between Catholicism and Protestantism, and his music often displays characteristics of the turmoil.^[44]

Fictional portrayals[link]

A fictionalised Thomas Tallis was portrayed by Joe Van Moyland in 2007 on the Showtime television series The Tudors, loosely based upon the early reign of Henry VIII.

See also[link]

Saints portal

References[link]

• Cole, Suzanne. Thomas Tallis and his Music in Victorian England. Woodbridge, UK: Boydell, 2008.
• Doe, Paul and Allinson, David : Thomas Tallis, Grove Music Online ed. L. Macy (Accessed 5 May 2007), (subscription access)
• Farrell, Joseph. Latin Language and Latin Culture: From Ancient to Modern Times. New York Cambridge University Press, 2001.
• Gatens. Tallis: Works, all. American Record Guide 68.3 (May–June 2005): 181.
• Holman, Peter. Dowland: Lachrimae (1604); Cambridge Music Handbooks. Cambridge University Press, 1999.
• Lord, Suzanne.; Brinkman, David. Music From the Age of Shakespeare: A Cultural History. Westport, Conn Greenwood Publishing Group, 2003.
• Manderson, Desmond. Songs Without Music: Aesthetic Dimensions of Law and Justice. University of California Press, 2000.
• Phillips, Peter. Sign of Contradiction: Tallis at 500. Musical Times 146 (Summer 2005): 7–15.
• Shrock, Dennis. Choral Repertoire. Oxford University Press, 2009.
• Steinberg, Michael. Choral Masterworks: A Listener’s Guide. New York Oxford Press, 2005.
• St. James Palace; Rimbault, Edward F. The Old Cheque-Book. Chapel Royal. Westminster: J.B, Nichols and Sons.
• Thomas, Jane Resh. Behind the Mask: The Life of Queen Elizabeth I. New York Houghton-Muffin Trade and Reference, 1998.
• Walker, Ernest. A History of Music in England. 3rd ed., rev. Oxford: Clarendon Press, 1952

Notes[link]

External links[link]

Wikimedia Commons has media related to: Thomas Tallis

• BBC Radio 3 Discovering Music program on Spem in Alium and related works
• Free scores by Thomas Tallis in the Werner Icking Music Archive (WIMA)
• Listen to free recordings of Latin church music and English church music from Umeå Akademiska Kör
• The Mutopia Project has compositions by Thomas Tallis
• Free access to high-resolution images of manuscripts containing works by Tallis from Digital Image Archive of Medieval Music
• Free scores by Thomas Tallis in the Choral Public Domain Library (ChoralWiki)
• Free scores by Thomas Tallis at the International Music Score Library Project
• In Pace In idipsum, edited by quilisma-publications.info

Recordings[link]

• Ceremony & Devotion Harry Christophers, The Sixteen (CORO)
• Tallis, Byrd and Guerrero, The Flowering of Genius The Sixteen (CORO16001)
• William Byrd and Thomas Tallis, In Chains of Gold. Dunedin Consort, DCD34008
• Herald AV Publications – HAVPCD305: Thomas Tallis