Contemporary in England with Palestrina in Italy was Thomas Tallis who
developed the Anglican school of church music, which differed less from
the Italian (or Catholic) psalmody than that of the Continental
churches, where the revolt of the Reformation extended to the
tune-worship as notably as to the sacraments and sermons. This
difference created a division of method and practice even in England,
and extreme Protestants who repudiated everything artistic or ornate
formed the Puritan or Genevan School. Their style is represented among
our hymn-tunes by "Old Hundred," while the representative of the
Anglican is "Tallis' Evening Hymn." The division was only temporary. The
two schools were gradually reconciled, and together made the model after
which the best sacred tunes are built. It is Tallis who is called "The
father of English Cathedral music."

In Germany, after the invention of harmony, church music was still felt
to be too formal for a working force, and there was a reaction against
the motets and masses of Palestrina as being too stately and difficult.
Lighter airs of the popular sort, such as were sung between the acts of
the "mystery plays," were subsidized by Luther, who wrote compositions
and translations to their measure. Part-song was simplified, and Johan
Walther compiled a hymnal of religious songs in the vernacular for from
four to six voices. The reign of rhythmic hymn music soon extended
through Europe.

Necessarily--except in ultra-conservative localities like Scotland--the
exclusive use of the Psalms (metrical or unmetrical) gave way to
religious lyrics inspired by occasion. Clement Marot and Theodore Beza
wrote hymns to the music of various composers, and Caesar Malan composed
both hymns and their melodies. By the beginning of the 18th century the
triumph of the hymn-tune and the hymnal for lay voices was established