:::: Many of these started out as chant melodies and were recast as metrical chorals: e.g., the Advent office hymn, Veni Redemptor Gentium (Attr. St Ambrose) becomes Nun komm, der Heiden Heiland, which in turn comes to us as Saviour of the Nations, Come. The harmonisation of this tune, and others, was originally in that curious netherland between modality-tonality and survives in a number of modern hymnals. More often, though, we find that the modality has been leached. :::: There are also the modal metrical tunes of Tallis, Gibbons, et al., most of them gems, most readily found in The Hymnal 1940, The English Hymnal, and Hymns Ancient & Modern.

Pes - An interesting question for which there is not an abundance of contemporary evidence for an answer. But, no, I don't think there was a fear of 'Papists in the hedgerows' - at least not as concerns this topic. It is most likely that the psalms continued to be sung in England to the old psalm tones, probably in faburden with the 'tone' in the tenor. Faburden was a style, more properly, a procedure, so well known that there was no need to write it down: any competent choir would have known how to improvise it. Thus, there are no (I stand to be corrected) written, modal period, 'Anglican chants' of the Tudor-Stuart era outside a treatise such as Morley's '...Introduction...'. The English tended to be extravagantly conservative in their music until the Restoration, when Charles II. literally commanded that more 'modern' music be written, meaning what was then fashionable at Versailles. Hence, Purcell. The Anglican chant repertory, tonally driven, with melody in the treble, then, basically begins at the dawn of the XVIII. century when modal writing was becoming but a memory or a learned exercise.