ABSTRACT
During the eighteenth and early nineteenth centuries, English provincial church music, commonly known as psalmody, altered considerably. In an attempt to encourage congregational participation, Anglicans introduced parish choirs, which, in the later 1700s, could be accompanied by a mixed band of instruments in country churches or by an organ in more affluent towns. Methodists, who were part of the Church of England until 1795, held a central tenet that everyone should: ‘Sing lustily and with a good Courage.’ 1 Worshippers sang unaccompanied and in unison, and more lyrical, elaborate tunes were introduced. The music of dissenters varied according to denomination but usually remained fairly simple in character. Quakers were silent and General Baptists believed that only spontaneous singing by an individual could be divinely inspired, but Particular Baptists accepted congregational singing of plain tunes. Presbyterians and Independents were among the first to realize how music could enhance worship. 2 For instance, six sermons promoting congregational singing were included in the series of Friday lectures at the Weigh House Presbyterian assembly in London, since it had been ‘very much neglected and unskilfully perform’d among ourselves’. 3
