ABSTRACT
This chapter introduces John Day and those who were involved in the project and considers their biases and motives. It examines how these shaped the musical and textual content of the culminating edition of the project, the 1562 Whole booke. The Anglo-Scots exile community in Geneva was not the only exile community to establish its own musical traditions during the reign of Mary I. The bulk of its textual content came from the 1560-61 Psalms of David and the Residue, with Foure score used to fill the remaining gaps. The 1560-61 editions departed from tradition by placing several Scriptural and extra-Scriptural hymns and canticles both before and after the metrical psalms, thus making it more suitable for use in the public services of the national church. While nationalistic concerns may have influenced Day, rushing the Whole booke may have been a business decision. The textual evidence from the Whole booke suggests that Norton had some control over which psalms versified.
