ABSTRACT
The story of the relationship between music, liturgy and preaching in Elizabethan and Jacobean England has, since the period itself, usually been cast in terms of antagonistic opposition. In the oeuvre of over 200 surviving Elizabethan and Jacobean Chapel Royal sermons, Lancelot Andrewes's are unique for their uses of musical language, both en passant and sustained, which encourages looking to his biography for some explanation. So, Andrewes's greatest exposure and proximity to the practice of Elizabethan and Jacobean church music outside St Paul's and Westminster Abbey would have been his association with the Chapel Royal. An overinvestment in a binary view of elite music and liturgy versus populist psalm-singing in City churches obscures the amount of lay and clerical traffic that was possible between the two. Andrewes's sermons for both, contain the most prominent cluster of his praises of church music outside his Lucan Nativity series.
