The Warwick Hall in Burford
is a "vibrant and bold community facility" that supports the expanding ministry of St John the Baptist, Burford, hosts a café as well as providing multi-purpose venue hire.
    

Since September 2000, a group of singers and instrumentalists from many different parts of England have spent a day each year, touring churches and chapels in different parts of the County and Diocese of Oxford, to recreate the psalmody and hymnody of more than 150 years ago.

Oxford Psalmody is a gathering of members of the West Gallery  Music Association, formed in 1990 to revive the music of the rural parish churches, so much beloved of Thomas Hardy and exemplified in his novels and poetry. 

Hardy wrote of times past, the days when his father and grandfather were members of the local church ‘band’, playing to accompany the quire in the specially constructed ‘west gallery’ in Stinsford Church.  The psalm tunes used during, before and after services in country churches, were often by   local, untutored composers, frequently bearing the names of local streets, villages or landmarks.  This raw and exciting music was much beloved, and jealously guarded, by its custodians in the west gallery; records exist of quires refusing the vicar’s instruction to sing a particular tune to the psalm of the day, preferring to use another more to their liking.  With the passing of the years, all too frequently what was initially a tussle for control of the conduct of services became an issue of conflict with the clergy and the squire as patron. 

The emergence of Tractarianism and the Oxford Movement, together with the introduction of Hymns Ancient & Modern in 1861, saw the wresting back of control by the church establishment, with the introduction of surpliced choirs, often with small boys taking the tune, previously the sinecure of adult, male, tenors.  The installation of keyboard instruments, such as harmoniums, barrel or finger organs spelt the end of the accompanying band of cellos, clarinets, violins, flutes, bassoons and the (more than) occasional  serpent.  These instrumentalists, and their singing companions, first found their way to the Independent chapels, where they continued to sing and play the old tunes they loved, but by the beginning of the twentieth century, in all but a few outposts, the old way of church psalmody was lost and virtually forgotten in England.

Such a fate did not attend the descendants of those settlers who took English country psalmody to America.  In New England, from as early as the middle of the eighteenth century, English psalm tune books were being sold in Boston within months of their publication in England.  This music inspired native-born composers, just as untutored as their compatriots on the other side of the Atlantic, and by 1770 a leather tanner, William Billings of Boston, had produced the first compilation of psalm tunes by a colonist.  There was a flowering of ethnic composition immediately before and after the War of Independence, and the fervour for native psalmody spread throughout the Eastern United States, finding its firmest and what has become a permanent foothold to this day, in the southern states, particularly Alabama and Georgia.  Here the music notation has evolved with shaped note heads as a singing aid, rather than the ordinary round note heads and thus the term ‘shapenote music’ is often used to describe American psalmody.

Oxford Psalmody sing  from both the English and the American traditions.  Our native tunes are usually accompanied, as they were intended to be, but the psalm tunes of our American cousins are sung a capella. These tunes are vibrant and exciting, and are a great joy to sing and play.  The group have as their watchword the instruction of a Fellow of Lincoln College, Oxford - John Wesley -  to “sing lustily and with good courage”. 

Pictures are taken from the West Gallery Music Association publication Good Singing Still by
Rollo G Woods, Totton, Hants 1995  ISBN: 1 899947 00 0. 
Some of them have previously appeared in an edition of a novel by Washington Irvine.

30 Eynsham Road, Botley, Oxford. OX2 9BP 

Google Map to get there.

See our separate website for the Oxford Sacred Harp Singers.

meet regularly to sing Sacred Harp music on the first and third Sunday afternoons of every month in Headington, Oxford. They continue to sing together on the annual Oxford Church Visitation tour at the beginning of September, and at the annual Oxford Sacred Harp singing day at the Women's Institute Hall, North Hinksey, Botley, Oxford, at the end of June. 

See also their FaceBook page at:

Contact for Oxford Sacred Harp is

Julie

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