This history of English church music is “one of the wittiest and most whimsically irreverent works of scholarship in recent memory” (The Christian Century). For as long as people have worshipped together, music has played a key role in church life. Here, Andrew Gant offers a fascinating history of English church music, from the Latin chant of late antiquity to the great proliferation of styles seen in contemporary repertoires. The ornate complexity of pre-Reformation Catholic liturgies revealed the exclusive nature of this form of worship. By contrast, simple English psalms, set to well-known folk songs, summed up the aims of the Reformation with its music for everyone. The Enlightenment brought hymns, the Methodists and Victorians a new delight in the beauty and emotion of worship. Today, church music mirrors our multifaceted worldview, embracing the sounds of pop and jazz along with the more traditional music of choir and organ. And reflecting its truly global reach, the influence of English church music can be found in everything from masses sung in Korean to American Sacred Harp singing. From medieval chorales to “Amazing Grace,” West Gallery music to Christmas carols, English church music has broken through the boundaries of time, place, and denomination to remain familiar and cherished everywhere. O Sing unto the Lord is the biography of a tradition, a book that “celebrates the sheer pleasure of raising a joyful sound to the Lord” (The Guardian). “What, fundamentally, is the function of church music, and why have clerical authorities often been suspicious of how much attention music receives? Gant engages these questions in intelligent, energetic prose.” —Publishers Weekly “Excellent . . . this authoritative and engaging history brings so much light and warmth to the subject.” —Sunday Times “The beauty of relating Christian history this way is that it broadens the focus to include the listening laity, not just the clergy or the church establishment.” —Foreword Reviews

Ranging from the medieval period to the present day, this is a brief history of church music as it has developed through the English tradition. Described as a quick journey, it provides a broad historical survey rather than an in-depth study of the subject, and also predicts likely future trends.

Parish churches have been at the heart of communities for more than a thousand years. But now, fewer than two in one hundred people regularly attend services in an Anglican church, and many have never been inside one. Since the idea of 'church' is its people, the buildings are becoming husks - staples of our landscapes, but without meaning or purpose. Some churches are finding vigorous community roles with which to carry on, but the institutional decline is widely seen as terminal. Yet for Richard Morris, post-war parsonages were the happy backdrop of his childhood. In Evensong he searches for what it was that drew his father and hundreds like him towards ordination as they came home from war in 1945. Along the way we meet all kinds of people - archbishops, chaplains, campaigners, bell-ringers, bureaucrats, archaeologists, gravediggers, architects, scroungers - and follow some of them to dark places. Part personal odyssey, part lyrical history, Evensong asks what churches stand for and what they can tell us; it explores why Anglicanism has often been fractious, and why it has become so diffuse. Spanning over two thousand years, it draws on new discoveries, reflects on the current state of the Church in England and ends amid the messy legacies of colonialism and empire.