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The Death of Christian Britain

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— <strong>The</strong> <strong>Death</strong> <strong>of</strong> <strong>Christian</strong> <strong>Britain</strong> —<br />

familiar and common, not just on Sunday afternoons playing at bandstands<br />

in public parks, but on Saturdays and weekday evenings playing at street<br />

corners. Mr J. Partridge recalled how in Hackney during his childhood in<br />

the 1900s ‘Salvation Army bands on a Sunday morning, used to come and<br />

play, and you’d all turn out and listen to that or open your windows’. 98<br />

<strong>The</strong>ir repertoire was dominated by religious hymns and psalms, and their<br />

familiarity made them well known in daily life. Interviewees recall the<br />

singing <strong>of</strong> hymns on works outings and even in workplaces, especially<br />

among women millworkers, pitbrow lasses, fishermen, fish gutters and<br />

miners. 99 Music was one <strong>of</strong> the important male connections to religiosity.<br />

<strong>The</strong> rise <strong>of</strong> the brass band from the 1870s in the working-class communities<br />

<strong>of</strong> the Midlands, northern England, South Wales and central Scotland<br />

created a characteristic male world, combining the masculinity <strong>of</strong> militaristic<br />

uniforms, the machismo <strong>of</strong> the brass instrument, and the religious content<br />

<strong>of</strong> the sacred music. To this was added the male voice choir in Wales which,<br />

uniquely in <strong>Britain</strong>, developed a strong and enduring association with<br />

Nonconformist religion. And organ music was not confined to churches.<br />

When the movies came to Barrow-in-Furness in the 1900s they were<br />

screened at an open-air fairground in the Market Square with ‘a beautiful<br />

organ on the front, a huge organ right across the front <strong>of</strong> the marquee’<br />

playing ‘gorgeous’ hymns and classical music which attracted people in<br />

their hundreds. 100 Even modern cultural forms, with ‘secular’ content, could<br />

be surrounded with religious symbols.<br />

Music was also an important religious theme in the home. Many interviewees,<br />

mostly <strong>of</strong> upper-working-class or middle-class parents, recall<br />

Sunday evenings between the 1870s and 1910s around a piano or harmonium<br />

singing psalms and hymns. Religious music in the home was not just<br />

an addition but sometimes a substitute for formal church connection – as<br />

a Scripture Reader discovered whilst door-to-door evangelising in Islington<br />

in about 1898:<br />

55 Popham Road: Mrs Hooker. Had conversation upon spiritual<br />

matters. Is rather sceptical: sometimes thinks there is a heaven, and<br />

sometimes she thinks there is not, but she certainly did not believe<br />

there is a hell. She does not attend a place <strong>of</strong> worship; they generally<br />

had some music at home, which she thinks is as good as going to<br />

church. 101<br />

Reginald Collins from Liverpool recalled the family singing in the 1900s<br />

and 1910s: ‘We used to sing together but not organised. Me dad used to<br />

sing. He used to – he used to sing some wonderful songs. Moody and<br />

Sankey’s hymns, you know. And “Blind Boy”, I remember him – remember<br />

him cry – we cried over that, yes.’ 102<br />

Boys, however, had severe problems with churches. Whilst girls loved<br />

wearing Sunday-best dresses, and revelled in the recollection in oral<br />

138

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