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During the seventeenth century the practice of congregational hymn singing was introduced by Rev. Joseph Stennett into the Pinner’s Hall Seventh Day Baptist Church. He was one of the most influential figures in the development of the hymn in that century. There is no evidence that hymns other than those by Stennett were sung in the Sabbath-keeping churches of London, and the practice was limited to the occasion of baptism and the Lord’s Supper initially. He also wrote other hymns for other purposes.

Opposition to congregational hymn singing was so strong in the 1690s that Stennett had a preface written in defence of the practice in the introduction to his hymnal. He regarded hymn singing as a "very useful and agreeable part of divine worship".

The opposition came especially from the General Baptists. The justification for the avoidance of congregational hymn singing, as an expression of faith, was that there might be in the congregation those who made no profession of faith. It was considered that hymn singing should be a private matter.

The writer of the preface quotes the singing of a hymn (Mat. 26:30 and Mark 14:26) by Christ and the apostles at the conclusion of the Lord’s Supper as constituting "a standing ordinance in the Church". There is nothing in the texts to confirm this or to indicate which hymn (or Psalm) was sung.

He goes on to quote Acts 16:25 where Paul and Silas in prison prayed and sang praises to God. The apostle Paul in 1Corinthians 14 is stating that incomprehensible portions of liturgy should be interpreted, otherwise a foreign tongue or "speaking in tongues" (in speech or singing) is of no benefit to the congregation.

Paul exhorts in Ephesians 5:19, 20 and Colossians 3:16,17 to be speaking in psalms and hymns, and singing spiritual songs, and making melody, with one another. Paul does not address which ones to sing, but presumably he is referring to the three classes of songs, which are thus the biblical psalms. Paul’s words cannot be construed to give carte blanche to songs written at a later date.

James also clearly commands the singing of the biblical Psalms (Jas. 5:13).

The writer of the Preface addresses the issue of singing or not singing in worship from his above arguments and his conclusions appear valid.

His preface goes on –

In the dissertation on (1) the author states that "proper singing is spoken of in all the instances given".

He states that the particular tunes are left at liberty to the same extent as speaking. There is no such implication in the text. On the contrary, the apostles are clearly referring to the biblical Psalms and perhaps the cantillation of other biblical texts. The implication is therefore that they be sung to the tunes traditionally known at the time of the apostle, is no permission given to use other tunes.

The author states, "Decency is the only limitation" to be placed on content, tone of voice"(not to be wanton or ludicrous)"and to be "grave and solemn".

As soon as "decency" becomes the only limitation, the church is laid open for constant contention about what music and what words are appropriate. This is the present situation in Christianity.

In (2) Psalms, hymns and spiritual songs are to be in praise of God in the name of our Lord Jesus Christ, with thanksgiving, and is a way to express joy and gratitude and other emotions." Thus we find the royal psalmist singing one while lofty hymns of praise, anon a mournful penitential song, and again fervent prayers and supplications for needful blessings. So that nothing which is fit to be addressed to God, can be unfit to be sung before him".

Paul in 1Corinthians 14 is speaking against the lack of understanding of what is being said.

From the author’s words in (2) he assumes that all that is necessary to constitute any action a part of divine worship is that it be performed to God as the immediate object. It is perfectly reasonable to demand a Scriptural basis for everything admitted to congregational worship.

In explanation of (3) the author’s inference of joint singing is valid and that congregational singing was practised in the apostolic church, is validly established, and that congregational singing is a present duty. His conclusion appears valid.

However, in the further content of the Preface, quoting from a letter from Pliny the younger to the Emperor, the author slips in an inference he does not establish or discuss, that early Christians sang hymns to Jesus as God (AD 104). The Trinity had not then been defined, so the author’s inclusion implies that the Christians referred to sang hymns to Jesus as God i.e. as a Person of the Trinity.

Although Stennett’s hymns are carefully couched in biblical phrases, there are references to the pre-existence of Christ and at least one reference to Christ as "the eternal Son of God". Although pre-existence does not generally imply Trinity, in this case, coupled with the expression "eternal Son of God", it does. The latter expression is an historical Calvinistic formula in opposition to the Unitarianism of Servetus. Stennett and his anonymous defender are Trinitarian in the Calvinist sense. Reliance on Pliny in defence of the Trinity is an anachronism.

The author appeals to the Bible to institute congregational hymn singing. His purpose in introducing hymn singing has finally become apparent. A Scriptural liturgy is not sufficient to sustain Trinitarian doctrine.

Pliny’s letter said the Christians (of 104 AD) attended a sunrise service, which constitutes a very early instance of the Gnostic sun-cults intrusion into Christianity. The Christians in question can hardly be examples to Sabbath observers, since they engage in practices not having biblical precedence.

Some of Stennett’s hymns have stood the test of time, and references to unbiblical doctrines, such as the Trinity, are the first step in the development described by Amos 8:3 as the temple songs being turned into howling.

This is apparent in the music and singing, which is accepted now by all Churches and denominations in the world.