Gregorian chant was carried to England in 596 by Roman teachers who accompanied St. Augustine to Canterbury. A centre was established at Wearmouth Abbey to teach the Gregorian chants to those who came from every part of England. The first bishop of Salisbury was St. Osmund, a Norman, appointed in 1078. He compiled a missal, the liturgical book for the mass, and a breviary, the liturgical book for the canonical hours, both of which closely followed Roman usage but allowed for a Sarum Use conditioned by Norman traditions and Gallican, or Frankish rite, influences. The Sarum Use spread from its home in the south of England to much of Scotland and Ireland and influenced neighbouring uses of York, Lincoln, Bangor, and Hereford.
The Sarum chants resemble Gregorian ones in the use of free rhythm, modes (scale patterns and associated melodic traits), psalm tones (formulas for intonation of psalms), musical form, and the addition of tropes (musical and textual interpolations) to the chants of the mass and hours. The Sarum chants utilize a smaller range, have a more formal structure, and use more transposition (change in pitch level) than do the Gregorian chants. Composition of several new Alleluia verses and hymns continued as late as 1500.
Sarum chants were used in the polyphonic (multipart) pieces of many 15th- and 16th-century composers in England and on the Continent; for example, those by Walter Frye (fl. c. 1450), Johannes Regis (d. 1485), and Josquin des Prez (d. 1521). The Sarum Use was abolished in England in 1547 during the Reformation. In 1833 leaders of the Oxford Movement stimulated new settings of Anglican chant in an effort to return to original Anglican ceremonies, and they encouraged a revival of Gregorian and especially Sarum chant.