Advances in musical excellence during the 18th and 19th century in Wales were a by-product of both non-conformist Christianity and increased industrialisation, with each contributing to a more unified society. Growth in industry during the 19th century established the town of Bethesda (Gwynedd), with the nearby Penrhyn Quarry heralded as the largest slate mine in the world, and where the local population assiduously built several chapel buildings for worship. Following the rise of musical tuition in the chapels during the second half of the 19th century, Dyffryn Ogwen came to be regarded as an exceptional musical centre, with a wealth of religious and community choirs active in the locality. Music permeated every aspect of life in the Valley – as a means of praising God, as entertainment throughout the year, marking important social occasions, offering an opportunity for competition, uniting the community during times of unrest, fundraising for those in need, and bringing recognition to the district. While each of these developed firstly and foremostly in the chapels, industry largely dictated the rise and fall of music in Dyffryn Ogwen, with the quarrymen’s cultural interests and industrial politics defining the late 19th and early 20th century. While the miners were in favour with their employers, they were blessed with musical opportunities and funding beyond that which other towns or villages in north Wales could ever hope for. When they defied and denounced their paymasters however, they were persecuted and driven from their homes. Despite the efforts of non-conformity to pave the way for the blossoming of musical culture in 19th century Dyffryn Ogwen, the English overlords maintained their power and control to alter the way their workmen and families lived. The study of Penrhyn quarrymen during the turn of the 19th century has formed an integral part of Welsh and British labour political research, with the Quarry Strike of 1900 – 1903 remembered as one of the fiercest industrial disputes in British history – however, the cultural cost of the unrest has yet to be fully explored and evaluated in published works. While the Penrhyn quarrymen were characterised by distinct cultural interests, many of which were driven by their remarkably musical neighbourhood, they nevertheless formed part of a larger cultural body – the 19th century British Liberal working-class – and their vibrant choral activities shaped an important bond in their relationship with this group. The extent to which industry, religion and choral music interacted in 19th and early 20th century Dyffryn Ogwen was exceptional, resulting in an unprecedented growth and, subsequent decline in this unique, Welsh quarrying district over a period of less than a century.