Reading Notes for Congregational Song

1/20/03- “Prospective leaders need to understand the changing attitudes

toward the use of congregational song as church history unfolded.”- “Firsthand experience with the hymns themselves will prove of

greatest value in this study. Read each aloud to gain an appreciation of its literary significance as a religious and poetic expression. Sing the tune to gain an awareness of its musical characteristics and emotional impact. Doing both will give effective practice in good tempos and phrasing and will furnish a means of realizing the full spirit of the hymn.”

- “Hymns are simple in form, but they may be studied in many ways: as poetry; as music; as theology; as vehicles for worship, evangelism, religious education, ministry, and fellowship; and as historical and cultural artifacts.”

- Hymn parts:o Verse–single line of poetry, beginning traditionally w/a capital

lettero Stanza–group of verseso Refrain–a line or group of lines that is repeated with each stanza

and that usually summarizes the thought or message of the stanzas

o Chorus–similar to a refrain except that it is detachable and often bears little relationship to the stanzas

o Burden–special type of refrain which appears at the beginning of the hymn and again at the end of each stanza (like “Life High the Cross”)

- Rhyme schemes:o AABB–lines one & two rhyme, as do lines three & four; generally

reserved for hymns with many syllables per line, such as “How firm a foundation”

o ABCB–lines two and four rhyme; usually found with hymns having shorter lines (“I love thy kingdom, Lord”)

o ABAB–cross rhyme; similar to ABCB (“All people that on earth do dwell”)

o False rhyme–sounds that are similar but not identical (“silent”/”island”)

o Eye rhyme–syllables that look like they should rhyme but don’t (“good”/”food”)

o Internal rhyme–occurs when there is a correspondence of sounds within a single line (“Fair and glorious, all victorious”)

- Poetic meter:o Iambic meter–unstressed syllable followed by an accented

syllable (u-/)

o Trochaic meter–accented syllable followed by an unaccented one (/-u)

o Dactylic meter–accented syllable followed by two unaccented ones (/-u-u)

o Anapestic meter–two unaccented syllables followed by an accented on (u-u-/)

o Spondaic meter–all stressed syllables; rare for a whole song, but a single spondee is occasionally found to emphasize certain words (e.g., “Lord God” in stanza one of “Holy, Holy, Holy”)

o Poetic foot–one unit of poetic meter- Hymnic meter:

o Common meter–8.6.8.6. (CM; “Amazing grace! How sweet the sound”)

o Long meter–8.8.8.8. (LM; “All people that on earth do dwell”)o Short meter–6.6.8.6. (SM; “I love thy kingdom, Lord”)o Irregular–the number of syllables per line varies from stanza to

stanza- Poetic devices:

o Alliteration–identical consonant sounds at the beginning of words

o Anadiplosis–significant words or ideas that end one stanza at the beginning of the next

o Anaphora–repeating a word at the beginning of successive lineso Antithesis–setting sharply contrasting ideas in balanceo Apostrophe–addressing inanimate objectso Chiasmus–the crossing of lines or phraseso Climax–Arranging ideas in order of intensityo Epanadiplosis–Beginning and ending a line with the same wordo Epizeuxis–immediate repetition of a word or phrase within a

single lineo Hyperbole–using exaggeration to make a pointo Itemization–Making a list; differs from climax in that all items in

the list are treated as if they are on the same levelo Metaphor–using a word or phrase in place of another to suggest

a likeness between themo Paradox–linking two opposite ideas in a single statement; differs

from antithesis in that the opposites are not merely balanced but are combined in some way

o Personification–treating an abstraction as though it has human qualities

o Simile–comparing unlike objects in one aspect; usually differentiated from metaphor by the use of the words “like” or “as”

o Synechdoche–using part of an object to stand for the whole object

o Tautaology–repeating the same thing in other words- “Hymns most often begin as poems and can be (and often are) read

strictly as poetry. However, since hymns are lyric poetry they are essentially incomplete until they are sung.”

- Common tune–a tune used with various hymn texts- Proper tune–a tune used with only one hymn text

2/24/03- “The Old Testament Book of Psalms is though to have been compiled

during and after the Babylonian exile. On the basis of internal evidence, some of the psalms seem to indicate that they were used for public worship, some for private devotion, and some for the celebration of specific events.”

- Components of Psalms that suggest they were meant for antiphonal or respeonsorial singign

o Parallel structures Synonymous parallelism–second phrase says the same

thing as the first but in other words (Ps. 1:5) Antithetical parallelism–second phrase contrasts the first

(Ps. 1:6) Complementary parallelism–subsequent phrases extend

the thought of the first (Ps. 1:1)o Refrains

Other examples: Psalm 136; 42:5, 11; 43:5)o Other devices

- O.T. Canticles–passages which, by their poetic structure and context within the scriptural narrative, served as antecedents of the songs of faith of later eras

o Song of Moses 1 (Ex. 15:1-18)o Song of Moses 2 (Deut. 32:1-43)o Song of Hannah (1 Samuel 2:1-10)o Song of Isaiah (Is. 26:9-21)o Song of Jonah (Jon. 2:2-9)o Song of Habakkuk (Hab. 3:2-19)

- N.T. Hymns–well-documented in Scriptureo Jesus & His disciples at the Last Suppero Paul & Silas singing hymns to God in jail (Acts 16:25)o Paul encouraged believers to sing “psalms, hymns and spiritual

songs” (Eph. 5:19, Col. 3:16)o Manner of performance–1 Cor. 14:15, Jas. 5:13

- N.T. Canticleso Magnificat–The Song of Mary (Luke 1:46-56); perhaps modeled

on the Song of Hannah

o Benedicturs–The Song of Zacharias (Luke 1:67-79)o Gloria in excelsis Deo–The Song of the Angels (Luke 2:14)o Nunc dimittis–The Song of Simeon (Luke 2:29-32)o Other picturesque language that may have been hymnic

“Wake up, O sleeper” (Eph. 5:14) “He appeared in a body” (1 Tim. 3:16) “If we died with him, we will also live with him” (2 Tim.

2:11-13)- Early Christian Hymnody

o Destruction of the Temple in A.D. 70o Jewish nationalism again crushed by Rome in A.D. 132o In the first 3 centuries, because of persecution, Christians often

met in secret, and probably made limited use of singing (not completely silent, as indicated by Pliny the Younger to Emperor Trajan in A.D. 112)

o Early Christian writers, preachers, and apologists referred to singing, mentioning the jubilus and alleluia

o Hellenistic Influences Heretical doctrines were being developed

Syncretism of Gnosticism Arianism

Codification of orthodox Christian theology Nicene Creed

o Syrian Hymnody–“The Odes of Solomon” (earliest Christian hymnbook)

- Byzantine Hymnodyo Constantine moves throne of the Roman Empire to Byzantine in

A.D. 330 (changed its name to Constantinople)o Byzantine hymnody was the greatest contribution of the Easter

Church to Christian Song Troparion–the earliest type of Byzantine hymn

Appeared in the 4th and 5th centuries A single-stanza prayer serving as a response to the

psalms Kontakion–a metrical sermon or commentary consisting of

a short introduction followed by 18 to 30 troparia(Stanzas) of uniform poetic structure, ending with a refrain

Kanon–a longer, more complex form of Greek hymnody that developed in the 8th century; consisted of eight or (during Lent) nine odes, each based upon a biblical or apocryphal canticle and including from three to 20 or more stanzas

Hirmos–began each ode; a stanza that set the pattern of poetic accents for the troparion that

followed, but this pattern typically varied from one ode to the next

Employed in the daily office known as orthros (corresponding to Lauds in the Western church)

3/3/03- Development of Latin Hymnody

o “Constantine’s division of the Roman Empire into eastern and western sections and the consequent departure of imperial authority from Rome, made possible the rise and spread of papal power.”

o Ambrosian Hymnody–The practice of antiphonal singing in the Western church, apparently introduced in the fourth century by Ambrose (c. 340-397), Bishop of Milan. Wrote hymns:

As a means of keeping up the spirits of his followers during a period of persecution; also wrote hymns

To combat Arianism, an example that was taken up by his followers

Melodies were usually constructed with one note to each syllable of text

o Office Hymn Offices (or canonical hours)–services of prayer and praise

for those who sought to separate themselves from the world

Nocturnal cursus Vespers Compline Matins Lauds

Diurnal cursus Prime Terce Sext None

Became the ultimate home for Ambrosian hymns Other significant feathures

Psalm singing Canticle singing Antiphons (refrains) Gloria Patri

o Beginning of the Roman Mass By the time of Pope Gregory I (c. 540-604), the Kyrie

eleison (Lord, have mercy), Gloria in excelsis Deo,and Sanctus (Holy, holy, holy) were sung by the congregation.

Kyrie–appeared in the Easter church in the first century, and its Greek words were retained in the Latin Mass

Gloria–known as the “Greaater Doxology” because of its length; appeared in part in the second century in the Eastern church (translated into Latin in the 6th century)

Sanctus–of Hebrew origin; used in Jewish worship before the Christian era

Credo–based on the Nicene Creed; first used in the Eastern church in the 6th century and later in the Western church; introduced for congregational use to strengthen and confirm the faith of the people against the influence of Arianism

Agnus Dei (Lamb of God)–adobted in the 7th century. From this time the Ordinary of the Mass gradually became standardized; by the 10th century was sung almost exclusively by choirs, congregational participation having been gradually abandoned

o Early Latin Hymnody First significant hymn-writing successor to Ambrose was

the Spaniard Aurelius Clemens Prudentius (348-418) who, at 57, retired from a successful legal career to devote himself to the writing of sacred verse. “Of the Father’s love begotten”

Venantius Honorius Clementianna Forunatus (c. 530-609–born in Italy but settled in Gaul (France) in 565; became Bishop of Poitiers around 600. “The royal banners forward go”

Theodulph or Orleans (c. 760-821)–poet and counselor in the court of Charlemagne; became Bishop of Orleans. Pioneer in education, establishing schools not only in monasteries and cathedrals for education of clergy, but also in towns & villages for poor children. “All glory, laud, and honor”

Rabanus Maurus–may have written “Come, Holy Ghost, our souls inspire”

o Sequence Began as an addition of words to the jubilus, the extension

of the final syllable of the Alleluia Began to take on scansion & rhyme around 1000 A.D., and

replaced the unrhymed, nonmetrical style of Notkerian sequence by the 12th century

Stabat Matero Latin Hymnody of the Late Middle Ages

Hymn-writing and singing continued to be largely the preserve of the monasteries

Important writers Peter Abelard (1079-1142), “Alone thou goest forth,

O Lord” Bernard of Clairvaux (1091-1153), “Jesus the very

though of thee;” “Jesus thou joy of loving hearts” Bernard of Cluny (d. c. 1150), “Jerusalem, the

golden” Hildegard of Bingen (1098-1179), Symponia armonie

celestium revelationum had material translaged by Jean W. Janzen to “O Holy Spirit, root of life”

Thomas Aquinas (c. 1227-1274), “Humbly I adre thee”

Laudi Spirituali–spiritual praises Francis of Assisi (1182-1226), “Canticle of the Sun”

contained “All creatures of our God and King” Jacopone da Todi (1230-1306), “Come down, O love

divine”

3/3/03- Intro

o Primary types of vernacular song to develop in Germany from 9th

century to 1518: German translations of Latin chant; favorite sources were

Ambrosian hymns Leisen–derived from “Kyrieleis,” the refrain that

concluded the vernacular version of the sequence German versions of cantiones–a non-liturgical song often

associated with liturgical dramas for Christmas and Easter

- Significance of Martin Luthero Heretofore the congregation did not have opportunity to sing in

the liturgy, although vernacular songs of faith were occasionally being sung prior to Luther

o Luther’s Hymns Considered the first evangelical hymn writer, as both poet

and musician Writing dated form 1523 According to Robert L. Marshall, wrote some 41 hymns

11 of which were translated form Latin sources 12 based on Leisen and other German sacred songs 7 psalm versifications 8 other scripture passages 3 from other sources

Luther often adapted existing melodies for his texts

Has been called “the Ambrose of German hymnody”; his Ein fest’ Burg ist unser Gott (“A mighty fortress is our God”) has been called the Marching Hymn of the Reformation

o Sources of Early Texts & Tunes Scripture The liturgy, both Mss & office, of the medieval church Pre-Reformation vernacular and macaronic hymns Secular folk song Cantiones Works of original creativity

o Musical Characteristics Stately melodies Barform (AAB) Ionian mode–Luther’s use of this mode helpd him move

beyond the traditional church modes and anticipated the development of major tonality

Rhythmic vitalityo Early Lutheran Collections

Johann Walther of Thuringia (1496-1570) and Conrad Rupff–musicians whose services helped Luther lay the foundations for Lutheran hymnody

The first hymnals appeared in 1524 Etlich Christlich Lieder–known as the Achtliderbuch;

contained 8 texts and 4 tunes Erfurter Enchiridion–contained 26 texts & 16

melodies; the chorale melodies were unison & unaccompanied

Geistliches Gesangk Büchleyn, Johann Walther–the first collection of polyphonic settings of chorale tunes for choir use; provided 38 4- and 5-voice settings

Geistliche Lieder auff neue gebessert, Jeseph Klug (1529)–replaced Erfurter Enchiridion as the basic hymnal for congregational use; the first collection to include Ein fest’ Burg

Other hymnals by Rauscher (1531), Klug (1535 & 1543), Schumann (1539), Babst (1545), were largely reprints of Klug’s 1529 collection to which other hymns were added

o Other Hymn Writers Nicolaus Selnecker (1539-1592) Martin Moller (1567-1606) Philipp Nicolai (1556-1608)

“Wake, awake, for night is flying” “O morning star, how fair and bright”

- Emergence of the KantionalStyleo Homophonic structures were starting to increase in prominenceo Concurrent with the emergence of “Camerata” in Florence and

before recitative style, Lukas Osiander published a hymnal, Fünfzig geistliche Lieder und Psalmen(Fifty Spiritual Songs and Psalms)–written in 4 parts w/melody in the soprano and simple harmonizations (Kantional style)

3/17/03- Seventeenth-Century Developments

o The Thirty-Years’ War affected the entire continent; began as a Catholic-Protestant conflict

o Influence on Hymn Writing The hymns written in the 17th century, both during and

following the strife, reflect a changing emphasis from the predominantly objective emphasis of earlier hymns to a more subjective one

Paul Gerhardt (1607-1676) Most significant hymn writer form this period in

terms of his continuing influence upon congregational song; more subjective and personal expressions

Strongly influenced by the literary reforms introduced by Martin Opitz

Still well-represented in contemporary German hymnals; American collections frequently include hymns like:

o “Jesus, thy boundless love to me”o “Give to the winds your fears”o “All my heart this night rejoices”o “O sacred head, now wounded”

Other important writers Matthaus von Lowenstern Martin Rinkart, “Now thank we all our God” Johannes Olearius, “Comfort, comfort ye my people” Georg Neumark, “If you will only let God guid you,”

NEUMARK Johann Heermann, “Ah, holy Jesus”

o Publications Johann Crüger’s Neues vollkomliches Gesangbuch–chorale

tunes presented as melody w/figured bass rather than 4-part harmonizations

Crüger’s Praxis Pietatis Melica (The Practice of Piety through Music, 1644)–influenced by the music of the

French psalters, encounterd through the influence of the Calvinistic movement in Berlin

- Late 17th- and 18th-Century Developmentso Pietism

Began w/Jakob Spener, founder of the Collegium Pietatis in Halle in 1670

Encourages purer and more strict Christian living & personal devotion

Movement beginnings often dated form 1675 w/Spener’s Pia desideria

Writers Johann Jakob Schütz, “Sing Praise to God who

reighs above” Adam Drese, SEELENBRÄUTIGAM Joachim Neander, “Praise to the Lord, the almighty,”

NEANDERo Close friend of Spener and Schützo Active supporter of Pietismo Foremost hymn wirter of the German

Reformed (Calvinist) Churcho Has been called the “Paul Gerhardt of the

Calvinists” Most influential hymnals of this period, both by J.A.

Freylinghasen; provided an extensive repertoire of both texts and tunes

Geistreiches Gesangbuch (1704) Neues Geistreiches Gesangbuch (1714)

o Other Lutheran Developments Benjamin Schmolck (1672-1737)–popular hymn writer of

the early 18th century; not a follower of the Pietistic group; wrote “My Jesus, as thou wilt” and “Open now the gates of beauty”

Matthias Claudius (1740-1815), “We plow the fields and scatter” (included in several recent American hymnals, largely due to its inclusion in the musical Godspell)

Erdmann Neumeister (1671-1756), “Sinners Jesus will receive;” became and ardent champion of the older, conservative Lutheranism

o Johann Sebastian Bach Most prominent name associated w/musical development

of the chorale in the 18th century During his time congregational singing in traditional

Lutheran churches did not seem to be a matter of great importance in worship

Famous for his chorale settings of hymns such as:

“Break forth, O beauteous heavenly light” “Christ Jesus lay in death’s strong bands” “O morning star, how fair and bright” “Wake, awake, for night is flying”

o The Decline of the Chorale Pietism faded rapidly in the latter half of the 18th century;

replaced by Rationalism, the pursuit of truth for its own sake

During this period, often referred to as the Enlightenment, many of the older choral texts were either revisited extensively or removed altogether

- The Nineteenth Centuryo The Lutheran Confessional Revival in Germany, beginning early

in the 19th century, attempted to re-establish the core traditions & values of the 16th-century Reformation

o Original versions of Lutheran chorales hat been “strraightjacketed” into 4/4 by Bach; many sought to return the hymnody to original settings

Karl von Winterfield Philipp Wackernagel Friedrich Layritz Johannes Zahn Contributing collections that reflected their new research

Berliner Gesangbuch(1829) Sammlung Geistlich Lieder (1831) Deutsches Evangelische Kirchen-Gesangbuch (1852)

o Most important developments were related to scholarship, but new hymns of consequence were produced

Karl Johann Philipp Spitta–singinficant as both a hymn writer and compiler

Jonathan Friedrich Bahnmaier–Lutheran preacher and university professor at Tübingen; wrote “Spread, O spread, thou mighty word”

o Perhaps the most important new musical contributions were the chorale tune harmonizations derived form the choral works of Felix Mendelssohn

NUN DANKET (“Now thank we all our God”) MUNICH (“O Word of God incarnate”) MENDELSSOHN (“Hark! The herald angels sing”)

- Scandinavian Hymnodyo Theodoric Petri–a young Finnish student at the U of Rostock;

published Piae Cantiones(1582), an extraordinary collection of Protestant hymns and carols

o Thomas Hansen Kingo–the outstanding Lutheran hymn writer in Denmark during the Pietistic period (“Print thine image pure and holy”)

o Johan Olof Wallin–most prominatn Swedish hymnis during the early nineteenth century; his 1819 hymnal was used in the Church of Sweden for more than a century

o Caroline Vilhelmina Sandell-Berg–a Swedish writer from the latter part of the 19th century (“Children of the heavenly Father,” “Day by day and with each passing moment"–sung to BLOTT EN DAG, written for this text by Oskar Ahnfelt)

o Among evangelicals in America the best-known Scandinavian hymn is “How Great Thou Art” (O STORE GUT), written in 1886 by Carl Boberg

- Hymnody Outside the Lutheran Traditionso Catholic Contributions

STABAT MATER (MAINZ)–an adaptation of a melody that appeared in the Mainz Gesangbuch

LASST UNS ERFREUEN–from the Cologne Ausserlesene Catholische Geistliche Kirchengesänge

Joseph Mohr wrote “Silent night, holy night” for Christmas services in the village of Oberndorf in Austria; the tune STILLE NACHT was provided by Franz Gruber, acting organist at the church

o Anabaptists Traces its origin to Ulrich Zqingli, a Catholic priest who

resigned his priesthood, married, and became an evangelical pastor in Zurich, Switzerland

Did not call themselves “Anabaptists” (“re-baptizers”), but Brethren

Like the Lutherans, they used vernacular hymns, generally sung to familiar texts

Ausbund–the most significant collection of Anabaptist hymnody published in the 16th century (1564); came in two parts

Part 1 included hymns written by and about several of the early martyrs of the group

Part 2 was published as Etlich Schöne Christlich Geseng, containing hymns written by Swiss Anabaptists imprisoned in the castle of Passau

First edition contained only texts, but under the number of each hymn was indicated the melody to which the hymn might be sung

Became known as Mennonites around the middle of the 16th century, the movement having been named after Menno Simons

o Moravian Hymnody Known in the early hears of the movement as Hussite or

Bohemian Brethren; were followers of John Hus of Bohemia

Assembled and issued what seems to be the first collection of hymns published in Europe; contained 87 texts in Czech

MIT FREUDEN ZART was published in the Bohemian Brethren’s Kerchengesänge in 1566

Michael Weisse–most significant Moravian hymnist; edited Ein new Geseng Buchlen, the first hymn book of the Bohemian Brethren in German

Through more than 300 years, this Group was frequently persecuted and ridiculed for its religious zeal

Count Nicolaus Ludwig von Zinzendorf–a nobleman who provided asylum on his land in Saxony for Moravian immigrants; wrote more than 2000 hymns

Das Gesangbuch der Gemeine in Herrnhut–First hymnal published for this group

“Jesus, still lead on” “Christian hearts, in love united” “Jesus, thy blood and righteousness” CASSELL SEELENBRÄUTIGAM

Choralbuch der evangelischen Br¨dergemeinen vom Jahr gehörige Melodie–the first tune book published by the Moravians in Europe

3/17/03- Intro

o Dates all the way back to the days of Jewish Temple worshipo Psalms were written in prose form; recitation melodies were

known as psalm tones, one for each church modeo Formed an important part of worship in most of the Protestant

Reformed churches of the 16th centuryo Martin Bucer–one of the early proponents of metrical psalmody

in the vernacular Had contact with all the principal reformers of the 16th

century, including Luther, Zwingli, Thomas Cranmenr, and Calvin

Published a Gesangbuch in 1541 that included both Lutheran chorales and metrical psalms

- Genevan Psalmodyo John Calvin

Through the influence of Bucer, the practice of metrical psalmody assumed an especially important role in the form of worship developed by John Calvin in Geneva

Calvin’s philosophy of church music hinged upon two basic factors: simplicity and modesty

o Literary Work of Marot & Beza Clement Marot

Provided much material as a source of metrical psalms for the congregation to sing

Calvin published Aulcuns pseaulmes et cantiques mys en chant in 1539, including 13 psalms by Marot as well as 6 psalms and 3 other versified texts by Calvin himself; this collection is generally known as the Strasbourg Psalter

Published a collection of 30 metrical psalms in 1541 Marot’s psalm publications got him in trouble in

France; he had to seek sanctuary in Geneva where he went to work for Calvin

By 1543 Calvin had published 49 Marot psalms, some canticle & other texts, in Cinquante pseaumes; Marot left Paris that year and died soon afterward (1544)

Theodore de Bèze (or Beza, 1519-1605) Went to work for Calvin in 1548 By 1551 had finished 34, adding 7 more by 1554 and

all 150 in 1562o Musical Works of Louis Bourgeois (1510-c. 1561)

Noted composer; arrived in Geneva in 1541 May have been involved in Calvin’s 1542 and 1543

psalters, but definitely was in the 1551 psalter, Pseaumes octante trios de David

Composed many famous tunes OLD 100TH

OLD 124TH

PSALM 42 LES COMMANDMENS DE DIEU NUNC DIMITTIS DONNE SECOURS RENDEZ À DIEU

o The Genevan Psalter Culminated in Les pseaumes mis en rime françoise, par

Clement Marot & Théodore de Bèze (1562), commonly referred to as the Genevan Psalter

Comprised of several other psalterso Polyphonic Settings

Bourgeois composed polyphonic settings of the tunes used in Calvin’s psalters

Claude Goudimel and Claude LeJeune also contributed to some of the pieces used in the psalter

Jan Pieterszoon Sweelinck–wrote complex arrangements of the psalms

o Dutch Psalters Souterliedekens (“psalter-songs”), 1540–a collection of

Dutch versifications of all 150 psalms and 15 canticles set to 159 folk song melodies, issued by Antwerp publisher Simon Cock

In 1551 Jan Utenhove published a collection of ten psalms, two canticles in Dutch set to German melodies; in 1557 a reprint plus additional psalms was done, called Vyf-en-twintig Psalmen (25 Psalms)

o Lobwasser’s Psalter–the most significant psalter in German, Der Psalter

Probably published initially in 1573; a translation of the Genevan Psalter and arranged so tthat the texts could be sung ot the Genevan tunes

- English Psalmodyo Sternhold & Hopkins

Sternhold, possibly influenced by Marot, wrote some metrical psalm versiosn; suggested they be sung with familiar ballad tunes of his day

John Hopkins–a Suffolk clergyman and schoolteacher who added 18 psalms of his own work to Sternhold’s 37, combining the Anglo-Genevan and the Sternhold and Hopkins Psalters.

o The Anglo-Genevan Psalter A partial psalter for displaced English Protestants (when

Queen Mary ran the Protestants out); created in Geneva in 1556 as a section of a larger work title The Forme of Prayers and Ministration of the Sacraments

Contained 51 psalms (the 44 by Sternhold & Hopkins and 7 by William Whittingham, who revised some of Sternhold & Hopkins’ works)

o The “Old Version” (1562) The Whole Booke of Psalmes (later known as the Old

Version, published in 1562)– edited by John Day Most of the texts were Sternhold & Hopkins, but used

Whittingham’s revised versions; also contained works by William Kethe and Thomas Norton

In 1563 Day published an edition of the Old Version containing 65 tunes set in 4-part harmony with the melody in the treble

Became the accepted psalm book for English worship for almost 150 years, not meeting its first serious challenge until the New Versionof Tate & Brady in 1696

3/24/03- Other English Psalters

o Damon’s Psalter–first published collection of harmonized tunes for the Old Version

o Este’s Psalter–The Whole Book of Psalmes(1592)–the first to provide 4-part harmony for the tunes on opposite pages in one book

o Revenscroft’s Psalter–The Whole Book of Psalmes (1621) Provided an extensive compliation of many of the psalm

tunes in use at the time Tunes appeared in 4-part harmonizations, with the melody

in the tenor voice The practice of naming tunes had originated with Este,

but it was Ravenscroft who systematically applied this procedure and established it in England

o Archbishop Parker’s Psalter with Tallis’s Tunes–the significance is in Tallis’s 9 tunes, not Parker’s versifications (TALLIS’ ORDINAL and TALLIS’ CANON)

o Sandys’s Psalms (1637)–Georg Sandys published A Paraphrase upon the Diving Poems

- Scottish Psalterso The Scottish Psalter of 1564 drew texts primarily from the

Anglo-Genevan Psalter of 1561o The 1615 edition included a group of proper tunes and 12

common tuneso The 1650 edition had no tunes at all; marked the first

appearance of the well-known version of Psalm 23, “The Lord’s my shepherd, I’ll not want”

- Tate & Brady’s “New Version”o Preceded by Francis Rous’s Psalms of David in Meeter (1643)

and William Barton’s The Booke of Psalms in Metre(1644), both popular among Independents and Puritans

o Nahum Tate & Nicholas Brady published A New Version of the Psalms of David in 1696; was followed by a Supplement to the New Version, published in 1700

o Included tunes like HANOVER and ST. ANNEo Did not replace the Old Version for almost 150 years; by then

metrical psalmody itself was in rapid decline- Other Tune Books

o Divine Companion (1701)–Henry Playfordo A Set of New Psalm-Tunes in Four Parts (1711)–J. Bishop

o Lyra Davidica (1708)–compiler unknown; largely a collection of translations of German and Latin hymns

o A compleat Harmony of Zyon (1734)–William Tans’ur, including his tune BANGOR

- Musical Development in Psalm Tuenso Both in England & in Scotland, psalm tunes had been syllabic,

and hwile this made for ease of singing by the people, it greatly restricted musical interest, leaving 3 possible ways to overcome this musical restriction

Harmonic enrichment (Bach’s 18th-century harmonizations of Lutheran chorale melodies are ultimate examples)

Rhythmic variation (not skillfully achieved until Louis Bourgeois, but English adapters of his tunes greatly weakened the strength of these melodies by reducing them to notes of equal value

Melodic embellishment–began cautiously in Britain w/the addition of an extra note–two notes per syllable–in a few places

- The Decline of the Metrical Psalmo “While the writing, publishing, and singing of metrical psalms

was extremely popular throughout Britain, these ventures were not immune to the ridicule of critics who considered them to be sheer doggerel.”

o During the 18th and 19th centuries, the metrical psalm gradually gave way to the hymn; the same tunes were often used by both psalm and hymn singers

- Psalmody and Music Educationo Beginning with Day’s Psalter (1562) and continuing into the 19th

century, most of the psalters or tune books contained introductions explaining the fundamentals of music

3/24/03- Intro

o “The evolution of the English hymn as an expression of Christian song has its roots in the carol. This folk song, with stanza and refrain, was brought from the Continent at an early day. By the 13th century, imported tunes began to be replaced by English adaptations, which explains the English stanzas frequently followed by French or Latin refrains.”

o Another antecedent…consisted of translations into English of Latin hymns

o A third precedent…was the German chorale (Myles Coverdale’s Goostly Psalmes and Spirituall Songes drawen out of the holy Scripture)

o Metrical psalmody provided a fourth, and more immediate, influence

o The evolution of the hymn from the metrical psalm in England occurred through the conjunction of three lines of development

Efforts to improve the literary character of the metrical psalms

Accommodations of metrical versions of scriptural texts to contemporary circumstances

The extension of the principle of scriptural paraphrase from the psalms to New Testament hymns and other biblical passages

- Early Appearances of Hymns in Englando Hymns Added to the Psalters

John Day’s Psalter (1562) had 19 hymns, 11 before the psalms and 8 after

The Scottish Psalter, 1575 appended four hymns The 1700 Supplement to Tate & Brady’s New Version

contained 16 hymns, including Tate’s “While shepherds watched their flocks by night”

o Devotional Lyric Poetry Robert Southwell Richard Crashaw John Donne Thomas Campion George Wither Francis Quarles Robert Herrick George Herbert–his work has been most widely

represented in hymnal collections (“Let all the world in every corner sing”)

o Hymn Publications George Wither’s The Hymnes and Songs of the Church

(1623) William Barton’s A Century of Select Hymns (1659) Hymn writers

Samuel Crossman, “My song is love unknown,” usually sung to John Ireland’s LOVE UNKNOWN

Thomas Ken, “Praise God, from whom all blessings flow”

John Milton–19 free paraphrases of the Psalms that moved away from strict versification of the language of scripture, anticipating the later psalm versions of Isaac Watts; “The Lord will come and not be slow” and “Let us with a gladsome mind”

- Attempts to Introduce Hymn Singing

o Anglican Developments Introduction to the Skill of Musick (1654)–John Playford

wrote this book to help congregations learn how to read music and sing

o Presbyterian Developments Retained psalm singing, using the 1650 edition of the

Scottish psalter; but several prominent ministers of this tradition published hymns

Richard Baxter, Paraphrase on the Psalms of David in Metre with other hymns (1692)

Joseph Boyse, Sacremental Hymns (1693) Matthew Henry, Family Hymns (1695)

Baptist Developments While everyone else was trying to decide whether to

sing metrical psalms or hymns, Baptists were trying to decide whether to sing at all

Particular (Calvinistic) Baptist churches emphasized congregational singing of hymns

o Benjamin Keacho Opposition: Isaac Marlow

Joseph Stennet, pastor of the Seventh-Day Baptist Church began in 1690 to write hymns for use by his own congregation in connection with the Lord’s Supper

John Bunyan, “He who would valiant be”

3/31/03- Isaac Watts

o English hymnody was already forming, but Watts really developed the form; he was convinced that the song of a New Testament church should express the gospel of the New Testament, whether in psalm versions or in freely composed hymns

o Early Writings Horae Lyricae (1705)–first published collection of Watts’s

verseo Hymns and Spiritual Songs

Published in 1707 w/210 hymns in all Songs were arranged in 3 divisions

Hymns based on Scripture Hymns composed “on divine subjects” Hymns written for the Lord’s Supper

Originally included an intriguing statement of Watts’s views concerning psalmody and hymnody

o The Psalms of David Imitated (1719)

Watts was concerned for the quality of psalm singing among the Congregationalist churches

At the heart of his reforms in writing psalm versions was his concern that the psalms be “Christianized” for use in Christian Worship

The psalm versions were cast predominantly in the familiar metric patterns of his earlier collections and of his predecessors in psalm versification–common, short, and long meters

o Tunes for Watts’s Hymns Watts wrote his hymns in the meters used for psalm

versions so they could be sung to the psalm tunes the people already knew

o The Significance of Isaac Watts Has been called the “Father of English Hymnody” because

of his: Style Form–predominantly used short, common, and long

meter; lots of repetition and parallelism Appropriateness to the sermon–he was more

concerned with the sermon of the day than the Church year

Influence upon his contemporaries

3/31/03- Wesleyan Hymnody (John [1703-1791] & Charles [1707-1788])

o Leaders in the Holy Club at Oxford University; participated in psalm and hymn singing

o Visit to America John went first in 1735 headed for Georgia; hooked up

with some Moravians (translated some of their German hymns into English)

o The Charlestown Collection As minister in Savannah, John published A Collection of

Psalms and Hymns (1737) at Charlestown, SC; reproduced it in England in 1738 (contained 76 hymns)

o Other Wesleyan Collections Hymns and Sacred Poems (1739) A Collection of Psalms and Hymns (1741) A Collection of Hymns for the Use of the People called

Methodists (1780)o Wesleyan Hymn Tunes

Since he was not much of a musician, he looked for tunes easy to sing but would contribute to reverence

The Foundery Collection

o OLD 81ST

o OLD 112TH

o OLD 113TH

o BRUFORDo HANOVERo ST. MATTHEWo JERICHO TUNEo WINCHESTER NEWo AMSTERDAM

Other tune collectionso Hymns on the Great Festivals, and Other

Occasions (1746, J. F. Lampe)o Select Hymns with Tunes Annext (1761, John

Wesley; commonly known as Sacred Melody)o A Collection of Hymns (1786, John Wesley, 5th

ed.)o Significant Contributions of the Wesleys

John only contributed about 27 hymns but was key as leader, administrator, teacher, publisher, admonisher, and counselor

Charles wrote about 6,500 hymn text (perhaps as many as 9,000)

Changes they brought to hymn writing, spiritual and literary:

Evangelical emphasis Hymns of Christian experience Metrical Expansion

o Concern for the Manner of Singing (according to Johns preface in Sacred Melody)

- Hymnody of the Evangelical Revivalo George Whitefield (1714-1770)

Worked with the Wesleys for a while, but broke with them in 1741 because of doctrinal differences (esp. regarding election; Whitefield was a Calvinist)

Was not “methodical” like the Wesleys Wrote no hymns, but did publish Hymns for Social

Worship (1753)o Other Evangelical Collections–associates of Whitefiled’s

John Cennick (1718-1755) Sacred Hymns for the Children of God (1741-1744) Sacred Hymns for the Use of Religious Societies

(Bristol, 1743) “Be present at our table, Lord”

Robert Seagrave (1693-1759) Hymns for Christian Worship (1742)

“Rise, my soul, and stretch thy wings” Robert Robinson (1753-1790)

“Come, thou found of every blessing”o Lady Huntingdon (Selina, Countess of, 1707-1791)

Close association with Whitefield, Watts, Doddridge, Edward Perronet (author of “All hail the power of Jesus’ name”), Augustus Toplady, and William Williams)

- Independents, Presbyterians, and Baptistso Congregational singing among the nonconformist groups in the

18th century shows the dominating influence of the psalms and hymns of Watts

The Wesleys, Toplady, Whitefield, et al. Simon Browne, Thomas Gibbons, William Jay, George

Burdero Presbyterian collections publishers

Michaijah Towgood, Michael Pope, William Enfieldo Baptist colletions

John Rippon, A Selection of Hymns from the best authors (1787)

C.H. Spurgeon’s Our Own Hymnbook (1866)–replaced Rippon’s first book in London

Rippon, Selection of Psalms and Hymn Tunes (1791)- Moravian Hymnody in England

o Brought from Herrnhut (Count Zinzendorff’s place) to England by Moravian missionaries around 1735; a small collection of English translations of their hymns was published in London in 1742

- Hymn Singing in the Church of Englando Throughout the 18th century, hymn singing was unauthorized in

the Church of England, though Watts’s psalm versions were being introduced in the service, gradually replacing the New Version as the default psalmbook

o Publications of Madan, Conyers, and Toplady–widely used in northern England; the latter two were predominantly Calvinistic

Martin Madan–A Collection of Psalms and Hymns,1760 (170 hymns)

Richard Conyers–A Collection of Psalms and Hymns, 1767 Augustus Toplady–Psalms and Hymns for public and

private worship (1776)o Tunebooks

Caleb Ashworth–A Collection of Tunes, 1760 William Riley–Parochial Harmony, 1762 Aaron Williams’s The Universal Psalmodist, 1763; source

of ST. THOMAS

Isaac Smith–A Collection of Psalm Tunes in Three Parts, 1770

Stephen Addington–A Collection of Psalm Tunes, 1780 Ralph Harrison–Sacred Harmony, 1784 James Leach–A New Sett of Hymn and Psalm-Tunes, 1784 Henry Boyd–Select Collection of Psalm and Hymn Tunes,

1793 Thomas Williams–Psalmodia Evangelica, 1789; source of

TRUROo The Olney Hymns

Most important and influential Evangelical hymnal other than those produced by the Wesleys

By John Newton and William Cowper in 1779 Singificant hymns

“O for a closer walk with God” “God moves in a mysterious way” “How sweet the name of Jesus sounds” “Glorious things of thee are spoken” “Amazing grace! how sweet the sound”

Marked a point of transition in the introduction of hymnody in the Church of England; it was the last of a group of hymnals that sought to bring Evangelical hymnody within the Church of England without attempting to accommodate it to the Book of Common Prayer

o Efforts of Thomas Cotterill Published A Selection of Psalms and Hymns for Public

Worship in 1810 Attempted to adjust and adapt the hymns and hymnals

becoming so popular to fit the traditional customs and practices of the Anglican church

By the 1819 publication the Selection contained 367 hymns and all 150 psalms from both Old and New Versions; reduced the hymns to 146 in 1820 after Cotterill was sued

- Transitional Writers: Montgomery and Kellyo Supporters of Cotterillo Montgomery–“Angels from the realm of glory;” first appeared in

his Sheffield newspaper Iris; published Songs of Zion (1822) and Christian Psalmist (1825)

o Kelly–published A Collection of Psalms and Hymns (1802) and Hymns on Various Passages of Scripture (1804), both in Ireland; contained his 765 hymns; “The head that once crowned with thorns” (to Erik Routley “the greatest English hymn”)

4/7/03- The Nineteenth Century

o Literary Emphasis in Hymn Writing Literary ideals & style of the time were reflected in the

appearance of hymn texts that emphasized a higher poetical quality than had been evident before

Reginald Heber–most significant hymnist Used Olney Hymns to increase the participation in

his services Hymns, Written and Adapted to the Weekly Church

Service of the Year (published posthumously) Wrote “Holy, Holy, Holy”

o Musical Developments Controversy between the “fixed do” and “movable do”

methods of the singing schools Significant figures

Joseph Mainzer John Hullah (Psalter, 1843)

Lots of borrowing of Mozart’s, Beethoven’s, Haydn’s tunes AUSTRIAN HYMN GERMANY, LYONS

Vincent Novello’s The Psalmist (4 vols., 1833-1843) Henry J. Gauntlett’s Comprehensive Tune Book (1846),

Hallelujah (1849)- The Oxford Movement

o Intro Beginnings usually traced to John Keble’s “National

Apostasy” sermon, 1833 Tract for the Times (1833-41)–Keble, John Henry Newman,

E.B. Pusey (Tractarians) Camden/Ecclesiology Society–focused on how the doctrine

of the Tractarian Movement was to be reflected in the aesthetic aspects of church worship

Leaders were disturbed by the individualism of evangelicalism and sought to counteract this tendency by an increased focus on the church

o Influence of the Oxford Movement Had a significant impact on the clergy, sacraments, and

liturgy of the Anglican church Reappraisal of the Book of Common Prayer in the light of

ancient practice resulted in changes in the Anglican liturgy, including greater use of the choral service

o Translations of Latin, Greek, and German Hymns John Mason Neale–most important translator of Latin

hymns Medieval Hymns and Sequences (1851)

The Hymnal Noted (1851) Worked almost alone to integrate Byzantine (Greek)

hymns (Hymns of the Easter Church, 1862) Thomas Helmore–music editor for The Hymnal Noted Catherine Winkworth–worked on translations of early

German Reformers Lyra Gramanica (1855 and 1858) The Chorale Book for England (1863)

o Original Hymnody from the Oxford Movement Although the principal contribution was the rediscovery

and translations of Latin, Greek, and German hymns, important contributions were also made through original text writing

John Keble–The Christian Year (1827), including his “Sun of my soul, thou Savior dear”

John Henry Newman–“Lead, kindly light” Matthew Bridges–“Crown him with many crowns” Frederick William Faber–“Faith of our fathers, living

still”o Hymns Ancient and Modern

One of the most popular hymnals of all time An attempt to provide a collection of hymns to replace the

numberous hymnals then in use in the Anglican church First edition published by Novello in 1860 after being born

in pamphlet form in 1859 Forces preparing the way

New concepts of worship called for new hymns Many hymns of non-English origin

Like all other hymnals, did not become the offician hymnal of the Church of England

- Victorian Hymns and Tuneso Named after Queen Victoria (1837-1901)o As the audience viewed, read, sang, or heard an art object, they

were expected to experience vicariously the emotion of the artist

o Victorian hymn writers sometimes adopted excessively flowery language and sentimentality to wrench the emotions of the singers

o Significant new hymns Henry Alford’s “Come, ye thankful people come” Sabine Baring-Gould’s “Now the day is over,” “Onward,

Christian Soldier” William C. Dix’s “As with gladness men of old” and

“Alleluia! Sing to Jesus” Henry F. Lyte’s “Abide with me”

Samuel J. Stone’s “The church’s one foundation” William Whiting’s “Eternal Father, strong to save” William How’s “For all the saints” Claudia Hernaman’s “Lord, who throughout thesee forty

days” John Ellerton’s “The day thou gavest, Lord, is ended” Edward H. Plumptre’s “Thine arm, O Lord, in days of old,”

“Rejoice, ye pure in heart” Frances R. Havergal’s “Take my life, and let it be

consecrated”o Significant new tunes

Joseph Barnby’s MERRIAL John B. Dykes’ MELITA, NICAEA, ST. AGNES George J. Elvey’s ST. GEORGE’S WINDSOR, DIADEMATA Alexander Ewing’s EWING John Goss’ LAUDA ANIMA W. H. Monk’s EVENTIDE Samuel Sebastian Wesley’s AURELIA Henry Smart’s Psalms and Hymns for Divine Worship, first

supplement to Hymns Ancient and Modern Henry Smart’s REGENT SQUARE, LANCASHIRE

Arthur S. Sullivan The Hymnary, including his ST. GERTRUDE Church Hymns with Tunes, including H. Percy

Smith’s MARYTON Samuel S. Wesley’sThe European Psalmist

- Non-Anglican Hymnodyo Not much of significance is found in the hymnals and tune books

published by the dissenting church groups–Congregationalist, Baptists, Methodists

o Hymn singing gained fresh vitality through an evangelical revival that appeared about 1858 and spread through England, Northern Ireland, Wales, and Scotland

o The hymnody of the Wesleyan and evangelical movements had found fertile soil in Wales in the 18th century, and the evangelical awakening the mid-19th century added increased vigor to Welsh hymn singing

LLANGLOFFAN, LLEDRED Joseph Parry’s ABERYSTWYTH John Hughes’ CWM RHONDDA

o Scottish Presbyterians became interested in hymn-singing late (they were psalm-singers)

The writing of devotional hyns in Scotlad reveals a bereaking down of the monopoly of metrical psalmody and the influence of the evangelical awakening that had begun in Wales

George Matheson’s “O love that wilt not let me go” Elizabeth Clephane’s “Beneath the cross of Jesus” Horatius Bonar’s “No, not despairingly”

The Northern Psalter (1872)–first appearance of CRIMOND

Church Hymnary (1898)–John Stainer, musical editoro By 1870s the revival movement had prepared the way for

Dwight L. Moody and Ira D. Sankey, outstanding personalities in British evangelical activity for more than two decades

o Julian’s Dictionary of Hymnology (1892)

4/7/03- The Twentieth Century

o Reaction Against Victorian Hymnody Robert Bridges’ Yattendon Hymnal (1899)

“Ah, holy Jesus” “O gladsome light” “O splendor of God’s glory bright”

o Public School Hymnody H.B. Lyon’s “Lift up your voice, ye Christian folk” W.H. Ferguson’s LADYWELL Walter Greatorex’s WOODLANDS

o New Directions in Hymnody G.K. Chesterton’s “O God of earth and alter John Oxenham’s “In Christ there is no east or west,”

“Peace in our time, O Lord” 1904–proprietors of Hymns Ancient & Modern produced a

new edition Charles Stanford’s ENGELBERG

New Hymnals Wroship Song (1905) The English Hymnal (1906)

o Percy Dearmer, editor; translated and adapted poems for hymnic use, such as “Unto us a boy is born,” “He who would valiant be”

o First printing of Chesterton’s “O God of earth and alter,” Athelstan Riley’s “Ye watchers and ye holy ones”

o Ralph Vaughan Williams, music editoro Outstanding contribution was the use of folk-

song arrangements as hymn tunes KINGSFOLD MONKS GATE TALLIS’ CANON Gibbons’ SONG 1

LASST UNS ERFREUEN ISTE CONFESSOR Holst’s CRANHAM, et al.

o Vaughan Williams’ tunes SINE NOMINE DOWN AMPNEY

Songs of Praise (1925)o Followed the pattern of the English Hymnal,

but was more liberal in thought and even more daring and adventurous musically

o English Hymnody at Mid-Century Geoffrey Beaumont (1903-1970), Anglican priest and one

of the leaders of a group known as the Twentieth-Century Church Light Music Group

Wrote CHERSTERTON for Henry W. Baker’s “Lord, thy word abideth”

Produced his Twentieth-Century Folk Mass; included GRACIAS

Generally speaking, these “pop” tunes of the late 50s and early 60s were composed for traditional hymn texts from the 18th and 19th centuries

Sydney Carter (b. 1915) “Lord of the dance” sung to SIMPLE GIFTS “It was on a Friday morning”–controversial when

included in the Book of Worship for United States Forces (1974)

George W. Briggs (1875)–an evangelical Anglican minister, who wrote hymns that expressed new ideas in simple vocabulary (“God has spoken by the prophets”)

Albert Bayly (1901-1984)–a Congregational minister who served mostly rural churches (“What does the Lord require”)

o English Hymnals, 1950-1975 Third complete revision of Hymns Ancient and Modern,

begun in 1939, was published in 1950 Included Cyril V. Taylor’s ABBOT’S LEIGH

1951–Congregational Praise replaced the 1916 Hymnary 1961–The Baptist Hymn Book (released 1962), Hugh

Martin (chairman of Editorial Committee), E.P. Sharpe (chairman of Music Advisory committee); influenced by Sankey

1965–The Anglican Hymn Book, ed. Arthur Pollard (texts), Robin Sheldon (Music)

1971–New Catholic Hymnal, ed. Anthony Petti and Geoffrey Laycock

o The New English Renaissance–Recognized that with a greater awareness of the importance of hymn singing came a need for new hymns to sing

Timothy Dudley-Smith (b.1926)–Anglican; bishop of Thetford, Norwich (1981-ret.); “Tellout, my soul,” “Sing a new song to the Lord”

Erik Routley (1917-1982)–United Reformed Church of England Congregationalist; well-known scholar and musician before composing; “New songs of celebration,” “Sing a new song to the Lord,” SHARPTHORNE (one of almost 100 tunes)

Fred Pratt Green (b.1901)–Methodist; wrote hymns to confront complacent churchgoers with the realities of the world; “When the church of Jesus,” “Christ is the World’s light,” “When in our music God is glorified”

Frek Kaan (b.1926) –United Reformed Church of England Congregationalist; his hymns reveal a deep concern for social conscience and the problems of today’s world; “We meet you, O Christ,” “Let us talents and tongues employ”

Brian Wren (b.1936) –United Reformed Church of England Congregationalist; rec’d his theological education at Mansfield College, Oxford (now live in U.S.); “Christ is alive,” “God of many names”

John Wilson (1905-1992) wrote EAST MEADS and arranged many other tunes

Peter Cutts–among the most prolific of the composers assoc’d with the New English Renaissance (BIRABUS, BRDEGROOM)

o Hymnal Supplements 1969–British Methodists issued Hymns and Songs to

supplement The Methodist Hymn Book (1933) 1969–proprietors of Hymns Ancient and Modern published

100 Hymns for Tuday, including Cutts’ BRIDEGROOM and Routley’s SHARPTHORNE

1974–Praise for Today, a supplement to The Baptist Hymn Bookof 1962

1975–English Praise: Supplement to the English Hymnal; New Church praise was intedned as a supplement for both Congregational Praise (1951) and The Church Hymnary (3rd ed., 1973)

- Recent Developmentso Hymnals and Figures

1977–The Autralian Hymn Book; five Australian denominations joined forces to produce this; a British version was issued in 1978

1982–Hymns for Today’s Church

1986–Carols for Today 1983–The New Standard Edition of Hymns Ancient and

Modern (included 333 selections from the 1950 edition plus 200 hymns from the 1969 and 1980 supplements)

1983–Hymns and Psalms; published by the Methodist Conference

1986–New English Hymnal (new edition of English Hymnal; included 400 hymns from the original edition plus 100 new pieces)

Two New Zealand hymn writers who have received increasing recognition during the late 20th century; their work represents a southern-hemisphere reflection on the season of the nativity

Shirley Erena Murray (b.1931)–“Upside-Down Christmas” (“Carol our Christmas”)

Colin Gibson (b.1933)–REVERSIo The Iona Community

Formed in 1938 on Iona, off the cost of Scotland Collected some of their songs in the 3-volume Wild Goose

Songs Other publications (or revisions of the above)

Heaven Shall Not Wait (1989) Enemy of Apathy (1990)

o Songs and Choruses in Popular Style Graham Kendrick, “Shine, Jesus, Shine” Informal song collections

Mission Praise (1983) Mission Praise 2 (1987) Making Melody Hymn Book (1983)–Assemblies of

God Baptist Praise and Worship (1991)

o English Hymnal Companions Hymns Ancient and Modern (1909)–the “historical

edition”–had the Historical Companion to Hymns Ancient and Modern (1962)

Songs of Praise Discussed (1933)–for Song of Praise (Percy Dearmer)

Erik Routley Companion to Congregational Praise An English-Speaking Hymnal Guide (1979) The Music of Christian Hymns (1981)

Robin A. Leaver Catherine Winkworth: the Influence of Her

Translations on English Hymnody (1978)

‘Goostly Psalmes and Spirituall Songes’: English and Dutch Metrical Psalms from Coverdale to Utenhove 1535-1566 (1991)

Nicholas Temperley The Music of the English Parish Church (2 vols.,

1979) The Hymn Tune Index (4 vols., 1998)

4/14/03- Intro

o Huguenot immigrants to the coast of South Carolina and Florida in 1562-1565 were the first to bring French metrical psalms and tunes to American soil

o English psalm tunes were first known to have reached America through the visit of Sir Francis Drake to the coast of northern California in June 1579

- Psalmody in Colonial Americao Jamestown settlers who arrived in 1607 brought with them from

England the Old Version sung to the tunes in Este’s psalter (1592)

o The Pilgrims Settled in Plymouth, MA in 1620; part of an English

Separatist group led by Robert Browne first to Amsterdam, then to Leyden, before they ventured to the New World

By the time they arrived in Holland, Peter Datheen’s 1566 translation of the Genevan Psalter was known and used widely

Henry Ainsworth prepared for the pilgrims a new psalter they felt adhered more closely to the meaning of the original than the one by Sternhold & Hopkins (Ainsworth’s The Book of Psalmes: Englished both in Prose and Metre)

o The Bay Psalm Book The Puritans dame 10 years after the Pilgrims; within 10

years of their arrival they produced The Whole Booke of Psalmes Faithfully Translated into English Metre (1640; a.k.a. The Bay Psalm Book)

John Cotton wrote the preface, observing that the goal was “to keepe close to the originall test” and not to allow “poeticall licence” that would depart from “the true and proper sence of the…hebrew verses.”

Used tunes were contained in the Ravenscroft psalter and “our English pslame books,” presumably musical editions of Sternhold & Hopkins

The third edition was a commission of Henry Dunston (president of Harvard College) under the name The

Psalms Hymns and Spiritual Songs of the Old and New Testmant, faithfully translated into English metre (known colloquially as the New England Psalm Book)

The ninth edition (1598) was the first publication in British North America to include music notation; included 13 tunes in the back of the book

o Other Early New England Psalters John Eliot (1604-1690; “Apostle to the Indians”) published

at Cambridge a versification of the psalms in the language of the Algonquin Indians, Wame Ketoohomae Uketoohomaongash David

Cottom Mather–Psalterium Americanum (1718)- Attempts to Imprive Psalm Singing

o Intrumental music in church was anathema to the Puritans, and many could not read or were to poor to own psalters, so they used a deacon to “line out” the psalm

o The Reformers Thomas Symmes

The Reasonableness of Regular Singing, or Singing by Note

Utile Dulci or a Joco-Serious Dialogue, concerning Regular Singing

John Tufts An Introduction to the Singing of Psalm-Tunes

(1721)o PSALM 100 NEW

Thomas Walter The Grounds and Rules of Musick Explained

o SOUTHWELL NEW- Early American Singing Schools

o The persuasiveness of the advocates of Regular Singing generated a renewed interest in expanding the repertory of congregational song and in developing music-reading abilities, especially in urban areas

o Urania The first of the larger tune books, compiled in 1761 by

James Lyon This format and eclectic approach was followd by other

bookso William Billings and His Contemproaries

Billings: the best known among the singing school teachers of the Revolutionary War period

Wrote The New-England Psalm-Singer in 1770 AMHERST BROOKFIELD

CHESTER LEBANON

The Singing Master’s Assistant (1778) Music in Miniature (1779) The Psalm Singer’s Amusement (1781) Suffolk Harmony (1786) Continental Harmony (1794)

4/14/03- Immigrants and Influences

o Intro Immigration in the 17th and early 18th centuries resulted in

numerous settlements of non-English speaking Europeans Mennonites brought to America Ausbund, das ist:

etliche schöne Christliche Lieder, 1742; Die kleine geistliche Harfe der Kinder Zions, 1803

Moravians landed in Savannah, GA with the Wesleys and Governor James Oglethorpe

o Used the Herrnhut hymnal Das Gesangbuch der Gemeine in Derrnhut (1735) at first; upon setting in Pennsylvania, published their own Hirten Lieder von Bethlehem (1742)

o Did not give up German for English until Province Hymnal’s (1801) reprint in 1813

Lutheranso Psalmodia Germanica (1756)–the first

Lutheran hymnal published in the colonies, a reprint of an English-language book first published in Britain in 1732

o A Hymn and Prayer-Book (1795)–John Christopher Kunze; the first Lutheran hymnal in English compiled in America

American Printings of Watts & Welsey Watts’ hymns made their way to America at a

relatively early date (1715; 22 Watts hymns were published in Boston under the title Honey Out of the Rock, perhaps the first hymnal–not psalter–published in British North America)

The Psalms of David Imitated in the Language of the New Testament (1729)–published in Philadelphia by Benjamin Franklin

Collection of Psalms and Hymngs (1737)–John Wesley’s “Charleston Collection”

Hymn Singing and the Great Awakening

A revival of religion occurred in the American colonies during the 1730s and 1740w, and was accompanied by fervent singing

o Launched by Jonathan Edwards, pastor of the Congregational church in Northampton, Mass.

o Edwards’ efforts were greatly aided by the English preacher George Whitefield

- Denominational Activityo Presbyterians

Brought about the “Great Psalmody Controversy,” splitting into the “Old Side” (mainly Scottish & Irish, who used the paslters of Rous and Barton) and the “New Side” (adopted New Version or Watts’ Pslams)

o Church of England used the Book of Common Prayero Baptists

Probably did little or no singing (on account of persecution) until 1728 at First Baptist Boston (probably using the Old Version)

First Baptist Providence, RI did not accept it until 1771; the first Baptist hymnal was Hymns and Spiritual Songs

Those Baptist churches that felt the impact of the Great Awakening became receptive to the hymns of Isaac Watts

- Camp Meeting Songso Itinerant and lay preachers–mostly Methodists, Baptists, and

Presbyterians–tried to minister to the far-flung flocks, with greater or lesser success

o Revival broke out in 1800 in Logan County, Kentucky, under James McGready (Presbyterian) and spread through Tennessee and the Carolinas into Ohio, Georgia, Virginia, Maryland, Delaware, Pennsylvania, New York, Massachusetts, Connecticut, Vermont, and New Hampshire

o Words were often in ballad style–sometimes with a “Come all ye” opening followed by “family words” (“fathers,” “mothers,” “sisters,” “brothers,” etc.)––and couched in simple language, frequently using country colloquialisms and grammar

o “Come, thou fount of every blessing”o Printed collections

Spiritual Song Book (1805)-David Mintz Impartial Selection of Hymns and Spiritual Songs (1809)–

Solomon Wiatt A Collection of the Most Admired Hymns and Spiritual

Songs, with the choruses affixed as usually sung at camp-meetings (1809)–John C. Totten

The Pilgrim Songster (1810)–Thomas S. Hinde A Collection of Camp-Meeting Hymns (1816)–Peggy Dow

Social and Camp Meeting Songs for the Pious (1817)–John J. Harrod

The Camp Meeting Chorister (1827)–J. Clarkeo After 1805, Presbyterian activity in camp meetings rapidly

declined, and by 1825, the outdoor camp meeting was almost exclusively a Methodist institution. Baptists had moved in the direction of the “protracted meeting” held in church buildings

- Folk Hymnodyo Appeared first among the Baptists of New Englando The first collection to contain a large number of folk-hymn texts

was the New Hampshire Baptist lay preacher Joshua Smith’s Divine Hymns or Spiritual Songs (1784)

WONDROUS LOVEo The first collection to include tunes for folk hymns was Amos

Pilsbury’s United States Sacred Harmony (1799) KEDRON

- Shape Noteso Intro

The “fasola” solmization remained in use throughout the 18th century

Early 19th century saw the introduction of different shape-note heads for each of the four syllables, fa, sol, la, and mi

First appeared in: William Little & William Smith’s The Easy Instructor

(1801)–used a system invented by John Connellyo Right triangle for fao Circle for solo Square for lao Diamond for mio Kept the five-line music staff

Andrew Law’s Musical Primer, 4th ed. (1803)o Used same shapes, but switched those for fa

and lao Eliminated the staff

Repository of Sacred Music, Part Second (1813)–John Wyeth; first important collection

o Southern Shape-Note Collections Kentucky Harmony (1816)–Ananias Davisson; a Virginia

production; contained 144 tuens in 4-part harmony (not the typical 3-voice)

A Compilation of Genuine Church Music (1832)–Joseph Funk; source for FOUNDATION, called PROTECTION by Funk; retitled in 5th edition as Harmonia Sacra

Most popular oblong tune books in the southern four-shape tradition

The Southern Harmony (1835)–William Walkero The first to print WONDROUS LOVEo Reprints of the last (1854) edition are still

employed at an annual “singing” in Benton, KY The Sacred Harp (1844)–B.F. White & E.J. King

o Source of BEACH SPRINGo An 1859 “new appendix” included NEW

PROSPECT, a variant of the tune now known as LAND OF REST

o Continues to be published in new editions and used at singings in Massachusetts, Illinois, California, and throughout the South

o AMAZING GRACE–a.k.a. NEW BRITAIN, the best known of all southern shape-note folk hymns

o Around the middle of the 19th century, a 7-shape (“doremi”) notation began to replace fasola notation in some circles (Jesse Aikin’s The Christian Minstrel, 1846)

William Walker’s Christian Harmony (1866) abandoned four-shape notation in favor of a seven-shape pattern (not identical to Aikin’s) and an article in defense

The Sacred Harp continues to be published in fasola- Other Early 19th-Century Developments

o Village Hymns (1824)–Asahel Nettleton; for Presbyterians and Congregationalists

Zion’s Harp (1824)–Nathaniel & Simeon Jocelyn’s collection of tunes for the above, with Nettleton’s blessings

o The Christian Lyre (1831)–Joshua Leavitt (an associate of Finney); even more evangelical in style and popular in appeal; contained PLEADING SAVIOR

o Benjamin Carr European immigrant to Philadelphia Opened the city’s first music stores in 1793 As a music publisher exerted great influence in music

activities in the city Introduced some hymns into American use

ADESTE FIDELES SPANISH HYMN PLEYEL’S HYMN

o Lowell Mason The outstanding American musician of his day Published

The Boston Handel and Haydn Society Collection of Church Music (1822)

The Juvenile Psalmist, or the Child’s Introduciton to Sacred Music (1829)

Was assisted by Thomas Hastings, George F. Root, William B. Bradbury

Often considered the “father” of public school music in the U.S.

Contributed such tunes as MISISONARY HYMN and BEHTNAY, and adapted ANTIOCH, AZOMN, and HAMBURG

Spiritual Songs for Social Worship (1832)–published with Thomas Hastings in response to Leavitt’s “inferior music” in Christian Lyre; included OLIVET with Ray Palmer’s “My faith looks up to thee”

4/21/03- Intro

o The idea of Sunday schools, introduced first by the Methodists following the Revolutionary War, was adopted by other groups; used to teach reading and writing because of the lack of adequate public schools

- Nineteenth-Century Hymns and Hymn Writerso Baptist

“My country, ‘tis of thee” (1831)–Samuel F. Smith; preparing for the ministry at Andover Theol. Seminary; premiered by a children’s choir directed by Lowell Mason

“He leadthe me! O blessed thought” (1862)–Joseph H. Gilmore, pastor of First Baptist Philadelphia; inspired by a sermon he had preached on Psalm 23

o Congregationalist Ministers whose hymns are widely used

Ray Palmer: “My faith looks up to thee,” “Jesus, thou joy of loving hearts” (translation of a text attributed to Bernard of Clairvaux)

Daniel March: “Hark, the voice of Jesus calling” Washington Gladden: “O Master, let me walk with

thee” Ernest W. Shurtleff: “Lead on, O king eternal” for

the graduation ceremony of his class at Andover Theological Seminary

Katherine Lee Bates: “O beautiful for spacious skies” (1893); first published in The Congregationalist two years later

John Zundel: “BEECHER (often paired with Charles Wesley’s “Love divine, all loves excelling”)

o Episcopal

Phillips Brooks: “O little town of Bethlehem” (1868); written as a hymn for Sunday School children; ST. LOUIS was written for this text by his organist Lewis H. Redner

Richard Willis: CAROL (“It came upon the midnight clear”) Charles W. Everest: “’Take up thy cross,’ the Savior said” Mary Ann Thomson: “O Zion, haste, thy mission high

fulfilling” (1868-71) Daniel C. Roberts: “God of our fathers, whose almighty

hand” (1876); NATIONAL HYMN (1892) was composed by George W. Warren

o Methodist Most of the important contributions from Methodist

writers in the 19th century were made through the gospel song

Mary A. Lathbury: “Break thou the bread of life” (1877)o Presbyterian

Elizabeth Prentiss: “More love to thee, O Christ” George Duffield, Jr.: “Stand up, stand up for Jesus” (1858) Edward Hopper: “Jesus, Savior, pilot me” (1871) Louis F. Benson: “O sing a song of Bethlehem” (1899)

o Unitarian Edmund H. Sears: “It came upon the midnight clear”

(1849) Samuel Longfellow: “Holy Spirit truth divine,” “Now, on

land and sea descending;” brother of poet Henry Wadsworth Longfellow

Julia Ward Howe: “Mine eyes have seen the glory of the coming of the Lord” (or “Battle Hymn of the Republic,” 1862)

John White Chadwick: “Eternal Ruler of the ceaseless round”

o Other Contributions John Greenleaf Whittier (Quaker): “Dear Lord and Father

of mankind,” “The Brewing of Soma” (1872), “Immmortal love, forever full” (originated as four stanzas of the poem “Our Master”)

James Russell Lowell (Quaker): “Once to every man and nation” (1845); originally part of the poem “The Present Crisis” to protest the war with Mexico

Clarence A. Walworth (Catholic): “Holy God, we praise thy name” (a translation of Grosser Gott, wir loben dich, a German versification of the Te Deum)

- The Emergence of the Gospel Songo A function of the spread of the Sunday School and the Young

Men’s Christian Association

o The Gospel Song This designation became attached to the songs

popularized in the revivals let by Dwight L. Moody and Ira D. Sankey

Philip Bliss compiled the small collection Gospel Songs Jeremiah Ingalis compiled Christian Harmony (1805); full

of folk hymnody, the roots of the gospel songo Sunday School Songs

William Bradbury Associated with the publication of over 70

collections of sacred and secular musico The Psalmodist (1844)o The Golden Chain (1861)o Devotional Hymn and Tune Book (1864)o The Golden Censer (1864)

Famous tuneso CHINA (“Jesus loves me”)o BRADBURY (“Savior, like a shepherd, lead

us”)o WOODWORTH (“Just as I am”)o ALETTA (“Holy Bible, book divine”)o SWEET HOUR (“Sweet hour of prayer”)

Robert Lowry–succeeded Bradbury as editor of Sunday school songbooks for Biglow and Main music publishers

“What can wash away my sin?”, PLAINFIELD “Shall we gather at the river,” HANSON PLACE MARCHING TO ZION (“Come, we that love the

Lord,” Isaac Watts) NEED (“I need thee every hour,” Annie Hawks) ALL THE WAY (“All the way my Savior leads me,”

Fanny Crosby) William H. Doane–collaborated with Lowry and Fanny

Crosby; composed over 2,000 tunes TO GOD BE THE GLORY NEAR THE CROSS (“Jesus, keep me near the cross”) I AM THINE PASS ME NOT

o Later Developments The use of the gospel song in the evangelistic movement

from c. 1870 forward had its immediate roots in at least 4 lines of development

The “praise services” of Eben Tourjée, who founded the New England Conservatory of Music

The hearty singing of large groups attending the annual national convention of the YMCA and Sunday School Union

The “services of Son” led by Philip Phillips at Sunday school conventions and evangelistic campaigns both in America and abroad

The influence of Philip P. Bliss, in connection with Moody’s early work in Chicago

o Philip P. Bliss One of the most widely known and best loved musicians of

his day Several collections published by John Church Company of

Cincinatti The Charm (1871) The Song Tree (1872) Sunshine (1873) Gospel Songs (1874)

Met Moody in Chicago in 1869; frequently sang in Moody’s services, and abandoned teaching to lead singing for Major D. W. Whittle, a prominent evangelist

Some famous songs he wrote “Sing them over again to me” “’Man of sorrows!’ what a name” VILLE DU HAVRE (usually used for Horation

Spafford’s “It is well with my soul”)o Sankey’s Sacred Songs and Solos

Sankey began working with Moody in 1870 after several years as a YMCA worker

Used Philip Phillips’ Hallowed Songs and additional songs in his 1872 visit with Moody to England; he asked the publishers to update it with some of his songs included, but their refusal prompted English publisher Morgan & Scott to put out Sankey’s Sacred Songs & Solos in 1873

o The Gospel Hymns Series Sankey hooked up with Bliss to produce a series extending

the latter’s original collection Both publishers (Biglow & Main and the John Church

Company) had developed successful merchandising operations through local retail music dealers and a nation-wide mail-order business

James McGranahan and George C. Stebbins continued with Sankey after Bliss’ death in 1876

o Other Gospel Song Writers/Composers Fanny Crosby

The most prolific writer of gospel song texts; she wrote approximately 8,000 hymns

o “All the way my Savior leads me”o “I am thine, O Lord”o “Blessed assurance, Jesus is mine”o “Redeemed, how I love to proclaim it”o “To God be the glory”

Mostly published through Biglow & Main; tunes for her texts were set by Bradbury, Root, Doane, Lowry, Sankey, Sweney, Kirkpatrick, et al.

James McGranahan–set lyrics for evangelist David W. Whittle

EL NATHAN (“I know not why God’s wondrous grace”)

SHOWERS OF BLESSINGS George Stebbins

ADELAIDE (“Have thine own way, Lord” by Adelaide Pollard)

JESUS, I COME (“Out of my bondage, sorrow, and night”)

CALLING TODAY (“Jesus is tenderly calling thee home,” Fanny Crosby)

Daniel B. Towner–head of music department at Moody Bible Institute from 1893 to his death

TRUST AND OBEY MOODY (“Marvelous grace of our loving Lord”)

William J. Kirkpatrick–a Methodist involved in the publication of approximately 100 gospel gong collections

KIRKPATRICK (“A wonderful Savior is Jesus my Lord,” Fanny Crosby)

REDEEMED (“Redeemed, how I love to proclaim it”) JESUS SAVES (“We have heard the joyful sound,”

Priscilla Owens) TRUST IN JESUS (“’Tis so sweet to trust in Jesus,”

Louis M.R. Stead) John R. Sweney–Kirkpatgrick’s principal business partner

and collaborator; wrote over 1,000 tunes for gospel hymns SWENEY (“More aboue Jesus,” Eliza Hewitt) STORY OF JESUS (“Tell me the story of Jesus,”

Fanny Crosby)o Distinguishing Characteristics

The gospel songs were intended primarily to serve the needs of evangelistic services and Sunday school meetings, so their emphasis was upon emotional appeal rather than intellectual reflection

Tunes and texts were characterized by simplicity in both content and structure

o Translations into Other Languages- Nineteenth-Century Hymnals

o Baptist Winchell’s Watts–used throughout New Englad; Watts and

Rippon in the middle states; Miller’s New Selection and William C. Buck’s The Baptst Hymn Book were popular in the South and West; some “localized” Southern collections

Cluster (1813)–Jesse Mercer Hymns and Spiritual Songs (1818)–Starke Dupuy The Choice (1820)–William Dossey The Baptist Harmony (1834)–Staunton Burdett

Northern collections The Psalmist (1843)–Baron Stow and Samuel F.

Smith Baptist Psalmody (1850)–Basil Manly Sr. & Jr. Devotional Hymn and Tune Book (1864)–William

Bradbury; included SOLID ROCK The Little Sunday School Hymn Book and

Confederate Sunday School Hymn Book (both 1863 by the Southern Baptsit Sunday School Board and C.J. Elford, respectively)

Of the major denominational groups, the Baptists were the least affected by the influences of the Oxford Movement and the liturgical hymn

The Service of Song for Baptist Churches (1871)–S.L. Caldwell and A. J. Gordon

The Calvary Selection of Spiritual Songs (1878)–a Baptist edition of Charles S. Robinson’s Psalms and Hymns and Spiritual Songs, ed. By R. S. MacArthur, pastor of Calvary Baptist Church, NY

The Baptist Hymnal (1883)–William H. Doane Sursum Corda (1898)–ed. By E.H. Johnson,

published by the American Baptist Publication Society; the Baptist collection that most reflected Anglican influence

Southern collections–quite various The Southern Psalmist (1858)–ed. by J.R. Graves and

J.M. Pendleton The Sacred Harp (1867)–J.M.D. Cates The New Baptist Psalmist (1873)–J.R. Graves Baptist Songs, with Music (1879)–A.B. Cates

o Congregational Plymouth Collection (1855)–Henry Ward Beecher

Evangelical in nature John Zundel, organist at Plymouth Church, and

Charles Beecher served as music editors;

Perhaps modeled after The Christian Lyre and Spiritual Songs for Social Worship

The Sabbath Hymn Book (1848)–Edward A. Park and Austin Phelps

More scholarly in content The musical edition was The Sabbath Hymn and

Tune Book (1859), Lowell Masono Episcopal–all “authorized” versions are words-only

Hymns of the Protestant Episcopal Church of the United States of America (1827)– William A. Mühlenberg and Henry U. Onderdonck; bound with the Book of Common Prayer

Tate & Brady’s New Version was still in use (with some modification)

An American edition of Hymns Ancient and Modern was issued in 1862

The Hymnal (1871) reflected the influence of Hymns Ancient and Modern

o Lutheran A Hymn and Prayer Book (1795)–John Christopher Kunze;

merged hymns of English origin (Watts, Wesley, Newton, et al) with about 150 English translations from German sources

A Collection of Evangelical Hymns (1797)–George Strebeck

A Choice Selection of Evangelical Hymns, from Various Authors (1806)–Ralph Williston

A Collection of Hymns and a Liturgy (1814)–F. H. Quitman; influenced Hymns Selected and Original, for Public and Private Worship (1828-1856)

The Church Hymn Book (1816)–Paul Henkel; the first English-language Luthern hymnal to be published in the South

The Church Book (1868)–“the most significant book of worship produced thus far by Lutherans in America;” drew upon the resources of Hymns Ancient and Modern (1861)

o Mennonite Mainly maintained their German language hymnals Ausbund continued in use Gesangbuch (1856)–brought over by Swiss and South

German Mennoniteso Methodist

Wesleyan hymns made up the major portion of hymnic material used in the early part of the 19th century

A Collection of Hymns for the use of the Methodist Episcopal Church, principally from the Collection of the Reverend John Wesley (1821, rev. 1835)

Hymns for the use of the Methodist Episcopal Church (1849), Hymnal of the Methodist Episcopal Church (1878)–The Methodist Episcopal Church

The Tribute of Praise and Methodist Protestant Hymn Book (1882)–The Methodist Protestant Church

A Collection of Hymns for public, social, and domestic worship (1847)–The Methodist Episcopal Church, South; amplified in 1851 by Songs of Zion; The Wesleyan Hymn and Tune Book (1860) was their first tune book

o Moravian Mostly relied on hymnals published in England, adding

little from their own congregationso Presbyterian

Psalms of David Imitated–Isaac Watts; in 1831 Presbyterian hymnals began to include hymnic repertoire

The Hymnal (1870)–strongly influenced by Hymns Ancient and Modern

Songs of the Church (1862), Songs for the Sancturay (1865), Psalms and Hymns and Spiritual Songs (1875), Laudes Domini (1885), and In Excelsis (1897)–Charles S. Robinson

o Unitarian A Book of Hymns (1846), Hymns of the Spirit (1864)–

Samuel Johnson and Samuel Longfellow; the former was an effort to produce a collection that would reflect contemporary theological thought, the latter a collection of theistic hymns, expressive of the compilers’ philosophy of universal religion

o New Sects The Shakers (or the United Society of Believers in Christ’s

Second Appearing, established in Lew Lebanon, NY, 1787)–A Sacred Repository of Anthems and Hymns for Devotional Worship and Praise (1852, the first to include music); and Shaker Hymnal (1908)

Seventh-day Adventists–Hymns for God’s Peculiar People That Keep the Commandments of God and the Faith of Jesus (1849)–ed. James White; drew freely from existing hymnals of Methodists, Baptists, et al.

Mormons (the Church of Jesus Christ of Latter-Day Saints)–A Collection of Sacred Hymns (1836 in NY, 1841 in Nauvoo, Illinois) by Emma Smith (Joseph’s wife)

4/21/03- Expansion of Southern Shape-Note Singing

o Following the Civil War shape-note singing expanded throughout the South

“Fasola singing” of the four-shape notation diminished as the popularity of seven-shape notation rapidly increased

Choral Music (1816), Harmonia Sacra (1851)–Joseph Funk Musical Million (1870)–periodical published by Aldine S.

Kieffer; promoted singing schoolso Normal music schools were conducted in Virginia, West

Virginia, North and South Caroline, Georgia, Alabama, Kentucky, Tennessee, Louisiana, Arkansas, Missouri, Texas, and Oklahoma

o Singing conventions Largely a rural activity, particularly in the South Most popular among Baptist, Methodist, Nazarene,

Church of God, Pentecostal, and Holiness groups- Twentieth-Century Developments

o Continuation of the Gospel Song Tradition Charles M. Alexander & Homer A. Rodeheaver–important

more in their roles as compliers and publishers than writers

“In the Garden”–C. Austin Miles “The Old Rugged Cross”–George Bennard

Charles H. Gabriel–music editor and hymn writer for Rodeheaver’s publications

“I stand amazed in the presence” “When all my labors are o’er” “There’s a call comes ringing o’er the restless wave” MCDANIEL (for Rufus McDaniel’s “What a

wonderful change in my life has been wrought”) HIGHER GROUND (for Johnson Oatman, Jr.’s “I’m

pressing on the upward way”) “Great is thy faithfulness” (1923)–Thomas O. Chisolm;

FAITHFULNESS–William M. Runyan B.B. McKinney–leading composer of gospel songs among

Southern Baptists TORONTO–John W. Peterson (for E. Margaret Clarkson’s

“So send I you”) “Because He Lives” (1971)–William J. & Gloria Gaither

o African-American Contributions Spirituals reflect the interaction of African cultural

heritage with American context and influences “Were you there” “Let us break bread together” “There is a balm in Gilead”

“Lift every voice and sing” (1901)–text by James Weldon Johnson, tune by brother J. Rosamond Johnson; sometimes referred to as the “African-American National Anthem”

Charles A. Tindley “Stand by Me” “We Will Understand It Better By and By”

“Precious Lord, take my hand”–Thomas Dorsey “My Tribute,” “Soon and very soon”–Andraè Crouch Hymnals

Songs of Zion (1981)–UMC Lift Every Voice and Singing–Episcopalian

o The Influence of Folk and Popular Music This phenomenon was not new in the United States “It [the gospel song] was never intended for a Sunday

morning service, nor for a devotional meeting. Its purpose was to bridge the gap between the popular song of the day and the great hymns and gospel songs, and to give men a simple, easy lilting melody which they could learn the first time they heard it, and which they could whistle and sing wherever they might be.”

Geoffrey Beaumont and the Twentieth-Century Church Light Music Group in England were antecedents to American developments

“Praise choruses” were kin to the choruses dung earlier in YMCA and Youth for Christ gatherings, but the new choruses were given fresh appeal by their borrowing from the styles of current folk and popular music

“Seek ye first the kingdom of God”–Karen Lafferty “Majesty”–Jack Hayford

Youth musicals “It only takes a spark” (1969, from Tell It Like It Is)–

Kurt Kaiser (musical by Kaiser & Ralph Carmichael) Contemporary Christian music industry–many songs have

made their way into hymnals, but most of them only transmit the chorus

Within Roman Catholicism 1963–Second Vatican Council’s Sacrosanctum

Concilium (Constitution on the Sacred Liturgy)–allowed worship to be done in the vernacular

“They’ll Know We are Christians”–Peter Scholtes; popular even outside Catholic services

“Here I Am, Lord”–Dan Schutteo Multicultural Hymnody–one of the trends evident in hymnals

published since the late 1980s has been the inclusion of worship songs from varied ethnic and global sources

“Many and great, O God”–Joseph Renville in the Dakota language (from Dakota Odowan (Hymnal), 1842)

“Jesu, Jesu, fill us with your love”–Tom Colvin, set to a folk tune from Ghana

“Rise to greet the sun”–translated and arranged (LE P’ING) by Bliss Wiant

LINSTEAD–from the Jamaican folk tradition Typically, the musical settings for hymns imported from

other cultures have been “westernized,” with accompaniment added for piano or organ

o Canadian Hymnody “My Jesus, I love thee”–William H. Featherstone “Genle Mary laid her child”–Joseph S. Cook “O day of God draw nigh”–Robert B. Y. Scott “So send I you”–E. Margaret Clarkson Other recent hymnists

Sylvia Dunstan John Webster Grant T. Herbert O’Driscoll Walter H. Farquharson

- Twentieth-Century Hymns and Hymn Writerso Baptist

“God of grace and God of glory”–Harry Emerson Fosdick; the most widely sung hymn written by a Baptist in this century

ADA–A. L. Butler for Fanny Crosby’s “Redeemed, how I love to proclaim it”

o Episcopal “All praise to thee, for thou, O King divine”–F. Bland

Tucker; served as a member of the commission that produced The Hymnal 1940

Jeffery W. Rowthorn–founding faculty member of Yale’s Institute of Sacred Music

“Creating God, your fingers trace” (1974)–paraphrase of Psalm 148

“Lord, you give the great commission”–based on Matthew 28:19-20

Carl P Daw, Jr. Moved from Baptst background to become Episcopal

minister “Like the murmur of the dove’s song” (1981); used

with BRIDEGROOM by Peter Cutts VINEYARD HAVEN (1974)–Richard Dirksen for “Rejoice,

ye pure in heart”o Lutheran

It was not until after mid-century that any hymns by Lutheran writers found broad ecumenical acceptance

Herbert Brokering–“Earth and all stars” (1964) for 90th anniversary of St. Olaf College

Jaroslav J. Vajda–“Now the silence,” “God of the sparrow, God of the whale”; tunes NOW, ROEDER by Carl Schalk

Lutheran Book of Worship (1978)–included 8 hymn translation by Gracia Grindal

Howard M. Edwards III–“To a maid engaged to Joseph”

Herman G. Stuemphle, Jr.–“When we wander, lone, bewildered”

o Methodist Frank Mason North–“Where cross the crowded ways of

life;” one of the first hymns to reflect the social gospel’s concern for the needs of large urban areas

Georgia Harkness–“Hope of the world” Bradford G. Webster–“O Jesus Christ, to thee may hymns

be rising;” CITY OF GOD by Daniel Moe William Watkins Reid, Jr.–“O God of every nation”

o Presbyterian Maltbie D. Babcock–“This is my Father’s world;” TERRA

PATRIS (a.k.a. TERRA BEATA)–Franklin L. Sheppard Henry van Dyke–“Joyful, joyful we adore thee;” ODE TO

JOY–L. von Beethoven Walter Russell Bowie–“O holy city, seen of John” Julia Cady Cory–“We praise you, O God, our redeemer” Catherine Cameron–“God, who stretched the spangled

heavens;” AUSTRIAN HYMN–Mendelssohn Jane Parker Huber–“Creator God, creating still;” sung to

ST. ANNE Thomas Troeger (texts) and Carol Doran (tunes)

“Silence, frenzied, unclean spirit” “Wind who makes all winds that blow” “O praise the gracious power”

o Roman Catholic Omer Westendorf–“You satisfy the hungry heart”; GIFT

OF FINEST WHEAT (originally BICENTENNIAL)–Robert E. Kreutz

Sister Miriam Therese Winter–“My soul gives glory to my God;” a paraphrase of the Magnificat

William P. Rowan–MANY NAMES for Brian Wren’s “God of many names”

o Other Hymn Writers Bryan Jeffery Leech

Member of the commission that prepared The Covenant Hymnal (1973)

Assistant editor of Hymns for the Family of God (1976)

“We are God’s people,” “Make room within my heart, O God”

- Twentieth-Century Hymnalso African Methodist Episcopal

The AMEC Bicentennial Hymnal (1984)o Assemblies of God

Sing His Praise (1991) Hymns of Glorious Praise (1969)

o Baptist Christian Worship (1941)–jointly compiled by Disciples of

Christ and Northern (now American) Baptist Churches The Hymnbook for Christian Worship (1970)–same as

above Free Will Baptist Hymn Book (1964) The Broadman Hymnal (1940)–for Southern Baptists by

B.B. McKinney The Baptist Hymnal (1956)–ed. W. Hines Sims The Baptist Hymnal (1974)–ed. William J. Reynolds The Baptist Hymnal (1991)–ed. Wesley L. Forbis The New National Baptist Hymnal (1977)

o Christian Reformed Church The Psalter Hymnal (1987)

o Church of Christ Great Songs of the Church and Gospel Songs and Hymns

(1978) Great Songs of the Church, Revised (1986) Praise for the Lord (1992)–ed. John P. Widand; shape-note

o Church of God Worship the Lord: Hymnal of the Church of God (1989)

o Church of God in Christ Yes Lord: Church of God in Christ Hymnal (1982)

o Church of Jesus Christ of Latter-Day Saints (Mormon) Hymns for the Church of Jesus Christ of Latter-Day Saints

(1985)o Church of the Nazarene–authorized 3 of over 40

Glorious Gospel Hymns (1931) Praise and Worship (1953) Worship in Song (1972) Sing to the Lord (1993)

o Covenant The Covenant Hymnal (1973)

o Disciples of Christ The Chalice Hymnal (1995); replaces Hymnbook for

Christian Worshipo Episcopal

The Hymnal (1916), followed the same year by The New Hymnal

The Hymnal 1940 (authorized; published 1943) The Hymnal 1982 Wonder, Love and Praise (1997); supplement to The

Hymnal 1982o Lutheran

Service Book and Hymnal (1958) Lutheran Book of Worship (1978) Lutheran Worship (1982)–Lutheran Church-Missouri

Synod Supplements to the Lutheran Book of Worship

Hymnal Supplement (1991) With One Voice: A Lutheran Resource for Worship

(1995) Christian Worship: A Lutheran Hymnal (1993)

Published for Wisconsin Evangelical Lutheran Synod as successor to their Lutheran Hymnal (1941)

Contains more hymns than the Lutheran Book of Worship or Lutheran Worship

Included 57 chorales with translations by Catherine Winkworth

o Mennonite The Hymnal: A Worshipbook (1992) Worship Together (1995)

o Methodist Methodist Hymnal (1905) The Methodist Hymnal (1935)–ed. Robert G. McCutchan The Methodist Hymnal (1966), later renamed The Book of

Hymns The United Methodist Hymnal (1989)

o Moravian Hymnal and Liturgies of the Moravian Church (1969) Moravian Book of Worship (1995)

o Presbyterian The Hymanl (1933)–PCUSA The Hymnbook (1955)–PCUSA, PCUS, UPCNA, Reformed The Worshipbook (1972)–Cumberland PC, PCUS, UPCUSA The Presbyterian Hymnal (1990); a.k.a. Hymns Psalms,

and Spiritual Songs–PCUSA

Trinity Hymnal–Orthodox PC, PCA; organized around the Westminster Confession

o Reformed Church in America Rejoice in the Lord: A Hymn Companion to the Scriptures

(1985)–ed. Erik Routleyo Roman Catholic

People’s Mass Book (1964 ed., with subsequent editions until 1984)

Gloria and Praise Worship (3rd ed., 1986), Gather (1988; 2nd ed., 1994) RitualSong (1996) Lead Me, Guide Me: The African American Catholic

Hymnal (1987) American Catholic Hymnal (1992) Catholic Book of Worship III (1994)

o Seventh-day Adventist The Church Hymnal (1941) The Seventh-Day Adventist Hymnal (1985)

o Unitarian Hymns for the Celebration of Life (1964) Singing the Living Tradition (1995)

o United Church of Canada The Hymnary (1930) The Hymn Book (1971)–anticipated the union with the

Anglican Church Voices United (1996)

o United Church of Christ The Hymnal of the Evangelical and Reformed Church

(1940) The Pilgrim Hymnal (1958) The Hymnal of the United Church of Christ (1974) The New Century Hymnal (1995)

o Other Hymnals Hymns for the Family of God (1976), ed. Fred Bock Worship His Majesty (1987), ed. Fred Bock The Hymnal for Worship and Celebration (1986), ed. Tom

Fettke The Celebration Hymnal: Songs and Hymns for Worship

(1997), ed. Tom Fettke Hope Publishing Co. Hymnals (all ed. Donald P. Hustad)

Hymns for the Living Church (1974) The Singing Church (1985) The Worshiping Church: A Hymnal (1990)

The New Church Hymnal (1976), ed. Ralph Carmichael

Praise! Our Songs and Hymns (1979)–compiled by John W. Peterson, Norman Johnson

Hymns of Faith (1980) A New Hymnal for Colleges and School (1992), preceded

by Hymnal for Colleges and Schools (1956), published by Yale U. Press

- American Hymnal Companionso Our Hymnody (1937)–Robert G. McCutchan for the 1935

Methodist Hymnalo The Hymnal 1940 Companion (1949)–Leonard Ellinwoodo The Story of Our Hymns (1952)–Armin Haeussler for the 1941

Hymnal of the Evangelical and Reformed Church)o The Handbook to the Lutheran Hymnal (1942)–W.G. Polacko Handbook to the Mennonite Hymnary (1949)–Lester Hostetlero Guide to the Pilgrim Hymnal (1966)–Albert C. Ronander & Ethel

K. Porter (hymnal in 1958)o Companion to the Hymnal (1970)–ed. Emory Stevens Bucke for

the Methodist Book of Hymns (1966)o Companion to the Hymnbook for Christian Worship (1970)–

Arthur N. Wakeo Hymns of Our Faith (1964, for the 1956 Baptist Hymnal),

Companion to Baptist Hymnal (1976, for the 1975 Baptist Hymnal)–William J. Reynolds

o Handbook of American Catholic Hymnals (1976)–J. Vincent Higginson

o Dictionary-Handbook to Hymns for the Living Church (1978)–Donald P. Hustad (hymnal in 1974)

o An English-Speaking Hymnal Guide (1979)–Erik Routley for 26 selected hymnals published from 1906-1975

o Hymnal Companion to the Lutheran Book of Worship (1981)–Marily Kay Stulken

o Sing It Again! A Handbook on the Covenant Hymnal (1985)–J. Irving Erickson

o Handbook to The Baptist Hymnal (1992)–coord. by Hugh McElrath

o Companion to the United Methodist Hymnal (1993)–Carlton R. Young

o The Presbyterian Hymnal Companion (1993)–LindaJo McKimo Companion to the Worshiping Church: A Hymnal (1993)–

Richard J. Stanislaw; used much of Hustad’s material from the earlier Dictionary-Handbook to Hymns for the Living Church

o Hymns and History: An Annotated Survey (1997)–Forrest M. McCann for Great Songs of the Church (C of C)

o The New Century Hymnal Companion (1998)–ed. Kristen Forman

o Hymnal Companion to Worship–Third Edition (1998)–Marily Kay Stulken & Catherine Salika

o Psalter Hymnal Handbook (1998)–ed. Emily Brink & Bert Polman

o The Hymnal 1982 Companion (Vol. 1, 1990; vols. 2, 3A, 3B, 1994)–ed. Robert F. Glover

- The Hymn Society in the United States and Canadao Founded in 1922 in New Yorko Publishes the quarterly journal The Hymno Many of the hymns from the searches done by the Society have

subsequently found their way into hymnals “God has spoken by the prophets”–George W. Briggs “Hope of the world”–Georgia E. Harkness; VICAR–V. Earle

Copes “O Jesus Christ, to thee may hymns be rising”–Bradford

Gray Webster