Hymn

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Arvid Liljelund [de
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Arvid Liljelund  [ de ; fi ; sv ]'s Man Singing Hymn (1884)

A hymn is a type of song, usually religious, specifically written for the purpose of adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification. The word hymn derives from Greek ὕμνος (hymnos), which means "a song of praise". A writer of hymns is known as a hymnodist. The singing or composition of hymns is called hymnody. Collections of hymns are known as hymnals or hymn books. Hymns may or may not include instrumental accompaniment.

Song composition for voice(s)

A song is a musical composition intended to be sung by the human voice. This is often done at distinct and fixed pitches using patterns of sound and silence. Songs contain various forms, such as those including the repetition of sections. Through semantic widening, a broader sense of the word "song" may refer to instrumentals.

Prayer invocation or act that seeks to activate a rapport with a deity

Prayer is an invocation or act that seeks to activate a rapport with an object of worship through deliberate communication. In the narrow sense, the term refers to an act of supplication or intercession directed towards a deity, or a deified ancestor. More generally, prayer can also have the purpose of thanksgiving or praise, and in comparative religion is closely associated with more abstract forms of meditation and with charms or spells.

Deity A supernatural being considered divine or sacred

A deity is a supernatural being considered divine or sacred. The Oxford Dictionary of English defines deity as "a god or goddess ", or anything revered as divine. C. Scott Littleton defines a deity as "a being with powers greater than those of ordinary humans, but who interacts with humans, positively or negatively, in ways that carry humans to new levels of consciousness, beyond the grounded preoccupations of ordinary life". In the English language, a male deity is referred to as a god, while a female deity is referred to as a goddess.

Contents

Although most familiar to speakers of English in the context of Christianity, hymns are also a fixture of other world religions, especially on the Indian subcontinent. Hymns also survive from antiquity, especially from Egyptian and Greek cultures. Some of the oldest surviving examples of notated music are hymns with Greek texts.

Christianity is an Abrahamic monotheistic religion based on the life and teachings of Jesus of Nazareth. Its adherents, known as Christians, believe that Jesus Christ is the Son of God and savior of all people, whose coming as the Messiah was prophesied in the Old Testament and chronicled in the New Testament. It is the world's largest religion with over 2.4 billion followers.

Major religious groups religious movement with major international spread

The world's principal religions and spiritual traditions may be classified into a small number of major groups, although this is by no means a uniform practice. This theory began in the 18th century with the goal of recognizing the relative levels of civility in societies.

Origins

Ancient hymns include the Egyptian Great Hymn to the Aten , composed by Pharaoh Akhenaten; the Hurrian Hymn to Nikkal; the Vedas , a collection of hymns in the tradition of Hinduism; and the Psalms, a collection of songs from Judaism. The Western tradition of hymnody begins with the Homeric Hymns, a collection of ancient Greek hymns, the oldest of which were written in the 7th century BC, praising deities of the ancient Greek religions. Surviving from the 3rd century BC is a collection of six literary hymns (Ὕμνοι) by the Alexandrian poet Callimachus.

Ancient Egyptian religion was a complex system of polytheistic beliefs and rituals that formed an integral part of ancient Egyptian society. It centered on the Egyptians' interaction with many deities believed to be present in, and in control of, the world. Rituals such as prayer and offerings were provided to the gods to gain their favor. Formal religious practice centered on the pharaoh, the rulers of Egypt, believed to possess a divine power by virtue of their position. They acted as intermediaries between their people and the gods, and were obligated to sustain the gods through rituals and offerings so that they could maintain Ma'at, the order of the cosmos. The state dedicated enormous resources to Egyptian rituals and to the construction of the temples.

Great Hymn to the Aten literary work

The Great Hymn to the Aten is the longest of one of a number of hymn-poems written to the sun-disk deity Aten. Composed in the middle of the 14th century BC, it is attributed to the 18th dynasty Pharaoh Akhenaten, who radically changed traditional forms of Egyptian religion by replacing them with Atenism.

Pharaoh Title of Ancient Egyptian rulers

Pharaoh is the common title of the monarchs of ancient Egypt from the First Dynasty until the annexation of Egypt by the Roman Empire in 30 BCE, although the actual term "Pharaoh" was not used contemporaneously for a ruler until Merneptah, c. 1200 BCE. In the early dynasty, ancient Egyptian kings used to have up to three titles, the Horus, the Sedge and Bee (nswt-bjtj) name, and the Two Ladies (nbtj) name. The Golden Horus and nomen and prenomen titles were later added.

Patristic writers began applying the term ὕμνος, or hymnus in Latin, to Christian songs of praise, and frequently used the word as a synonym for "psalm". [1]

Church Fathers group of people who were ancient influential Christian theologians

The Church Fathers, Early Church Fathers, Christian Fathers, or Fathers of the Church were ancient and influential Christian theologians and writers. There is no definitive list. The era of these scholars who set the theological and scholarly foundations of Christianity largely ended by AD 700.

Latin Indo-European language of the Italic family

Latin is a classical language belonging to the Italic branch of the Indo-European languages. The Latin alphabet is derived from the Etruscan and Greek alphabets and ultimately from the Phoenician alphabet.

Psalms Book of the Bible

The Book of Psalms, commonly referred to simply as Psalms or "the Psalms", is the first book of the Ketuvim ("Writings"), the third section of the Hebrew Bible, and thus a book of the Christian Old Testament. The title is derived from the Greek translation, ψαλμοί, psalmoi, meaning "instrumental music" and, by extension, "the words accompanying the music". The book is an anthology of individual psalms, with 150 in the Jewish and Western Christian tradition and more in the Eastern Christian churches. Many are linked to the name of David, but his authorship is not accepted by modern scholars.

Christian hymnody

Originally modeled on the Book of Psalms and other poetic passages (commonly referred to as "canticles") in the Scriptures, Christian hymns are generally directed as praise to the Christian God. Many refer to Jesus Christ either directly or indirectly.

A canticle is a hymn, psalm or other Christian song of praise with lyrics taken from biblical or holy texts other than the Psalms.

God in Christianity is the eternal being who created and preserves all things. Christians believe God to be both transcendent and immanent. Christian teachings of the immanence and involvement of God and his love for humanity exclude the belief that God is of the same substance as the created universe but accept that God's divine nature was hypostatically united to human nature in the person of Jesus Christ, in an event known as the Incarnation.

Since the earliest times, Christians have sung "psalms and hymns and spiritual songs", both in private devotions and in corporate worship (Matthew 26:30; Mark 14:26; Acts 16:25; 1 Cor 14:26; Ephesians 5:19; Colossians 3:16; James 5:13; cf. Revelation 5:8–10; Revelation 14:1–5).

Non-scriptural hymns (i.e. not psalms or canticles) from the Early Church still sung today include 'Phos Hilaron', 'Sub tuum praesidium', and 'Te Deum'.

One definition of a hymn is "...a lyric poem, reverently and devotionally conceived, which is designed to be sung and which expresses the worshipper's attitude toward God or God's purposes in human life. It should be simple and metrical in form, genuinely emotional, poetic and literary in style, spiritual in quality, and in its ideas so direct and so immediately apparent as to unify a congregation while singing it." [2]

Christian hymns are often written with special or seasonal themes and these are used on holy days such as Christmas, Easter and the Feast of All Saints, or during particular seasons such as Advent and Lent. Others are used to encourage reverence for the Bible or to celebrate Christian practices such as the eucharist or baptism. Some hymns praise or address individual saints, particularly the Blessed Virgin Mary; such hymns are particularly prevalent in Catholicism, Eastern Orthodoxy and to some extent High Church Anglicanism.

A writer of hymns is known as a hymnodist, and the practice of singing hymns is called hymnody; the same word is used for the collectivity of hymns belonging to a particular denomination or period (e.g. "nineteenth century Methodist hymnody" would mean the body of hymns written and/or used by Methodists in the 19th century). A collection of hymns is called a hymnal or hymnary. These may or may not include music. A student of hymnody is called a hymnologist, and the scholarly study of hymns, hymnists and hymnody is hymnology. The music to which a hymn may be sung is a hymn tune.

In many Evangelical churches, traditional songs are classified as hymns while more contemporary worship songs are not considered hymns. The reason for this distinction is unclear, but according to some it is due to the radical shift of style and devotional thinking that began with the Jesus movement and Jesus music. Of note, in recent years, Christian traditional hymns have seen a revival in some churches, usually more Reformed or Calvinistic in nature, as modern hymn writers such as Keith and Kristyn Getty [3] and Sovereign Grace Music have reset old lyrics to new melodies, revised old hymns and republished them, or simply written a song in accordance with Christian hymn standards [according to whom?] such as the hymn, In Christ Alone . [4]

Music and accompaniment

In ancient and medieval times, string instruments such as the harp, lyre and lute were used with psalms and hymns.

Since there is a lack of musical notation in early writings, [5] the actual musical forms in the early church can only be surmised. During the Middle Ages a rich hymnody developed in the form of Gregorian chant or plainsong. This type was sung in unison, in one of eight church modes, and most often by monastic choirs. While they were written originally in Latin, many have been translated; a familiar example is the 4th century Of the Father's Heart Begotten sung to the 11th century plainsong Divinum Mysterium.

Western church

Hymns are often accompanied by organ music St Paul's Cathedral South Organ, London, UK - Diliff.jpg
Hymns are often accompanied by organ music

Later hymnody in the Western church introduced four-part vocal harmony as the norm, adopting major and minor keys, and came to be led by organ and choir. It shares many elements with classical music.

Today, except for choirs, more musically inclined congregations and a cappella congregations, hymns are typically sung in unison. In some cases complementary full settings for organ are also published, in others organists and other accompanists are expected to transcribe the four-part vocal score for their instrument of choice.

To illustrate Protestant usage, in the traditional services and liturgies of the Methodist churches, which are based upon Anglican practice, hymns are sung (often accompanied by an organ) during the processional to the altar, during the receiving of communion, during the recessional, and sometimes at other points during the service. These hymns can be found in a common book such as the United Methodist Hymnal. The Doxology is also sung after the tithes and offerings are brought up to the altar.

Contemporary Christian worship, as often found in Evangelicalism and Pentecostalism, may include the use of contemporary worship music played with electric guitars and the drum kit, sharing many elements with rock music.

Other groups of Christians have historically excluded instrumental accompaniment, citing the absence of instruments in worship by the church in the first several centuries of its existence, and adhere to an unaccompanied a cappella congregational singing of hymns. These groups include the 'Brethren' (often both 'Open' and 'Exclusive'), the Churches of Christ, Mennonites, several Anabaptist-based denominations—such as the Apostolic Christian Church of AmericaPrimitive Baptists, and certain Reformed churches, although during the last century or so, several of these, such as the Free Church of Scotland have abandoned this stance.

Eastern church

Eastern Christianity (the Eastern Orthodox, Oriental Orthodox and Eastern Catholic churches) has a variety of ancient hymnographical traditions.

Byzantine chant is almost always a cappella, and instrumental accompaniment is rare. It is used to chant all forms of liturgical worship.

Instruments are common in Oriental traditions. The Coptic tradition which makes use of the cymbals and the Triangle (musical instrument). The Indian Orthodox (Malankara Orthodox Syrian Church) use of the organ. The Tewahedo Churches use drums, cymbals and other instruments on certain occasions.

Development of Christian hymnody

Thomas Aquinas, in the introduction to his commentary on the Psalms, defined the Christian hymn thus: "Hymnus est laus Dei cum cantico; canticum autem exultatio mentis de aeternis habita, prorumpens in vocem." ("A hymn is the praise of God with song; a song is the exultation of the mind dwelling on eternal things, bursting forth in the voice.") [6]

The Protestant Reformation resulted in two conflicting attitudes towards hymns. One approach, the regulative principle of worship, favoured by many Zwinglians, Calvinists and some radical reformers, considered anything that was not directly authorised by the Bible to be a novel and Catholic introduction to worship, which was to be rejected. All hymns that were not direct quotations from the Bible fell into this category. Such hymns were banned, along with any form of instrumental musical accompaniment, and organs were removed from churches. Instead of hymns, biblical psalms were chanted, most often without accompaniment, to very basic melodies. This was known as exclusive psalmody. Examples of this may still be found in various places, including in some of the Presbyterian churches of western Scotland.

The other Reformation approach, the normative principle of worship, produced a burst of hymn writing and congregational singing. Martin Luther is notable not only as a reformer, but as the author of many hymns including "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"), which is sung today even by Catholics, and "Gelobet seist du, Jesu Christ" ("Praise be to You, Jesus Christ") for Christmas. Luther and his followers often used their hymns, or chorales, to teach tenets of the faith to worshipers. The first Protestant hymnal was published in Bohemia in 1532 by the Unitas Fratrum. Count Zinzendorf, the Lutheran leader of the Moravian Church in the 18th century wrote some 2,000 hymns. The earlier English writers tended to paraphrase biblical texts, particularly Psalms; Isaac Watts followed this tradition, but is also credited as having written the first English hymn which was not a direct paraphrase of Scripture. [7] Watts (1674–1748), whose father was an Elder of a dissenter congregation, complained at age 16, that when allowed only psalms to sing, the faithful could not even sing about their Lord, Christ Jesus. His father invited him to see what he could do about it; the result was Watts' first hymn, "Behold the glories of the Lamb". [8] Found in few hymnals today, the hymn has eight stanzas in common meter and is based on Revelation 5:6, 8, 9, 10, 12. [9]

Relying heavily on Scripture, Watts wrote metered texts based on New Testament passages that brought the Christian faith into the songs of the church. Isaac Watts has been called "the father of English hymnody", but Erik Routley sees him more as "the liberator of English hymnody", because his hymns, and hymns like them, moved worshipers beyond singing only Old Testament psalms, inspiring congregations and revitalizing worship. [10]

Later writers took even more freedom, some even including allegory and metaphor in their texts.

Charles Wesley's hymns spread Methodist theology, not only within Methodism, but in most Protestant churches. He developed a new focus: expressing one's personal feelings in the relationship with God as well as the simple worship seen in older hymns. Wesley wrote:

Where shall my wondering soul begin?
How shall I all to heaven aspire?
A slave redeemed from death and sin,
A brand plucked from eternal fire,
How shall I equal triumphs raise,
Or sing my great deliverer's praise.

Wesley's contribution, along with the Second Great Awakening in America led to a new style called gospel, and a new explosion of sacred music writing with Fanny Crosby, Lina Sandell, Philip Bliss, Ira D. Sankey, and others who produced testimonial music for revivals, camp meetings, and evangelistic crusades. The tune style or form is technically designated "gospel songs" as distinct from hymns. Gospel songs generally include a refrain (or chorus) and usually (though not always) a faster tempo than the hymns. As examples of the distinction, "Amazing Grace" is a hymn (no refrain), but "How Great Thou Art" is a gospel song. During the 19th century, the gospel-song genre spread rapidly in Protestantism and to a lesser but still definite extent, in Roman Catholicism; the gospel-song genre is unknown in the worship per se by Eastern Orthodox churches, which rely exclusively on traditional chants (a type of hymn).

The Methodist Revival of the 18th century created an explosion of hymn-writing in Welsh, which continued into the first half of the 19th century. The most prominent names among Welsh hymn-writers are William Williams Pantycelyn and Ann Griffiths. The second half of the 19th century witnessed an explosion of hymn tune composition and congregational four-part singing in Wales. [11]

Along with the more classical sacred music of composers ranging from Mozart to Monteverdi, the Catholic Church continued to produce many popular hymns such as Lead, Kindly Light, Silent Night, O Sacrament Divine and Faith of our Fathers.

Many churches today use contemporary worship music which includes a range of styles often influenced by popular music. This often leads to some conflict between older and younger congregants (see contemporary worship). This is not new; the Christian pop music style began in the late 1960s and became very popular during the 1970s, as young hymnists sought ways in which to make the music of their religion relevant for their generation.

This long tradition has resulted in a wide variety of hymns. Some modern churches include within hymnody the traditional hymn (usually describing God), contemporary worship music (often directed to God) and gospel music (expressions of one's personal experience of God). This distinction is not perfectly clear; and purists remove the second two types from the classification as hymns. It is a matter of debate, even sometimes within a single congregation, often between revivalist and traditionalist movements.

American developments

African-Americans developed a rich hymnody from spirituals during times of slavery to the modern, lively black gospel style. The first influences of African American Culture into hymns came from Slave Songs of the United States a collection of slave hymns compiled by William Francis Allen who had difficulty pinning them down from the oral tradition, and though he succeeded, he points out the awe inspiring effect of the hymns when sung in by their originators. [12]

Hymn writing, composition, performance and the publishing of Christian hymnals were prolific in the 19th-century and were often linked to the abolitionist movement by many hymn writers. Surprisingly, Stephen Foster wrote a number of hymns that were used during church services during this era of publishing.

Thomas Symmes[ clarification needed ] spread throughout churches a new idea of how to sing hymns, in which anyone could sing a hymn any way they felt led to; this idea was opposed by the views of Symmes' colleagues[ who? ] who felt it was "like Five Hundred different Tunes roared out at the same time".[ citation needed ] William Billings, a singing school teacher, created the first tune book with only American born compositions. Within his books, Billings did not put as much emphasis on "common measure"[ clarification needed ] which was the typical way hymns were sung, but he attempted "to have a Sufficiency in each measure"[ clarification needed ]. Boston's Handel and Haydn Society aimed at raising the level of church music in America, publishing their "Collection of Church Music".[ when? ] In the late 19th century Ira D. Sankey and Dwight L. Moody developed the relatively new subcategory of gospel hymns. [13]

Earlier in the 19th century, the use of musical notation, especially shape notes, exploded in America, and professional singing masters went from town to town teaching the population how to sing from sight, instead of the more common lining out that had been used before that. During this period hundreds of tune books were published, including B.F. White's Sacred Harp , and earlier works like the Missouri Harmony, Kentucky Harmony , Hesperian Harp, D.H. Mansfield's The American Vocalist, The Social Harp, the Southern Harmony , William Walker's Christian Harmony , Jeremiah Ingalls' Christian Harmony, and literally many dozens of others. Shape notes were important in the spread of (then) more modern singing styles, with tenor-led 4-part harmony (based on older English West Gallery music), fuging sections, anthems and other more complex features. During this period, hymns were incredibly popular in the United States, and one or more of the above-mentioned tunebooks could be found in almost every household. It isn't uncommon to hear accounts of young people and teenagers gathering together to spend an afternoon singing hymns and anthems from tune books, which was considered great fun, and there are surviving accounts of Abraham Lincoln and his sweetheart singing together from the Missouri Harmony during his youth.

By the 1860s musical reformers like Lowell Mason (the so-called "better music boys") were actively campaigning for the introduction of more "refined" and modern singing styles, and eventually these American tune books were replaced in many churches, starting in the Northeast and urban areas, and spreading out into the countryside as people adopted the gentler, more soothing tones of Victorian hymnody, and even adopted dedicated, trained choirs to do their church's singing, rather than having the entire congregation participate. But in many rural areas the old traditions lived on, not in churches, but in weekly, monthly or annual conventions were people would meet to sing from their favorite tunebooks. The most popular one, and the only one that survived continuously in print, was the Sacred Harp , which could be found in the typical rural Southern home right up until the living tradition was "re-discovered" by Alan Lomax in the 1960s (although it had been well-documented by musicologist George Pullen Jackson prior to this). Indeed, "the most common book on . Since then there has been a renaissance in "Sacred Harp singing", with annual conventions popping up in all 50 states and in a number of European countries recently, including the UK, Germany, Ireland and Poland, as well as in Australia. [14] [15] [16] Today "Sacred Harp singing" is a vibrant and living tradition with thousands of enthusiastic participants all around the globe, drawn to the democratic principles of the tradition and exotic, beautiful sound of the music. Although the lyrics tend to be highly religious in nature, the tradition is largely secular, and participation if open to all who care to attend. [17]

Hymn meters

The meter indicates the number of syllables for the lines in each stanza of a hymn. This provides a means of marrying the hymn's text with an appropriate hymn tune for singing. In practice many hymns conform to one of a relatively small number of meters (syllable count and stress patterns). Care must be taken, however, to ensure that not only the metre of words and tune match, but also the stresses on the words in each line. Technically speaking an iambic tune, for instance, cannot be used with words of, say, trochaic metre.

The meter is often denoted by a row of figures besides the name of the tune, such as "87.87.87", which would inform the reader that each verse has six lines, and that the first line has eight syllables, the second has seven, the third line eight, etc. The meter can also be described by initials; L.M. indicates long meter, which is 88.88 (four lines, each eight syllables long); S.M. is short meter (66.86); C.M. is common metre (86.86), while D.L.M., D.S.M. and D.C.M. (the "D" stands for double) are similar to their respective single meters except that they have eight lines in a verse instead of four. [18]

Also, if the number of syllables in one verse differ from another verse in the same hymn (e.g., the hymn "I Sing a Song of the Saints of God"), the meter is called Irregular.

Sikh hymnody

The Sikh holy book, the Guru Granth Sahib Ji (Punjabi : ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬPunjabi pronunciation:  [ɡʊɾu ɡɾəntʰ sɑhɪb] ), is a collection of hymns (Shabad) or Gurbani describing the qualities of God [19] and why one should meditate on God's name. The Guru Granth Sahib is divided by their musical setting in different ragas [20] into fourteen hundred and thirty pages known as Angs (limbs) in Sikh tradition. Guru Gobind Singh (1666–1708), the tenth guru, after adding Guru Tegh Bahadur's bani to the Adi Granth [21] [22] affirmed the sacred text as his successor, elevating it to Guru Granth Sahib. [23] The text remains the holy scripture of the Sikhs, regarded as the teachings of the Ten Gurus. [24] The role of Guru Granth Sahib, as a source or guide of prayer, [25] is pivotal in Sikh worship.

See also

Related Research Articles

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Shape note

Shape notes are a music notation designed to facilitate congregational and community singing. The notation, introduced in late 18th century England, became a popular teaching device in American singing schools. Shapes were added to the note heads in written music to help singers find pitches within major and minor scales without the use of more complex information found in key signatures on the staff.

<i>Love Divine, All Loves Excelling</i> Christian hymn by Charles Welsey

Love Divine, All Loves Excelling is a Christian hymn by Charles Wesley with a theme of "Christian perfection." Judging by general repute, it is among Wesley's finest: "justly famous and beloved, better known than almost any other hymn of Charles Wesley." Judging by its distribution, it is also among his most successful: by the end of the 19th century, it is found in 15 of the 17 hymn books consulted by the authors of Lyric Studies. On a larger scale, it is found almost universally in general collections of the past century, including not only Methodist and Anglican hymn books and commercial and ecumenical collections, but also hymnals published by Reformed, Presbyterian, Baptist, Brethren, Seventh-day Adventist, Lutheran, Congregationalist, Pentecostal, and Roman Catholic traditions, among others including the Churches of Christ. Specifically, it appears in 1,328 of the North American hymnals indexed by the online Dictionary of North American Hymnology, comparable to Newton's "Amazing Grace" (1,036), Wesley's "O for a Thousand Tongues" (1,249), and Watts' "When I Survey the Wondrous Cross" (1,483), though still well short of Toplady's "Rock of Ages" (2,139) or Wesley's own "Jesu, Lover of my Soul" (2,164).

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Metrical psalter kind of Bible translation: book containing a metrical translation of all or part of the Book of Psalms in vernacular poetry, meant to be sung as hymns in a church

A metrical psalter is a kind of Bible translation: a book containing a metrical translation of all or part of the Book of Psalms in vernacular poetry, meant to be sung as hymns in a church. Some metrical psalters include melodies or even harmonizations. The composition of metrical psalters was a large enterprise of the Protestant Reformation, especially in its Calvinist manifestation.

Anglican church music

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Church music music mainly written for performance in Christian service facilities

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Christ the Lord Is Risen Today Christian hymn, Easter song by Charles Wesley

"Christ the Lord Is Risen Today" is a Christian hymn associated with Easter. Most of the stanzas were written by Charles Wesley, and the hymn appeared under the title "Hymn for Easter Day" in Hymns and Sacred Poems by Charles and John Wesley in 1739. The hymn eventually became well known for its repetitive "Alleluias" sung after each line, which were added by an unknown author to fit the commonly used hymn tune of "Easter Day". It remains a traditional processional hymn on Easter Sunday.

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Exclusive psalmody

Exclusive psalmody is the practice of singing only the biblical Psalms in congregational singing as worship. Today it is practised by several Protestant, especially Reformed denominations. Hymns besides the Psalms have been composed by Christians since the earliest days of the church, but psalms were preferred by the early church and used almost exclusively until the end of the fourth century. During the Protestant Reformation, Martin Luther and many other reformers, including those associated with the Reformed tradition, used hymns as well as psalms, but John Calvin preferred the Psalms and they were the only music allowed for worship in Geneva. This became the norm for the next 200 years of Reformed worship. Hymnody became acceptable again for the Reformed in the middle of the nineteenth century, though several denominations, notably the Reformed Presbyterians, continue the practice of exclusive psalmody.

Namdev Bhakti sant-poet of Hinduism

Namdev, also transliterated as Nam Dayv, Namdeo, Namadeva, was an Indian poet and saint from Maharashtra, India who is significant to the Varkari sect of Hinduism. Bhagat Namdev's writings were also recognized by the "Gurus" of Sikhism and are included in the holy book of Sikhism, the Sri Guru Granth Sahib. Namdev worship lord Vitthal that is one of the name of lord Vishnu. Also other Hindu warrior-ascetic traditions such as the Dadupanthis and the Niranjani Sampraday that emerged in north India during the Islamic rule.

Hymn tune musical setting of a Christian hymn; the melody of a musical composition to which a hymn text is sung

A hymn tune is the melody of a musical composition to which a hymn text is sung. Musically speaking, a hymn is generally understood to have four-part harmony, a fast harmonic rhythm, and no refrain or chorus.

Hymnology is the scholarly study of religious song, or the hymn, in its many aspects, with particular focus on choral and congregational song. It may be more or less clearly distinguished from hymnody, the creation and practice of such song. Hymnologists, such as Erik Routley, may study the history and origins of hymns and of traditions of sung worship, the biographies of the women and men who have written hymns that have passed into choral or congregational use, the interrelationships between text and tune, the historical processes, both folk and redactional, that have changed hymn texts and hymn tunes over time, and the sociopolitical, theological and aesthetic arguments concerning various styles of sung worship.

Lining out or hymn lining, called precenting the line in Scotland, is a form of a cappella hymn-singing or hymnody in which a leader, often called the clerk or precentor, gives each line of a hymn tune as it is to be sung, usually in a chanted form giving or suggesting the tune. It can be considered a form of call and response. First referred to as "the old way of singing" in eighteenth-century Britain, it has influenced twentieth century popular music singing styles.

What Wondrous Love Is This

"What Wondrous Love Is This" is a Christian folk hymn, sometimes described as a "white spiritual", from the American South. Its text was first published in 1811, during the Second Great Awakening, and its melody derived from a popular English ballad. Today it is a widely known hymn included in hymnals of many Christian denominations.

Lo! He comes with clouds descending hymn by John Cennick and Charles Wesley

"Lo! He Comes with Clouds Descending" is a hymn with a text by John Cennick (1718–1755) and Charles Wesley (1707–1788). Most commonly sung at Advent, the hymn derives its theological content from the Book of Revelation relating imagery of the Day of Judgment. Considered one of the "Great Four Anglican Hymns" in the 19th century, it is most commonly sung to the tune Helmsley, first published in 1763.

Hymnody in continental Europe developed from early liturgical music, especially Gregorian chant. Music became more complicated as embellishments and variations were added, along with influences from secular music. Although vernacular leisen and vernacular or mixed-language Carol (music) were sung in the Middle Ages, more vernacular hymnody emerged during the Protestant Reformation, although ecclesiastical Latin continued to be used after the Reformation. Since then, developments have shifted between isorhythmic, homorhythmic, and more rounded musical forms with some lilting. Theological underpinnings influenced the narrative point of view used, with Pietism especially encouraging the use of the first person singular. In the last several centuries, many songs from Evangelicalism have been translated from English into German.

References

  1. Entry on ὕμνος, Liddell and Scott, A Greek-English Lexicon (Oxford: Clarendon Press, 8th edition 1897, 1985 printing), p. 1849; entry on 'hymnus,' Lewis and Short, A Latin Dictionary (Oxford: Clarendon Press 1879, 1987 printing), p. 872.
  2. Eskew; McElrath (1980). Sing with Understanding, An Introduction to Christian Hymnology. ISBN   0-8054-6809-9.
  3. "In praise of hymns" . Retrieved 2017-05-18.
  4. Songs of faith , retrieved 2017-05-18
  5. Entry on "Hymn: 4. Hymn Sources and Transmission," Warren Anderson, et al. Grove Music Online (2007–2009) (subscription required).
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  8. Routley, Erik (1980). Christian Hymns, An Introduction to Their Story (Audio Book). Princeton: Prestige Publications, Inc. p. Part 7, "Isaac Watts, the Liberator of English Hymnody".
  9. Routley and Richardson (1979). A Panorama of Christian Hymnody. Chicago: G.I.A. Publications, Inc. pp. 40–41. ISBN   1-57999-352-4.
  10. Christian Hymns, An Introduction to Their Story (Audio Book) op. cit. p. Part 7, "Isaac Watts, the Liberator of English Hymnody".
  11. E. Wyn James, 'The Evolution of the Welsh Hymn', in Dissenting Praise, ed. I. Rivers & D. L. Wykes (Oxford University Press, 2011); E. Wyn James, 'Popular Poetry, Methodism, and the Ascendancy of the Hymn', in The Cambridge History of Welsh Literature, ed. Geraint Evans & Helen Fulton (Cambridge University Press, 2019); E. Wyn James, ‘German Chorales and American Songs and Solos: Contrasting Chapters in Welsh Congregational Hymn-Singing’, The Bulletin of the Hymn Society of Great Britain and Ireland, No. 295, Vol. 22:2 (Spring 2018), 43–53.
  12. Music, David. Hymnology A Collection of Source Readings. 1. 1. Lanham MD: Scarecrow Press, Inc., 1996. 179/185-186/192/199/206. Print.
  13. Music, David. Hymnology A Collection of Source Readings. 1. 1. Lanham MD: Scarecrow Press, Inc., 1996.
  14. "Sacred Harp Bremen". www.sacredharpbremen.org. Retrieved 2018-01-04.
  15. Macadam, Edwin and Sheila. "Welcome". www.ukshapenote.org.uk. Retrieved 2018-01-04.
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  17. "fasola.org – Sacred Harp and Shape Note singing". www.fasola.org. Retrieved 2018-01-04.
  18. Children's Britannica. Volume 9 (Revised 3rd ed.). 1981. pp. 166–167.
  19. Penney, Sue. Sikhism. Heinemann. p. 14. ISBN   0-435-30470-4.
  20. Brown, Kerry (1999). Sikh Art and Literature. Routledge. p. 200. ISBN   0-415-20288-4.
  21. Ganeri, Anita (2003). The Guru Granth Sahib and Sikhism. Black Rabbit Books. p. 13.
  22. Kapoor, Sukhbir (2005). Guru Granth Sahib an Advance Study. Hemkunt Press. p. 139.
  23. Partridge, Christopher Hugh (2005). Introduction to World Religions. p. 223.
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  25. Singh, Kushwant (2005). A history of the sikhs. Oxford University Press. ISBN   0-19-567308-5.

Further reading

The links below are restricted to either material that is historical or resources that are non-denominational or inter-denominational. Denomination-specific resources are mentioned from the relevant denomination-specific articles.