The only sourcebook that provides information necessary to make "Gospel Hymns Nos. 1 to 6 Complete" a useful research tool and an aid to the study of popular culture in the United States during the last half of the 19th century. For the first time, students and scholars will have access, in a single source, to biographical, historical, and bibliographical data concerning the writers of the hymn texts, the composers of the hymn tunes, and the various routes by which the hymns found their way onto the pages of that large collection of gospel and traditional hymnody. DEGREES"Gospel Hymns Nos. 1 to 6 Complete" contains 739 songs gathered from a series of six earlier published works.

The data in this volume will add to the breadth and depth of "Gospel Hymns Nos. 1 to 6 Complete" and thus, for the first time, identify the significance of its contributions to the history of American culture. A strong introduction establishes the historical significance of the collection of gospel hymns and songs. The entries for both the authors of the words and the composers of the music are arranged alphabetically, followed by the dates of birth and death (if known), a biographical sketch, and references to the number of the hymn, its title, first line, and accompanying tune. Dates of composition and initial publication are included where possible.

Of the many hymnbooks published by John and Charles Wesley, the most important was A Collection of Hymns for the Use of the People Called Methodists (1780). Taking this volume as a case study and concentrating on the Charles Wesley hymns included in it, Teresa Berger clarifies the relationship between the language of doxology of worship and praise of God and the substance of theological reflection. She identifies the central theological themes and emphases in this body of hymnody, and raises the question of how theology can be embodied in hymns. Central to her argument is the claim that the theological analysis of doxological material is possible only when it takes care to recognize and safeguard the characteristics, the criteria of authenticity, and the tests of authority and legitimacy peculiar to doxological language. Part One of the book sets the whole discussion within the context of a renewed interest in doxological and liturgical traditions across Christianity by showing how the relationship of doxology and theology is an important topic of theological discussion in Roman Catholic, Protestant, Orthodox, and ecumenical circles. Part Two is devoted to a thorough theological analysis of the central themes and images of the 1780 Collection. Part Three attempts to clarify the nature of doxology in its relation to theology.

This readable, practical, classic work covers every aspect of church music from congregational singing to the roles of the choir and church organist, how to select a hymnal, how to plan a worship service with music, and much more. Only by knowing these things can the minister, choir director, organist, and music committee together create worship services that lead to the Christian growth of their congregation, small or large.

Charles Wesley is widely remembered as a significant hymn-writer, especially among Methodists, but he is not often regarded either as a major poet or as an important theologian. He quite often takes second place to his more famous elder brother, John, and frequently disappears in the face of John's role as leader of "the people called Methodists." This volume attempts to rectify these unfortunate misconceptions by demonstrating that Charles Wesley is a figure of primary literary significance in the history of English religious poetry. It also seeks to show that Charles Wesley was a theologian of considerable depth and creativity, and to place his work in the context of a variety of church traditions. The essays in this volume originated in papers presented to the Charles Wesley Publication Colloquium, held at the Center of Theological Inquiry in Princeton, NJ, in the fall of 1989.

Contains 825 items from around the world - both hymns and psalms - and includes indexes to First Lines and authors for easy reference.

Un o gyfrolau mwyaf dadleuol yr ugeinfed ganrif yw Williams Pantycelyn gan Saunders Lewis, ac ymhlith yr astudiaethau beirniadol mwyaf cynhyrfus i ymddangos erioed yn y Gymraeg. Cynigiodd y gyfrol ffordd newydd i ddehongli athrylith yr emynydd o Bantycelyn, a thrwy hynny sefydlu enw Saunders Lewis fel beirniad mwyaf beiddgar a chreadigol ei genhedlaeth. Er mwyn nodi trichanmlwyddiant geni'r emynydd yn 2017, mae Gwasg Prifysgol Cymru yn ailgyhoeddi'r gyfrol; mewn rhagymadrodd helaeth i'r cyhoeddiad newydd, mae D. Densil Morgan yn dadansoddi cynnwys y gwaith, ei dafoli'n feirniadol ac yn olrhain ei ddylanwad ar y meddwl Cymreig o'i gyhoeddi yn 1927 hyd heddiw. Mae'n ddathliad deublyg o greadigrwydd Saunders Lewis ac o gyfraniad aruthrol y Per Ganiedydd i waddol y diwylliant cenedlaethol.

A monograph on the German Lutheran hymn writer Paul Gerhardt (1607-1676).

This collection is an inexpensive, words-only edition of favorite hymns and songs from "El Himnario, " together with translations of other hymns that are familiar to Hispanic congregations.

The full-music edition of "El Himnario" was an ecumenical project sponsored by the Episcopal Church and several other mainline denominations. It is available for use by musicians who accompany worship.

Drawing on his decades of experience as a pastor, hymn writer, and hymnal consultant, Fred Anderson here offers pastors and worship leaders a rich treasury of singable psalms - one for each psalm text or canticle appointed in the three-year Revised Common Lectionary. Anderson renders each psalm into metered text, using contemporary, biblical, inclusive language, and suggests appropriate pairings with familiar hymn tunes. Short pastoral reflections on each psalm text provide background on what is being sung - and are also useful for sermon preparation and personal meditation.

Since 1892, Harvard University, like many distinguished academic institutions, has compiled a hymnal for use in its own worship services. The fourth edition of "The Harvard University Hymn Book" represents the culmination of a ten-year process of revision and re-creation based on the 1964 third edition. Containing over 370 hymns, over 100 more than its predecessor, the book includes many that have become a regular part of worship at The Memorial Church in the years since the publication of the previous edition.

In addition to many familiar hymns old and new, the fourth edition includes selections that were unique to the previous editions, hymns previously unpublished, and other noteworthy "discoveries" that have not appeared in print for many years.

Isaac Watts was an important but relatively unexamined figure and this volume offers a description of his theology, specifically identifying his position on reason and passion as foundational. The book shows how Watts modified a Puritan inherence on both topics in the light of the thought of his day. In particular there is an examination of how he both took on board and reacted against aspects of Enlightenment and sentimentalist thought. Watts' position on these foundational issued of reason and passion are then shown to lie behind his more practical works to revive the church. Graham Beynon examines the motivation for Watts' work in writing hymns, and the way in which he wrote them; and discusses his preaching and prayer. In each of these practical topics Watts's position is compared to earlier Puritans to show the difference his thinking on reason and passion makes in practice. Isaac Watts is shown to have a coherent position on the foundational issues of reason and passion which drove his view of revival of religion.

From the very beginning in the 1770s, singing was an important part of the worship services of the Shakers, formally known as the United Society of Believers in Christ's Second Appearing. Yet until the early nineteenth century, nearly all Shaker songs were wordless - expressed in unknown tongues or as enthusiastic vocalizations. Only when Shaker missionaries moved west into Ohio and Kentucky did they begin composing hymn texts, chiefly as a means of conveying the sect's unconventional religious ideas to new converts.In 1812-13, the Shakers published their first hymnal. This venture, titled ""Millennial Praises"", included the texts without music for one hundred and forty hymns and elucidated the radical and feminist theology of the Shakers, neatly distilled in verse. This scholarly edition of the hymnal joins the texts to original Shaker tunes for the first time. One hundred and twenty-six of the tunes preserved in the Society's manuscript humnals have been transcribed from Shaker musical notation into modern standard notation, thus opening this important religious and folk repertoire to modern scholars. Many texts are presented with a wide range of variant tunes from Shaker communities in New England, New York, Ohio, and Kentucky.Introductory essays by volume editors Christian Goodwillie and Jane F. Crosthwaite place ""Millennial Praises"" in the context of Shaker history and offer a thorough explication of the Society's theology. They track the use of the hymnal from the point of publication up to the present day, beginning with the use of the hymns by both Shaker missionaries and anti-Shaker apostates and ending with the current use of the hymns by the last remaining Shaker family at Sabbathday Lake, Maine.The volume includes a CD of historical recordings of six Shaker songs by Brother Ricardo Belden, the last member of the Society at Hancock Shaker Village.

This book, a milestone in American music scholarship, is the first to take a close look at an important and little-studied component of African American music, one that has roots in Europe, but was adapted by African American congregations and went on to have a profound influence on music of all kinds--from gospel to soul to jazz. "Lining out," also called Dr. Watts hymn singing, refers to hymns sung to a limited selection of familiar tunes, intoned a line at a time by a leader and taken up in turn by the congregation. From its origins in seventeenth-century England to the current practice of lining out among some Baptist congregations in the American South today, William Dargan's study illuminates a unique American music genre in a richly textured narrative that stretches from Isaac Watts to Aretha Franklin and Ornette Coleman.
"Lining Out the Word "traces the history of lining out from the time of slavery, when African American slaves adapted the practice for their own uses, blending it with other music, such as work songs. Dargan explores the role of lining out in worship and pursues the cultural implications of this practice far beyond the limits of the church, showing how African Americans wove African and European elements together to produce a powerful and unique cultural idiom. Drawing from an extraordinary range of sources--including his own fieldwork and oral sources--Dargan offers a compelling new perspective on the emergence of African American music in the United States.
"Copub: Center for Black Music Research"

An Annotated Anthology of Hymns treats the hymn as a literary form deserving of respect. 250 hymns from the English-speaking world are printed, covering the range from the earliest years of the Christian church to the present day, with notes on the words and the tunes. The anthology takes the hymn seriously, in an an age in which hymn-singing is less common than it was. It should appeal to hymn-lovers, but also to those who want to find out more about hymns.

This is an anthology of the writings of Charles Wesley. Best known for his hymns, such as `Hark! the Herald Angels Sing', and `Jesus, Lover of My Soul', Charles was the younger brother of John Wesley and the co-founder of Methodism. Despite his importance in the history of Protestantism, there is no collection of his writings in print, and indeed, little work has been done specifically on Charles in the last two generations. Tyson presents a chronologically arranged selection of the journals, sermons, letters, hymns, and poems in such a way as to both outline Wesley's life and illuminate the leading elements of his thought.

Older Christians have sought large-print hymnals and songbooks for many years. This hymnbook includes familiar ecumenical hymns suitable for worship. The simplified arrangements are set in lower keys for easier unison singing. Not only is this collection sensitive to the physical needs of older Christians, it is sensitive to language issues present within the church today.

The world's most famous hymn book has undergone a complete revision and now offers the broadest ever range of traditional hymns and the best from today's composers and hymn/song writers. 150 years since its first publication and after sales of 170 million copies, this brand new edition contains over 840 items, ranging from the Psalms to John Bell, Bernadette Farrell and Stuart Townend. The guiding principles behind this collection are: * congregational singability * biblical and theological richness * musical excellence * liturgical versatility * relevance to today's worship styles and to today's concerns New features include added provision for all the seasons of the Church year, new items for carol services and other popular occasions where the repertoire is in need of refreshing, more choices for all-age worship, fresh translations of some ancient hymnody, beautiful new tunes, short songs and chants - alleluias, kyries, blessings etc. and music from the world church. A full range of indexes (including biblical and thematic) and a helpful guide to choosing hymns for every occasion will help to make Ancient & Modern the premier hymn collection of choice. This is the Large Print Words edition.

Features 125 selections from Asian and Asian-American sources. Presented inaffirmation of Asian traditions in the ecumenical church.