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The Musical Heritage of the Lutheran Church Volume I
The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945). -
Shape-Note Singing Lesson Addresses the Following Teachers Bring to Their Students the Educational Power of Standards: Museums and Other Community Resources
OCT 00 hape- ote inging esson GRADES 3-8 SUBJECTS I Music Publication of this issue of Smithsonian in Your I History Classroom is made possible through the gener- ous support of the Pacific Life Foundation. ontents 3 Essay 10 Lesson Plan Keeping the Spirit Alive The purpose of Smithsonian in Your Classroom is to help A Shape-Note Singing Lesson addresses the following teachers bring to their students the educational power of standards: museums and other community resources. It draws on the National Standards for Arts Education (Music Content Smithsonian’s exhibitions and programs—from art to zool- Standards) ogy—to create classroom-ready materials for grades 3–8. I Singing alone and with others, a varied repertoire of music Each of the four annual issues takes an interdisciplinary Reading and notating music approach to a single topic. The Smithsonian invites teach- Understanding relationships between music, the ers to duplicate the materials for educational purposes. other arts, and disciplines outside the arts Understanding music in relation to history and You may request an audiotape, large-print, culture braille, or disk version (Mac or PC) by writing to National Standard for History the address listed on the back cover or by faxing your I Regional folklore and culture contributions that name, school name, and address to 202-357-2116. Please helped to form our national heritage specify the issue you are requesting. Photo Credits: Cover: ©Miriam A. Kilmer Pages 4, 7, and 13: ©Miriam A. Kilmer Page 5: William L. Clements Library, University of Michigan Pages 6 and 8: ©Lauren Piperno/Kingston Page 9: Birthplace of Country Music Alliance Music in cover image used by kind permission of Hugh McGraw of the Sacred Harp Publishing Company. -
Southern Black Gospel Music: Qualitative Look at Quartet Sound
LIBERTY UNIVERSITY SOUTHERN BLACK GOSPEL MUSIC: QUALITATIVE LOOK AT QUARTET SOUND DURING THE GOSPEL ‘BOOM’ PERIOD OF 1940-1960 A THESIS SUBMITTED TO THE FACULTY OF THE SCHOOL OF MUSIC IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ETHNOMUSICOLOGY BY BEATRICE IRENE PATE LYNCHBURG, V.A. April 2014 1 Abstract The purpose of this work is to identify features of southern black gospel music, and to highlight what makes the music unique. One goal is to present information about black gospel music and distinguishing the different definitions of gospel through various ages of gospel music. A historical accounting for the gospel music is necessary, to distinguish how the different definitions of gospel are from other forms of gospel music during different ages of gospel. The distinctions are important for understanding gospel music and the ‘Southern’ gospel music distinction. The quartet sound was the most popular form of music during the Golden Age of Gospel, a period in which there was significant growth of public consumption of Black gospel music, which was an explosion of black gospel culture, hence the term ‘gospel boom.’ The gospel boom period was from 1940 to 1960, right after the Great Depression, a period that also included World War II, and right before the Civil Rights Movement became a nationwide movement. This work will evaluate the quartet sound during the 1940’s, 50’s, and 60’s, which will provide a different definition for gospel music during that era. Using five black southern gospel quartets—The Dixie Hummingbirds, The Fairfield Four, The Golden Gate Quartet, The Soul Stirrers, and The Swan Silvertones—to define what southern black gospel music is, its components, and to identify important cultural elements of the music. -
A Theology of Creation Lived out in Christian Hymnody
Concordia Seminary - Saint Louis Scholarly Resources from Concordia Seminary Doctor of Philosophy Dissertation Concordia Seminary Scholarship 5-1-2014 A Theology of Creation Lived Out in Christian Hymnody Beth Hoeltke Concordia Seminary, St. Louis, [email protected] Follow this and additional works at: https://scholar.csl.edu/phd Part of the Christianity Commons, Liturgy and Worship Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Hoeltke, Beth, "A Theology of Creation Lived Out in Christian Hymnody" (2014). Doctor of Philosophy Dissertation. 58. https://scholar.csl.edu/phd/58 This Dissertation is brought to you for free and open access by the Concordia Seminary Scholarship at Scholarly Resources from Concordia Seminary. It has been accepted for inclusion in Doctor of Philosophy Dissertation by an authorized administrator of Scholarly Resources from Concordia Seminary. For more information, please contact [email protected]. A THEOLOGY OF CREATION LIVED OUT IN CHRISTIAN HYMNODY A Dissertation Presented to the Faculty of Concordia Seminary, St. Louis, Department of Doctrinal Theology in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Beth June Hoeltke May 2014 Approved by Dr. Charles Arand Advisor Dr. Kent Burreson Reader Dr. Erik Herrmann Reader © 2014 by Beth June Hoeltke. All rights reserved. Dedicated in loving memory of my parents William and June Hoeltke Life is Precious. Give it over to God, our Creator, and trust in Him alone. CONTENTS ACKNOWLEDGEMENTS -
Word of Life Hymnology Plan 2018-2019 Month Hymn Number
Word of Life Hymnology Plan 2018-2019 Month Hymn Number Hymn Teach by… September 334 Praise God From Whom All Blessings Flow 293 God’s Word is Our Great Heritage 9/12 October 200 A Mighty Fortress is Our God 10/3 241:4 Alleluia! Let Praises Ring 10/10 November 752 In Christ Alone 11/7 610 Now Thank We All Our God 11/7 23 Oh, Come, Oh, Come, Emmanuel 11/28 December 2 Savior of the Naons, Come 12/5 304 Jesus Sinners Does Receive 12/12 January 83 As With Gladness Men of Old 1/9 299 All Who Believe and Are Bapzed 1/16 422 Jesus, Lead Us On 1/23 February 432 I Am Jesus’ Little Lamb 2/6 March 103 Glory Be To Jesus 3/6 446 I Am Trusting You, Lord Jesus 3/13 April 120 What Wondrous Love is This 4/3 363 The King of Glory Comes 4/10 154 Alleluia, Alleluia, Give Thanks 4/24 152 I Know That My Redeemer Lives 4/24 May 332 Go, My Children, with My Blessing 5/8 270 We All Believe in One True God 5/15 Available on NPH CD. CW 593:2-3 Jesus, Savior, Wash Away Teachers are urged to use this hymn as one of the closing prayers in their classroom at the end of the day. The hymns listed in bold a re the Core Hymns and should be taught every year. Test your students to see which verses they need to work on. You can assign different verses to individual students based on their knowledge and taking into account how many years they have aended WOL. -
Reflections on Shared Offerings in Wisconsin
3&'-&$5*0/4 "/&%*5*0/0'5)&6/*5&%.&5)0%*453&1035&35 ) & 6 / * 5 &.%& 5 01&354*%0) 3 &5 3 Two Sections—Section A | 063000 | Volume 159 Number 26 | October 26, 2012 Our New Bishop is Installed and Celebrated An uplifting Installation Service for Bishop Jung was held at First UMC in Wausau on Sept. 23. Leaders and church members from across Wisconsin, as well as family and friends of the Bishop, came to welcome him back to our Con- ference as our leader and listen to his humble words of inspiration. “It is my great privilege and honor to be installed today as a servant leader in the Wisconsin Conference,” he said. In his sermon, Bishop Jung spoke of God’s living waters: a river “so amazing and deep and wide, and includes all people, without negation and without rejec- tion.” He talked about his vision for the Church, one which celebrates diversity without hesitation, and focuses on bringing new members in all the time. As a sign of his servant leadership, Bishop performed a feet washing cere- mony by washing the feet of Conference Lay Leader Deanna Shimko before com- munion. “In that moment, I was so honored and humbled,” Shimko said. “It truly shows how dedicated our new Bishop is and how lucky we are to have him here.” The service, which more than 200 people attended, demonstrated an out- ABOVE: Conference leaders and Bishop Jung celebrate his ABOVE: Bishop Jung performed a pouring of support for Bishop Jung, including special guests such as a choir from Installation Service. -
1 Contemporary Chrstian Music: Transforming
CONTEMPORARY CHRSTIAN MUSIC: TRANSFORMING CHRISTIAN EXPERIENCE AND IDENTITY By BRITTANY E. CHASE A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC UNIVERSITY OF FLORIDA 2013 1 © 2013 Brittany E. Chase 2 I dedicate this thesis to my parents, who have been unconditionally loving and compassionate throughout my entire academic career. I could not have succeeded without your continuous prayers and encouragement, and I am truly blessed to have you in my life. 3 ACKNOWLEDGMENTS The completion of this thesis would not have been possible without the help of many important people. To my academic advisor and committee chair, Larry Crook, I thank you for your patience, encouragement, and support of my research interests throughout this entire process. I am immensely grateful for your constant kindness and compassion since I arrived at the University of Florida, and I thank you for believing in my ability to succeed and expressing your pride in my work and in me. I could not have accomplished this without your help and guidance. To my committee member, Silvio dos Santos, I thank you for your time and mentoring, and I sincerely appreciate your investment in my future and academic career. I thank my other professors at the University of Florida, Jennifer Thomas, Margaret Butler, Michael Deall, and Rosana Resende, who have fostered my intellectual and musical growth. I have many informants to thank for their honest and open participation in the interviews for this project. I thank Anyerin Drury and Adam Vodicka for sharing the visions of their respective churches, as well as Erica Scarano, Brett McCollum, and Brian Biederman, for taking the time to share their experiences. -
New Oxford History of Music Volume Ii
NEW OXFORD HISTORY OF MUSIC VOLUME II EDITORIAL BOARD J. A. WESTRUP (Chairman) GERALD ABRAHAM (Secretary) EDWARD J. DENT DOM ANSELM'HUGHES BOON WELLESZ THE VOLUMES OF THE NEW OXFORD HISTORY OF MUSIC I. Ancient and Oriental Music ii. Early Medieval Music up to 1300 in. Ars Nova and the Renaissance (c. 1300-1540) iv. The Age of Humanism (1540-1630) v. Opera and Church Music (1630-1750) vi. The Growth of Instrumental Music (1630-1750) vn. The Symphonic Outlook (1745-1790) VIIL The Age of Beethoven (1790-1830) ix. Romanticism (1830-1890) x. Modern Music (1890-1950) XL Chronological Tables and General Index ' - - SACRED AND PROFANE MUSIC (St. John's College, MS. B. Cambridge, 18.) Twelfth century EARLY MEDIEVAL MUSIC UP TO BOO EDITED BY DOM ANSELM HUGHES GEOFFREY CUMBERLEGE OXFORD UNIVERSITY PRESS LONDON NEWYORK TORONTO 1954 Oxford University Press, Amen House, London E.C.4 GLASGOW NEW YORK TORONTO MELBOURNE WELLINGTON BOMBAY CALCUTTA MADRAS KARACHI CAPE TOWN IBADAN Geoffrey Cumberlege, Publisher to the University PRINTED IN GREAT BRITAIN GENERAL INTRODUCTION THE present work is designed to replace the Oxford History of Music, first published in six volumes under the general editorship of Sir Henry Hadow between 1901 and 1905. Five authors contributed to that ambitious publication the first of its kind to appear in English. The first two volumes, dealing with the Middle Ages and the sixteenth century, were the work of H. E. Wooldridge. In the third Sir Hubert Parry examined the music of the seventeenth century. The fourth, by J. A. Fuller-Maitland, was devoted to the age of Bach and Handel; the fifth, by Hadow himself, to the period bounded by C. -
Luther's Hymn Melodies
Luther’s Hymn Melodies Style and form for a Royal Priesthood James L. Brauer Concordia Seminary Press Copyright © 2016 James L. Brauer Permission granted for individual and congregational use. Any other distribution, recirculation, or republication requires written permission. CONTENTS Preface 1 Luther and Hymnody 3 Luther’s Compositions 5 Musical Training 10 A Motet 15 Hymn Tunes 17 Models of Hymnody 35 Conclusion 42 Bibliography 47 Tables Table 1 Luther’s Hymns: A List 8 Table 2 Tunes by Luther 11 Table 3 Tune Samples from Luther 16 Table 4 Variety in Luther’s Tunes 37 Luther’s Hymn Melodies Preface This study began in 1983 as an illustrated lecture for the 500th anniversary of Luther’s birth and was presented four times (in Bronxville and Yonkers, New York and in Northhampton and Springfield, Massachusetts). In1987 further research was done on the question of tune authorship and musical style; the material was revised several times in the years that followed. As the 500th anniversary of the Reformation approached, it was brought into its present form. An unexpected insight came from examining the tunes associated with the Luther’s hymn texts: Luther employed several types (styles) of melody. Viewed from later centuries it is easy to lump all his hymn tunes in one category and label them “medieval” hymns. Over the centuries scholars have studied many questions about each melody, especially its origin: did it derive from an existing Gregorian melody or from a preexisting hymn tune or folk song? In studying Luther’s tunes it became clear that he chose melody structures and styles associated with different music-making occasions and groups in society. -
Syllabus for MUS 350—Hymnology 2 Credit Hours Spring 2003
Syllabus for MUS 350—Hymnology 2 Credit Hours Spring 2003 I. COURSE DESCRIPTION Studies the development of hymnody from the Early Church to contemporary usages. Examines 19th and 20th century Gospel hymns and their effective use in the Christian church of today. Prerequisities: None II. COURSE GOALS The purpose of this course is to enable the student to obtain information concerning the development of hymns in Christianity for those in the ministry of music in making congregational singing more interesting, meaningful, and spiritually informative. III. COURSE OBJECTIVES As a result of successfully completing this course, the student will be able to do the following: A. Name the major hymn text and hymn tune writers. B. Trace important hymnody tends. C. Describe the use of hymnals in terms of format, context, purpose, and design. IV. TEXTBOOKS Required Textbooks Eskew, Harry and Hugh McElrath. Sing with Understanding. Nashville: Church Street Press, 1995. Fettke, Tom. The Celebration Hymnal. Nashville: Word Music, 1997. V. POLICIES AND PROCEDURES C. University Policies and Procedures 1. Attendance at each class or laboratory is mandatory at Oral Roberts University. 2. Double cuts will be assessed for absences immediately preceding or following holidays. 3. Excessive absences can reduce a student’s grade or deny credit for the course. 4. Students taking a late exam because of an unauthorized absence will be charged a late exam fee. 5. Students and faculty at Oral Roberts University adhere to all laws addressing the ethical use of others’ materials, whether it is in the form of print, video, multimedia, or computer software. 6. -
Report of the Hymn Book Supplement Task Force
Report 009 Appendix 9 Faith, Worship, and Ministry REPORT OF THE HYMN BOOK SUPPLEMENT TASK FORCE Background The Hymn Book Supplement Working Group (HBSWG) was mandated by FWM early in its 2010- 2013 triennium in response to a proposal brought by one of its members. As a proJect not emerging from a clear mandate from General Synod, and not factored into the budget for that triennium, FWM made it clear that there could only be very minimal staffing (if any) and budget. The membership of the working group was established in consultation with FWM and with other Canadian church musicians. For budgetary reasons, membership had to be restricted to a particular geographical area if the work was to be done in face to face meetings. To mitigate the local character of the working group, FWM instructed the Task Force to arrange for consultations in every diocese in Canada to help to determine the shape and contents of the collection. The task force also made good use of The Anglican Journal, www.anglican.ca, and The Community to reach out and to invite submissions, feedback on the proJect, and to offer constructive thinking to help to shape the proJect. Membership David Buley, Diocese of Algoma John Campbell, Diocese of Toronto (to 2013) Michael Capon, Diocese of Ontario Douglas Cowling, Diocese of Toronto (to 2013) Kenneth Hull, Diocese of Huron; Convenor Martha Tatarnic, Diocese of Toronto [now Niagara] Becca Whitlaw, Diocese of Toronto Deirdre Piper, Diocese of Ottawa (from 2013) Consultations As part of the Hymn Book Supplement Working Group’s mandate, FWM requested that the task force arrange consultations in every diocese with musicians, clergy, and others to determine current repertoire needs, what resources are currently in use, and to receive suggestions of specific material for inclusion in the collection. -
Swing Low, Sweet Chariot’
Oxfam Education H www.oxfam.org.uk/education Oxfam Education H www.oxfam.org.uk/education Global Music Lesson Plans Lesson 4: Songs of Slavery – Africa, America and Europe. For ages 14-16. Time required: One 60 minute lesson. Activity: Singing, listening to and appraising songs of slavery. Aims: To explore the characteristics of ‘spirituals’. To analyse and appraise spirituals. Pupils will learn: How spirituals sung by slaves on American plantations often contained coded messages. How spirituals fuse characteristics of European hymns and African vocal techniques and rhythms to create a new style. To sing call and response melodies adding vocal harmonies. Web links you will need: Information about Negro spirituals. Sheet music to ‘Swing Low Sweet Chariot’. Audio file of ‘Swing Low, Sweet Chariot’. Recording of an English congregational hymn. Songs of Praise almost always begins with a traditional hymn. Sheet music to ‘Go Down Moses’. Sheet music of ‘Follow the Drinking Gourd’. Other resources you will need: Lyric worksheet for ‘Swing Low, Sweet Chariot’: Lyrics worksheet for ‘Go Down Moses’/ Lyrics worksheet for ‘Follow the Drinking Gourd’. Copyright © Oxfam GB. You may reproduce this document for educational purposes only. Page 1 Useful information Slave songs are an especially important resource for studying slavery, particularly as music that arises out of oppression often has a particular potency and poignancy. Spirituals contained the hopes and dreams, frustrations and fears, of generations of African Americans. It’s important to note that slavery still exists in forms such as bonded labour and human trafficking, and is still an ongoing issue in today’s world.