II. Using Your Notes for Research Project VI, Answer the Following Questions. (18 Pts)

Name: Michael Mays

CONGREGATIONAL SONG EXAM I

I. Define (15 pts)

A. Hymn “…a poetic statement of a personal spiritual encounter or insight, universal in its truth and application and suitable for use in corporate expression of worship in singing.” (Austin C. Lovelace and William C. Rice, Music and Worship in the Church, p. 162)

B. Hymnology Hymnology is the study or science (systematized knowledge, distinct field of investigation) of hymns treating their history, classification, criticism and use.

C. Hymnody Hymnody is a body of hymns often used in reference to a period (18th-century hymnody), a country (English hymnody), a denomination (Baptist hymnody), or any combination of these (18th- century English Baptist hymnody).

II. Using your notes for Research Project VI, answer the following questions. (18 pts)

A. Identify: 1. Erdmann Neumeister Lyricist of “Christ Receiveth Sinful Men” (in German; translated by Emma F. Bevan)

2. Elizabeth Byrne Translated the text of “Be Thou My Vision” (#60) from ancient Irish

3. James Bigelow Arranged “Send Me, O Lord, Send Me,” by Ross Coggins and E. A. Hoffman

B. Give the composer of the hymn tune played in class DARMSTADT by Ahasuerus Fritsch, 1679

C. Discuss “chiasmus” in hymnody–meaning, value, and examples Chiasmus involves either the crossing of phrases in two lines, or a four-line (verse) section of stanza where the outer verses relate to one concept, while the inner two pertain to the opposite idea. It is useful for “setting forth the paradoxes of the Christian faith.” Examples of chiasmus can be found in “Jesus, Lover of My Soul” and “When I Survey the Wondrous Cross” (to a lesser extent).

D. “Behold the Amazing Gift of Love” 1. Biblical basis: 1 John 3:1-3 2. Author: Isaac Watts

E. What are the sources (hymns) of the following lines?

“In the furnace of God may prove Thee Thence to bring thee forth more bright.” “Zion Stands with Hills Surrounded”

“The flame shall not hurt thee, I only design Thy dross to consume…” “How Firm a Foundation III. Bibliography (25 pts)

A. Give the author and title of three hymnal companions or handbooks. Bock, Fred and Jeffery Leech. The Hymnal Companion. Nashville: Paragon Associates, Inc. 1979. Dearmer, Percy. Songs of Praise Discussed. London: Oxford University Press, 1933. Lovelace, Austin C. Hymn Notes for Church Bulletins. Chicago: G.I.A. Publications, 1987.

B. Give the author and title of a dictionary of hymnody. Julian, John. A Dictionary of Hymnology: Setting Forth the Origin and History of Christian Hymns of All Ages and Nations. New York: Dover Publications, 1957. 2 vols.

C. Give the authors and title of two hymnal concordances. Diehl, Katharine Smith. Hymns and Tunes. New York: The Scarecrow Press, Inc., 1966. McCutchan, Robert Guy. Hymn Tune Names: Their Sources and Significance. Nashville: Abingdon Press, 1957.

D. Give the author and titles of five histories of hymnody. Banks, Louis Albert. Immortal Hymns and Their Stories. Cleveland: The Burrows Brothers Company, 1898. Benson, Louis F. The English Hymn: Its Development and Use in Worship. Richmond: John Knox Press, 1915, 1962. _____. The Hymnody of the Christian Church. Richmond: John Knox Press, 1956. Brawley, Benjamin. Hisotry of the English Hymn. New York: Abingdon Press, 1932. Chevalier, C. U. J. Repertorium Hymnologium. Bruxelles, 1920-21. Published as appendices to the Analecta Bollandiana (6 vols.)

E. Give a good source for the study of German hymn texts. Fischer, A.F.W. Kirchenliderlexikon: Hymnologisch-literarische Nachweisungen über ca. 4500 der Wichtigsten und verbreitetsten Kirchenlieder aller Zeiten in Alphabetischer Folge nebst einer ubersicht der Liderdicted. Hildesheim: Georg Olms Verlagsbuchhandlung, 1967.

F. Give a good source for the study of German hymn tunes. Zahn, Johannes. Die Melodien der Deutschen evangelischen Kirchenlieder. Hildesheim: Georg Olms Verlagsbuchhandlung, 1963.

G. Give the author and title of an index to texts, tune authors, composers, etc. of a number of hymnals. Diehl, K. S. Hymns and Tunes: An Index. Metuchen, NJ: Scarecrow Press, 1966.

H. Give a good source for the study of original Latin hymn texts. Duffield, Samuel Willoughby. The Latin Hymn: Writers and Their Hymns. 3rd ed. New York: Funk and Wagnalls, 1889.

I. Give a good index for the study of Gregorian chant. Bryden, John R. and David G. Hughes (comp.). An Index to Gregorian Chant. Cambridge, MA: Harvard University Press, 1969.

J. List five “good” hymnals. The Baptist Hymnal. (1991 edition) Wesley Forbis (ed.) Nashville: Convention Press, 1991. The Celebration Hymnal. [United States]: Word Muisc/Integrity Music, 1997. The Hymnal for Worship and Celebration. Tom Fettke (ed.) Waco, TX: Word Music, Inc., 1986. Hymns for the Family of God. Fred Bock (ed.). Nashville: Paragon Associates, Inc. 1976. The Worshiping Church: A Hymnal. Carol Stream, IL: Hope Publishing Company, 1990.

K. Give two periodicals useful for the study of hymns. The Hymn. New York: The Hymn Society in the United States and Canada. (Quarterly) The Church Musician. Nasvhille: The Sunday School Board of the Southern Baptist Convention. (Quarterly)

L. Give a useful work for the study of hymn meters and poetic devices. Ingram, Tom, and Douglas Newton. Hymns as Poetry. London: Constable, 1956.

IV. With reference to the printed hymn text, answer the following questions. (24 pts)

A. What is the hymnic meter? 7.7.7.7.D. B. What is the poetic meter? Trochaic tetrameter C. What is the basic rhyme scheme? a b a b – c d c d D. Identify at least one poetic device:

1. between stanzas I and II: antanaclasis 2. between stanzas III and IV: anadiplosis 3. stanza I: metaphor 4. stanza II: anaphora 5. stanza III: chiasmus 6. stanza IV: climax

E. Give a scripture passage (reference) for stanzas II and IV. (Write out the key phrases of the passages.)

JESUS, lover of my soul, Galatians 2:20– I am crucified with Christ: Let me to thy bosom fly, nevertheless I live; yet not I, but Christ liveth While the nearer waters roll, in me: and the life which I now live in the flesh While the tempest still is high: I live by the faith of the Son of God, who loved Hide me, O my Savior, hide, me, and gave himself for me. “ Till the storm of life is past; Safe into the haven guide; O receive my soul at last!

2 Other refuge have I none, Psalm 61:3–“ For thou hast been a shelter for Hangs my helpless soul on Thee; me, and a strong tower from the Leave, ah! leave me not alone, enemy.” Still support and comfort me: All my trust on Thee is stayed; All my help from Thee I bring; Cover my defenceless head With the shadow of Thy wing.

3 Thou, O Christ, art all I want; Psalm 73:25–“Whom have I in heaven but More than all in Thee I find; thee? And there is none upon earth that I Raise the fallen, cheer the faint, desire beside thee.” Heal the sick, and lead the blind. Just and holy is Thy name, I am all unrighteousness; False, and full of sin I am, Thou art full of truth and grace. 4 Plenteous grace with Thee is found, Romans 5:20, 21–“ Moreover the law entered, Grace to cover all my sin; that the offence might abound. But where sin Let the healing streams abound, abounded, grace did much more abound: That Make and keep me pure within. as sin hath reigned unto death, even so might Thou of life the fountain art, grace reign through righteousness unto Freely let me take of Thee; eternal life by Jesus Christ our Lord.” Spring Thou up within my heart, Rise to all eternity. V. Make a thorough musical evaluation of the following hymn tune. Write on the hymn tune, this page, and the facing page. (18 pts). Hymn #169, “Look, Ye Saints! The Sight Is Glorious”

A. Background 1. Composer: William Owen; tune name: BRYN CALFARIA 2. Circumstance of Composition: only one tune written for this hymn; translation from the Welsh is “Mount Calvary;” first published in 1886 (The Pearl of Music, Vol. 2) 3. Intent: inspired by Revelation 11:15 B. Temporal Elements 1. Meter: largely irregular, but can be figured as 8.7.8.7. with Refrain (4.4.4.7.7.). Song is anaepestic, but no pick-up beats are used 2. Accents–occur on beats 3 and 7 in the 8.7. sections 3. Tempo–consistently moderato throughout (half not not faster than 80) 4. Rhythm a) Strict b) Patterns–see B.1. c) No syncopation to speak of d) No hemiola e) Very homophonic; parts only vary between soprano and alto parts in lines 1 and 2; tenors also in line 4–and these only a bit f) Harmonic rhythm–relatively slow (primarily only two main chord changes per measure) g) No rests 5. Duration a) Some agogic accenting in line 4 b) No real staccato singing, though quarter notes would typically be sung very nearly so (more marcato) c) Tenuto would apply only to long notes in lines 1–3. if at all d) Fermati at ends of lines 1, 2 and 4, and on the long note in the middle of line 4 (again, if at all) C. Melodic Aspects 1. Pitch Elements a) Scale: G harmonic minor b) Motion–primarily diatonic, conjunct c) Direction (1) Ascending in first three measures of lines 1–3 (2) Descending in measure 4 of lines 1 and 2, and all measures of line 4 d) Points of rest (1) Ends of lines 1, 2, and 4 (2) Beginning of measure 2, line 4 (3) Range: d–Eb of treble clef (solfiegge: sol to la) (4) Tessitura: moderate to high (5) Ornamentation: first measure, line 4 2. Melodic Form a) Phrases–8 phrases, mostly 2-bar b) Cadences–4 c) Motifs–about the only recurring one is at the ends of lines 1. 2 and 4 d) Character–mostly somber D. Harmonic Factors–see score E. Form 1. Elements of Unity a) Repetition–lines one and two; the final 4 beats of 1, 2, and 4 b) Variation–sequences in line 3; measure 1 of line 4 in soprano part c) Melodic figure at the phrase ends in lines 1 and 2 is repeated, but out of beat placement in line 4 2. Elements of Contrast–register starts fairly low; is quite high in line 4