Digital Hymnology Tools

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DIGITAL HYMNOLOGY TOOLS Their usefulness in researching the impact of the Great War on Canadian Protestant Hymnals Libraries and Archives Canada Private Donald Johnston McKinnon, No. 7 Platoon, 73rd Battalion, returning from the front line Bonnie Woelk SCOPE OF RESEARCH DIGITAL TOOLS NEED TO PROVIDE: u background information for each denomination u list of hymn texts in each hymnal u author’s biography, date text was written u ability to compare hymnals u scans of each hymnal u Information based on scholarly research DIGITAL TOOLS FOR HYMNOLOGY RESEARCH Digital Libraries u HathiTrust: www.hathitrust.org u Christian Classics Ethereal Library: www.ccel.org DIGITAL TOOLS FOR HYMNOLOGY RESEARCH Encyclopedias and dictionaries u Grove Music Online: www.oxfordmusiconline.com/public/ u The Encyclopedia of Music in Canada: www.thecanadianencyclopedia.ca/en/article/encyclopedia-of- music-in-canada u The Canterbury Dictionary of Hymnology: www.hymnolgy.co.uk THE CANTERBURY DICTIONARY OF HYMNOLOGY THE CANTERBURY DICTIONARY OF HYMNOLOGY DIGITAL TOOLS FOR HYMNOLOGY RESEARCH Thematic Guides u The Hymn Tune Index: www.hymntune.library.illinois.edu/ DIGITAL TOOLS FOR HYMNOLOGY RESEARCH Relational Database u Hymnary: www.hymnary.org HYMNARY.ORG BASIC SEARCH IN HYMNARY.ORG CATEGORY SEARCH IN HYMNARY.ORG HYMN ENTRY PAGE REQUIREMENTS FOR HYMNAL ANALYSIS u A spreadsheet for each hymnal u First line u Hymnal u Hymn number u Author u Author’s nationality u Date written u Theme u A spreadsheet for each comparison STEP 1: CREATE “MY HYMNALS” COLLECTION STEP 2: CREATE SPREADSHEETS FOR EACH HYMNAL STEP 3: CREATE HYMNAL COMPARISON SPREADSHEETS AUTHORITY PAGE SOURCES USEFULNESS OF DIGITAL TOOLS u Music encyclopedias and dictionaries provide contextual information u Hymn traditions and eras u Denominational hymnals and compilation history u Relational database provides detailed hymn data u Performs time-consuming tasks u Exports data CHANGE/CONTINUITY IN REPERTOIRE Number of Hymns Unique Hymns Common Hymns MHTB 1917 822 488 334 MHTB 1894 901 567 334 CHANGE/CONTINUITY IN REPERTOIRE Number of Hymns Unique Hymns Common Hymns UCC 1930 1044 527 517 MHTB 1917 822 305 517 CHANGE IN AUTHOR NATIONALITY MHTB 1894 – MHTB 1917 90 85.5 80 69 70 60 50 40 30 20 14.3 10 4.1 6.8 6.8 4.8 5.1 2.7 1 0 MHTB 1894 MHTB 1917 English American Scottish/Irish Canadian Other/Incomplete CHANGE/CONTINUITY IN THEMES 100% Other 90% 80% The Inner Life 70% 60% National Life and Social Service 50% Comfort, Death, 40% Peace, and War 30% Missions and 20% Evangelism 10% God and the Church 0% MHTB 1917 UCC 1930 .

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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.
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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
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Word of Life Hymnology Plan 2018-2019 Month Hymn Number
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Reflections on Shared Offerings in Wisconsin
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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.
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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.
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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.
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First Time at a Sacred Harp Singing?
First time at a Sacred Harp singing? The Sacred Harp is the name of the tunebook we use, originally published 165 years ago in a tradition older still. The “sacred harp” refers to the human voice! This music is also called shape-note music — check out the expla- nation below, and be sure to look at the songs in the book to see what we mean. The first thing you might notice if you’re just listening is that we are not professional singers (although a few trained voices occasionally find their way to us). Sacred Harp recalls the days when church music was intended to be sung by the congregation rather than the choir. We sing for the joy of it. And while listeners are always wel- come, we singers don’t think of this event as a performance. Everyone is welcome to join in. Voice parts Where should I sit? in Ida Noyes Hall Sacred Harp music is divided into four parts: treble, alto, tenor (melody, or lead), and bass. STAGE Singers sit in a “hollow square” with each voice part taking one of the four sides and facing the center. (As you walk into the room, spot the all-male bass section to get oriented.) Alto 2nd line in music Depending on inclinations of temperament, timbre, or necessity, women and men double on both the treble and tenor parts, with women usually (but not always) singing an octave WS above the men. Any type, quality, and range of voice should find a comfortable and impor- eble DO tant place within its harmonies.
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The Integration of Contemporary Worship Hymns Into the Church: an Analysis of Contemporary Worship Music Styles and Their Historical Development
The Integration of Contemporary Worship Hymns into the Church: An Analysis of Contemporary Worship Music Styles and Their Historical Development An Honors Thesis (Honors 499) By: William W. Riggs Thesis Advisor Douglas D. Amman Ball State University Muncie, IN December 2000 Expected date of graduation: May 2001 Overview: This project involved the attendance at approximately fifteen different churches to practically observe worship styles. With background historical research, I then wrote a summarizing paper and proceeded in the recording and composition of ten new worship songs. It was done to encourage the integration of contemporary music and eliminate legalistic barriers in traditional church services. Contents: Development of Research: I. Paper Prospectus II. Working Bibliography ill. Formal Honors College Proposal Synthesis: I. Church Visit Summaries II. Historical Summary ill. Synthesis of Research IV. Bibliography Analysis of Recording: I. Track Information II. Process and Means ill. Analysis of Compositions Appendix: I. Church Bulletins II. Influential Articles and Miscellaneous Materials III. CD Development of Research: 1. Paper Prospectus II. Working Bibliography III. Formal Honors College Proposal Billy Riggs - Senior Honors Thesis 28 August 2000 Thesis Prospectus For my Honors thesis, which I am registered for in the fall of 2000, I would like to do a project surrounding the topic of contemporary church music. I want to study the historical progression of more recent contemporary church worship music. This will'involve gaining a foundation of 19th century worship music, but primarily focus on changes that have occurred since the 1970's that have worked to fuse the formerly forbidden sounds of rock and pop into the church.
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Hymn Recommendations for Season of Creation (Compiled by Ms
Hymn Recommendations for Season of Creation (Compiled by Ms. Bev Eert, Rossendale, Man.) The hymns listed below touch on themes of the wonder of creation or care for the earth and its peoples and may be useful in planning worship throughout the Season of Creation. Common Praise: CP The Hymn Book: THB. Songs for a Gospel People: SGP. Voices United: VU. More Voices: MV All Beautiful the March of Days CP 427 THB 388 VU 217 All Creatures of Our God and King All CP 355 THB 001 People That on Earth Do Dwell All CP 349 THB 012 VU 297 Praise to You All Things Bright and Beautiful All CP 415/6 THB 086 VU 291 Who Hunger, Gather Gladly VU 460 Amazing Grace CP 352 SGP 049 VU 266 As Comes the Breath of Spring As SGP 061 VU 373 the Sun with Longer Journey VU 111 Before the Earth Had Yet Begun CP 409 Called by Earth and Sky MV 135 CP 017 VU 435 Christ, Mighty Saviour Come and Seek the Ways of Wisdom Come, MV 010 THB 384 SGP 118 Holy Spirit CP 262 VU 516 Come, Ye Thankful People, Come Crashing Waters at Creation Creating CP 042 VU 449 God, Your Fingers Trace Creator God CP 410 VU 265 You Gave Us Life Creator of the Stars THB 396 MV 010 of Night CP 096 Day After Day Dream MV 123 a Dream MV 158 Each Blade of Grass MV 037 CP 358 VU 888 Earth and All Stars THB 236 Eternal God, Whose Power Upholds Every Star Shall Sing a Carol THB 428 Fairest Lord Jesus CP 619 THB 046 Father Eternal, Ruler of Creation For CP 574 THB 279 VU 303 Beauty of Prairies THB 378 For the Beauty of the Earth For CP 429 THB 199 VU 226 the Fruit of All Creation CP 259 SGP 058 VU 227 For
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Hymn to Christ the Saviour’
MUSICAL SETTINGS OF CLEMENT’S ‘HYMN TO CHRIST THE SAVIOUR’ Jane Schatkin Hettrick Clement’s ‘Hymn to Christ the Saviour,’ appended to manuscripts of his book Paedagogus (The Tutor) is considered to be the most ancient hymn (text) of the Christian church. It entered the mainstream of Christian hym- nody within the Oxford Movement1 in the mid-nineteenth century, when it was translated into English in 1846 by the American Congregationalist pas- tor Henry Martyn Dexter (1821–1890).2 Dexter translated Clement’s hymn for a sermon he was writing on “some prominent characteristics of the early Christians,” based on the text Deuteronomy 32:7 (“Remember the days of old …”). After making a literal translation, he prepared a poetic version for his congregation to sing.3 Known by the rst line of this poetic translation as ‘Shepherd of Tender Youth,’ Clement’s ‘Hymn to Christ the Saviour’ has appeared in dozens of English-language hymnals and has received numer- ous musical settings by diferent composers.4 1 The Oxford Movement, which started in 1833 within the Church of England, sought to recover ‘ancient’ (pre-Reformation) traditions of music and liturgy. This antiquarian industry brought back plainchant and translated many Latin hymns, some of which became standard to hymnals of most denominations (e.g., ‘Veni Immanuel’). Erik Routley, The Music of Christian Hymns (Chicago: G.I.A. Publications, 1981), 89f. 2 Henry Martyn Dexter, pastor of churches in Manchester (New Hampshire) and Boston, is the author of several books about Congregationalism, including Congregationalism, What It Is, How It Works, and Why It Is Better than any Other Form of Church Government (1865) and A Handbook of Congregationalism (1880).
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Module 12 Hymns and Spiritual Songs
!Module 12 Hymns and Spiritual Songs! Under twelve headings, this module briefly covers the historical development of what has become our staple diet for singing in church, the hymn. This is an enormous !subject that will reward further study for which a list of books is provided at the end.! !1. Importance of Song! !Singing has always played an important part in the life of the Christian community.! ‘Singing, however simply, and even on one’s own, helps to deepen the worship. Singing can also unite a group or congregation, enriching their prayer and praise.’! !!!!!!!!Common Worship – Daily Prayer! Ephesians 5;19 ! …be filled with the Spirit, addressing one another in psalms and hymns and spiritual !songs, singing and making melody to the Lord with all your heart…! Colossians 3;16! Let the word of Christ dwell in you richly, teach and admonish one another in all wisdom and sing psalms and hymns and spiritual songs with thankfulness in your hearts to God.! ! It is unclear exactly what the distinction was between psalms, hymns and spiritual songs; however, we do know that psalms were often sung antiphonally, spiritual !songs tended to be rather more spontaneous (look up jubilus).! !Old Testament references: ! Exodus 15! Then Moses and the people of Israel sang this song to the Lord: ‘I will sing to the !Lord, for he has triumphed gloriously…’! I Samuel 2;1-5 ! Hannah also prayed and said, ‘My heart exults in the Lord; my strength is exalted in !the Lord. My mouth derides the enemies; because I rejoice in thy salvation…’! What New Testament song does this remind you of?! ! What do both of these songs have in common?! ‘HYMN’: ! Augustine of Hippo's (354-430) definition was "a song containing praise of God"! ! From the rhythmic pattern of the Greek we can assume that a number of New Testament passages were hymns, or sections of hymns, which were well known to !the early Christians.! Read Philippians 2;6-11, and Colossians 1;15-20! Can you find any similar passages in Ephesians and 1 Timothy? ! !2.
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