Indexes of Sing to the Lord
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Preface V 1-0-0
The Psalms in metre Preface !1 © Dru Brooke-Taylor 2015, the author’s moral rights have been asserted. For further information both on copyright and how to use this material see https://psalmsandpsimilar.wordpress.com v 1.0.0 : 11 iii 2015 !2 Table of Contents What this site is about 5 How to find what you are looking for 5 Copyright IP etc 6 UK copyright 9 How to use this collection 10 1. Liturgical Rules 10 The Lectionary:- 11 Service of the Word:- 11 Morning and Evening Prayer:- 11 Compline:- 11 Holy Communion:- 11 Daily Prayer:- 11 Book of Common Prayer:- 11 2. A Plea for more Imaginative Arrangements 12 3. Metre 12 The Three Standard Metres 12 Other metres 15 4. Table of Abbreviations 16 5. Some useful links 16 The Words 17 1. The problem with Psalms 18 2. The three solutions to the Problem 18 The first option 18 The second option 18 The third option 19 3. The translation tension 19 4. Why Common Metre 21 5. The traditional versions 22 A. Sternhold and Hopkins (SH) – the Old Version 22 B. Tate and Brady (TB) – the New Version 23 C. Rous (R) – the Scottish Version 23 D. Isaac Watts (W) – the Dissenters’ Version 25 E. Other versions 26 6. Doxologies in various metres 26 CM 26 Milton’s version 26 LM 26 SM 26 10,10,10,10 26 10,10,11,11 – (Ps 104 metre) 27 8,7,8,7 27 888 888 27 866888 – Ps 121 metre 27 Ps 122 metre 27 668668 28 888866 – Ps 125 metre 28 6666 4444 – Ps 148 metre 28 7676D 28 !3 7,7,7,7 7,7 28 The Tunes 28 1. -
The Scottish Metrical Psalter of 1635 69
The Scottish Metrical Psalter of 1635 69 The Scottish Metrical Psalter of 1635. THERE is undoubtedly arising at this time a very great interest in the music of our Scottish Psalters, and the particular edition that is receiving most attention is that of 1635. The Scottish Metrical Psalter was first published in 1564, and was, in all its editions, bound up with the Book of Common Order. It was the duly authorised Psalter until it was superseded in 1650 by the Psalter still used in our churches to-day, and of which a new edition, com- panion to the Revised Hymnary, is to be published this year. The popularity of the Reformation Psalters may be judged by the fact that at least twenty-five editions, but more probably thirty, were published between the years 1564 and 1644—that is, one edition practically every three years. The exact number of editions cannot be stated owing to the difficulty of deciding whether certain editions are new or merely reissues in later years. Now, why should the edition of 1635 be more worthy of attention than all these others ? Our forefathers, in their wisdom, never published the Psalter without the tunes, the first verse of each Psalm appearing directly under the notes of the music. In every edition previous to that of 1635 the Psalters contained the melody only. As the title-page tells us, the famous 1635 edition was published " with their whole tunes in foure or mo parts." It was thus the first harmonised edition, and so of greater interest from the musical point of view. -
INDEX • the COLLEGEVILLE HYMNAL ( Reverend Edward J
INDEX • THE COLLEGEVILLE HYMNAL ( Reverend Edward J. McKenna, Editor: 1990 ) INDEX OF AUTHORS AND TRANSLATORS Adkins, Leon M. (b.1896) 635 Campbell, Robert (1814-1868) 268, 272 Afro-American Spiritual 217, 262, 569, 618 Carpenter, William Boyd (1841-1918) 600 Ainger, Arthur C. (1841-1919) 642 Carter, Sydney (b.1915) 527 Alexander, Cecil Frances (1818-1895) 212, Caswall, Edward (1814-1878) 176, 230, 266, 285, 305, 594 280, 297, 299, 324, 339, 362, 364, 385, 398, Alford, Henry (1810-1871) 464, 626 428, 503, 526, 534 Ambrose of Milan (340-397) 184, 343 Cawood, John (1775-1852) 631, 632 Ambrosian (7th c.) 441 Chadwick, James (1813-1882) 219 Anonymous (1535) 433 Chambers, John David (1805-1893) 273 Anonymous 176, 276, 200, 299, 309, 316, Chandler, John (1806-1876) 182, 187, 509 328, 330 386, 507, 559, 597, 598 Claudius, Matthias (1740-1815) 628 Anonymous (10th c.) 339 Coffin, Charles (1676-1749) 182, 187 Anonymous (12th c.) 327 Coles, Vincent, SS (1845-1929) 321 Anonymous (14th c.) 201, 267 Coller, Jerome, OSB (b.1929) 476 Anonymous (c.1661) 381 Columba, St. 549 Anonymous (c.1757) 307 Conder, Josiah (1789-1855) 517 Anonymous, Latin 9th c. 495 Contractus, Hermannus (1013-1054) 312, Anonymous, Latin 11th c. 334 320, 325, 331 Appalachian Carol 192 Cooper, Edward (1770-1833) 483 Arlington, Cyril A. (1872-1955) 271 Copeland, William John (1804-1885) 310 Arlott, John (b.1914) 629 Cowper, William (1731-1800) 448, 478 Arrondo, E.G., CSSR 589 Cox, Frances Elizabeth (1812-1897) 287, 346 Arthur, John W. (1922-1980) 265 Croo, Robert (fl.1534) 209 Auber, Harriet (1773-1862) 301 Cross, Paul 329 Baker, Henry Williams (1821-1877) 259, 460, Cross, Steward (b.1928) 466 486, 596, 599 Crossman, Samuel (1624-1683) 258 Baker, Theodore (1851-1934) 191 Crum, John M.C. -
A History of the Old Hundredth Psalm Tune
This is a reproduction of a library book that was digitized by Google as part of an ongoing effort to preserve the information in books and make it universally accessible. https://books.google.com THE NEW YORK PUBLIC LIBRARY PRESENTED BY MRS. GEORGE W. DOANE A HISTORY OF THE OLD HUNDREDTH PSALM TUNE, WITH SPECIMENS. BY THE REV. W^wAaVERGAL, M. A., EECTOR OF ST. NICHOLAS, AND HONORARY CANON, WORCESTER. WITH A PREFATORY NOTE BY RT. REV. J. M. WAINWRIGHT, D. D., BISHOP OP NEW YORK. NEW YORK: MASON BROTHERS. 18 5 4. Entered, according to Act of Congress, in the year 1854, by MASON BROTHERS, In the Clerk's Office of the Southern District of New York. STEREOTYPED BY PRINTED BY THOMAS B.. SMITH, JOHN A. GRAY 216 William Street. 87 CI iff St. PREFATORY NOTE. There is probably no musical composition, with the exception of the ancient Ambrosian and Gregorian tones, that has been so univer sally sung by worshipping assemblies, as the Old Hundredth Psalm Tune, and certainly none so familiar to the ear of Protestant communi ties. It has proved equally acceptable to the instructed and the uninstructed musical taste. When in any congregation, through ignorance or bad taste, it has been for a time laid aside to make way for more modern yet more feeble tunes, it has been taken up again, after the in termission, with increased interest ; and as its strains have been given out by the organ, and its first tones raised by the choir or the clerk, devout affections have been roused, and voices which had been long silent have swelled the loud chorus of praise. -
Metrical Psalmody in Print and Practice for My Parents Metrical Psalmody in Print and Practice
Metrical Psalmody in Print and Practice For my parents Metrical Psalmody in Print and Practice English ‘Singing Psalms’ and Scottish ‘Psalm Buiks’, c. 1547–1640 TIMOTHY DUGUID Texas A&M University, USA © Timothy Duguid 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Timothy Duguid has asserted his right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East 110 Cherry Street Union Road Suite 3-1 Farnham Burlington, VT 05401-3818 Surrey, GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library The Library of Congress has cataloged the printed edition as follows: Duguid, Timothy. Metrical psalmody in print and practice : English ‘singing psalms’ and Scottish ‘psalm buiks’, c.1547–1640 / by Timothy Duguid. pages cm. – (St Andrews studies in reformation history) Includes bibliographical references and index. ISBN 978-1-4094-6892-9 (hardcover : alk. paper) – ISBN 978-1-4094-6893-6 (ebook) – ISBN 978-1-4094-6894-3 (epub) 1. Psalms (Music)–England–16th century–History and criticism. 2. Psalms (Music)–England–17th century–History and criticism. 3. Psalms (Music)–Scotland–16th century–History and criticism. 4. Psalms (Music)–Scotland–17th century–History and criticism. 5. Church music– Protestant churches–16th century. 6. Church music–Protestant churches–17th century. -
METRE in HYMNODY – the BASICS! by Revd Ian Worsfold
Page | 1 METRE IN HYMNODY – THE BASICS! by Revd Ian Worsfold Introduction The majority of traditional hymnody is set to metrical tunes. This means that there is a strict ‘metre’ adhered to in each line and verse of the hymn. Numerical Indication At the top of each hymn a series of numbers will appear, often separated by a dot (e.g. 8.7.8.7). (Dots are not always used, and sometimes the numbers are written out in pairs e.g. 87.87.) The numbers refer to the number of syllables in each line of the hymn. So 8.7.8.7 indicates that there are four lines to each verse: line one has eight syllables; line two has seven; line three has eight; and line four has seven. An example of this would be The King of love my shepherd is (Singing the Faith 479): The King of love my shepherd is, (8) whose goodness faileth never; (7) I nothing lack if I am his, (8) and he is mine for ever. (7) Common, Short and Long Metre Occasionally there will be letters instead of numbers to indicate the metre. These are short- hand ways of referring to commonly used metres and these are set out in the table below: Abbreviation Long Title Metre Example SM Short Metre 6.6.8.6 StF 658: A charge to keep I have CM Common Metre 8.6.8.6 StF 440: Amazing grace LM Long Metre 8.8.8.8 StF 1: All people that on earth do dwell When the letter ‘D’ appears in relation to a metre it simply means ‘double the length’ and indicates that a metre is repeated in order to accommodate all the lines. -
HSB 301 Vol 22 No 8
THE HYMN SOCIETY BULLETIN Autumn 2019 301 Vol 22 No 8 contents EDITORIAL 298 CANTERBURY CONFERENCE 2019 Michael Garland 300 HYMN SOCIETY HYMN FESTIVAL Janet Wootton 304 CANTERBURY CATHEDRAL 24TH JULY 2019 NINE LESSONS AND CAROLS Christopher Gray 315 CHOOSING HYMNS AT CHRISTMAS John Barnard 322 THESE YOU HAVE LOVED: TOWARDS A Martin Leckebusch 327 CORE HYMNODY ANNIVERSARIES340 ANNIVERSARIES QUIZ 347 REVIEWS 348 OBITUARY 352 The Hymn Society of Great Britain and Ireland EDITORIAL And then the third revelation of this worship service: Mercy. When Robin Knowles Wallace preached at the Hymn Society Mercy. Here we are in the midst of a service of Eucharist, with Conference in July, what she had to say put our task in preparing intercessions following the sermon - the table of justice prepared by and promoting hymnody in perspective. It bears repeating, so this the Spirit to strength and nourish God’s people. Editorial continues with her words… So here it is: in the midst of the people of God, before bread I received Robert Canham’s email asking me to preach the and grape, just as people have done for thousands of years, week in morning that I flew to Austin, Texas, to visit my daughter and then and week out, whether our worship is fancy or flat, whether we are attend the US/Canadian Hymn Society and come here to Canterbury. stuck in our own importance (as perhaps were the disciples in the And my first thoughts were: ‘That Amos scripture (Amos 5:21-24): gospel) or convinced of our utter unimportance or meaninglessness oh, no, I hate this scripture!’ God is indignant, to use John Bell’s (like a discounted child), God through Jesus reaches out and into us, word from last night; God is angry about our worship. -
Durham E-Theses
Durham E-Theses Changes in the Methodist Hymnody during the eighteenth and nineteenth centuries Hind, Roland How to cite: Hind, Roland (1968) Changes in the Methodist Hymnody during the eighteenth and nineteenth centuries, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9933/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT OP THESIS. .» Changes in Methodist Hymnody during the Eighteenth and Nineteenth Centuries. Submitted by Roland Hlnd.B.A..M.Lltt* for the degree of M.A. At first the singing was either unaccompanied, led by a choir of Charity Children, with the Parl6h Cleric as precentor; or accompanied by an instrumental band* Tunes were florid, with much faulty verbal accentuation. Taste reached its nadir 1770-1840. Style became superficial, boisterous, with repeats and fugal imitations; the melody and harmony were crude, deriving from nineteenth century Italian opera* There was slavish adoration and adaptation of the great classical composers* In the mid-nineteenth century, through the influence of the Oxford Movement, there were surpliced choirs; prose chant8 were sung and there were tentative attempts at plain- song* Tunes were like part-songs* There was also a better type of more sophisticated composer who produced good melody and sober harmony. -
Music of the Reformation Era ORIGINAL FRENCH ENGLISH TRANSLATION Or Sus, Serviteurs Du Seigneur Arise, You Servants of the Lord
Music of the Reformation Era ORIGINAL FRENCH ENGLISH TRANSLATION Or sus, serviteurs du Seigneur Arise, you servants of the Lord. October 11, 2020 Vous qui de nuict en son honneur you who by night in his honor. Metrical Psalms of Calvinism Dedans sa maison le servez, serve him in his house, Louez-le, et son nom eslevez. praise him, and lift up his name. “Calvinism” describes a major division of Protestant Christians who follow the theological traditions and practices of John Calvin and his Levez le mains au plus sainct lieu Lift up your hands to the holiest place successors. Calvin’s teachings expand on Martin Luther’s doctrine of De ce tressainct temple de Dieu, of this most holy temple of God, justification by faith alone and emphasizes the grace of God and the Et le los qu’il a merité and may the praise that he deserves doctrine of predestination. Calvin held that “if the Word of God is Soit par vos bouches recité. be recited by your mouths. the sole basis for faith and practice, then congregational singing should not merely be 'based' on the words of scripture, but should incorporate the very words of scripture as God gave them to holy men of old.” French composer and music theorist Loys “Louis” Bourgeois is famous as one of the main compilers of Calvinist hymn tunes in the 16th century and is one of the three main composers of the hymn tunes in the Genevan Psalter. In Bourgeois’ original version of the Genevan Psalter, the music was monophonic1, in accordance with the dictates of John Calvin, who disapproved not only of counterpoint2, but of any multiple parts. -
The Psalms in Metre Preface and Doxologies
The Psalms in metre Preface and Doxologies Preface page 1 Preface page 2 Introduction “The service should normally include a psalm or psalms”. - Common Worship (CW) page 27 note 6. The Church of England prescribes psalms and a number of canticles (other psalmlike extracts from scripture) to be sung or said as part of its services. For about 110 years, 1860-1970, it was normal for congregations to chant these. There are still people living, elderly or in late middle age, who experienced this. We have all probably heard them bewail that the average Church of England congregation has largely given up on singing psalms. You may even have said this yourself. At its best, say with a familiar canticle like the Nunc Dimittis, it could be liturgically liberating. Those of us that actually remember the sixties or earlier, though, will know that the average congregation did not sing them with quite the élan of a trained cathedral choir or Radio 3 on a Wednesday afternoon. Besides, in cathedrals, the choir sings them. The congregation does not. By and large we have stopped singing them because chanting was difficult and often sounded dreadful. CW contains a psalter, but how many churches actually sing from it? By and large, cathedrals do not. They still use the old prayer book version. What most people do not realise is that chanting prose badly is not the way of singing psalms that has the best claim to be Anglican tradition. Away from cathedrals, it was a mid nineteenth century innovation. From the Reformation until about 1860, if people sang psalms, rather than read them aloud, the normal way of doing so was to sing metrical versions of them, to what we now regard as hymn tunes. -
The History of the Scottish Metrical Psalter
The history of the Scottish Metrical Psalter Address at a meeting of the Scottish Reformation Society – Stornoway, 11th January 2013 This talk deals with the history of the metrical Psalms in Scotland. I will look at how the Psalter was developed over a period of approximately 100 years. The timeline extends from the first metrical Psalms, introduced to Scotland during the early period of the Reformation, until the definitive Scottish Psalter was published in 1650. The 1650 Psalter is the one which remains in use till the present day. In this address I will look at the text of the Psalters, with only occasional reference to the melodies of the Psalm tunes. In this talk I’ll cover quite a large geographical area relating to the Reformation. The narrative will begin in Dundee and spreads through Germany, France, Switzerland, England, and America. Many well-known Reformation locations will feature in this talk, such as Wittenberg, Frankfurt, Strasbourg, Geneva, and St Andrews. Perhaps surprisingly the list also include Massachusetts in North America and Eton. The history of the Psalter also involves the august body of the Westminster Assembly of Divines, as well as the General Assembly and Presbyteries of the Church of Scotland. I will also allude to the many changes in the government of our country at this time. First of all there was the Monarchy through the late Tudor line of Edward VI, Mary Tudor, and Elizabeth I. The Tudors were followed by the early monarchs of the House of Stuart, namely James VI of Scotland (alias James I of England), who was succeeded by Charles I. -
VOLUME 1 Glasgow CM No. 66. This Popular Tune
1 VOLUME 1 Glasgow C.M. No. 66. This popular tune comes from an interesting little book called the 'Psalm-Singers’ Pocket Book' published in 1786, which included tunes already in use in most of Scotland, plus some English ones. They were set in three and four parts. The book was illustrated with various tables to explain some of the basic principles of music. It was published by Thomas Moore, who was engaged by Glasgow Corporation to improve standards of singing in the churches, following a revival of good singing which was taking place in the north-east of the country. Moore became precentor in Blackfriars' Church in Glasgow. Praetorius C.M. No. 101. The composer may have been the great German composer himself, Michael Praetorius (1571-1621), son of a Lutheran Pastor. His influence on the development of musical forms based on Protestant hymns was significant. The source of the tune is given as 'Harmoniae Hymnorum Scholiae Gorliensis', Görlitz 1599. St. Anne C.M. No. 106. This is probably the best known psalm/hymn tune by Dr. William Croft (1678-1727). Many know the tune to the words of Isaac Watts' 'O God our Help in Ages Past'. St. Anne was first published in the English Psalter New Version: Supplement of 1708, the “New Version” being the translations of Tate and Brady. One of Croft's positions was organist at St. Anne’s Church, Soho, London. Later he was joint organist at the Chapel Royal with Jeremiah Clarke. He ended up as organist in Westminster Abbey and was buried there.