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Relevant bibliographies by topics / Gospel hymns and sacred songs

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Academic literature on the topic 'Gospel hymns and sacred songs'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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Journal articles on the topic "Gospel hymns and sacred songs"

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Petrošienė, Lina. "Parodies of Religious Hymns in Žemaitijan Carnival: Social Interaction and Cultural Expression: Everyday Life, Festivities and Ritual Forms." Yearbook of Balkan and Baltic Studies 4 (December 2021): 245–66. http://dx.doi.org/10.7592/ybbs4.10.

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On costumed processions in Žemaitija on Shrove Tuesday, the ‘beggars’ were and are among the main characters, as attested by the mask’s distribution area, the name ‘Shrovetide beggars’ being given to the whole band of masked people, and the relative abundance of the costumed “beggars”’ songs. This study examines some examples from the repertoire of Shrove Tuesday carnival songs in Žemaitija, parodies of religious hymns and folk songs, which the performers called hymns and which were performed in imitation of sacred singing. The present analysis identifies their features, origins and function a

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Richardson, Paul A. "Book Review: Songs of Glory: Stories of 300 Great Hymns and Gospel Songs." Review & Expositor 88, no. 4 (1991): 494–95. http://dx.doi.org/10.1177/003463739108800459.

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Van der Mescht, H. H. "Karakterisering en die gebruik van verwysings na psalms, gesange en hallelujaliedere in die roman Agaat van Marlene van Niekerk." Literator 32, no. 3 (2011): 37–60. http://dx.doi.org/10.4102/lit.v32i3.209.

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Characterisation and the use of references to psalms, hymns and hallelujah songs in Marlene van Niekerk’s novel Agaat The qualities of the main characters in Marlene van Niekerk‟s Afrikaans novel “Agaat” (2004) are often emphasised by the use of references to classical, folk and sacred music. As religious songs constitute an integral part of the Afrikaans community, it is fitting to include references to the texts of psalms, hymns and hallelujah hymns in an Afrikaans novel set on a farm. The novel makes extensive use of such references to portray the characters and their context. These referen

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Caldwell, Mary Channen. "Troping Time: Refrain Interpolation in Sacred Latin Song, ca. 1140–1853." Journal of the American Musicological Society 74, no. 1 (2021): 91–156. http://dx.doi.org/10.1525/jams.2021.74.1.91.

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Abstract This article explores a practice in evidence across Europe from the twelfth to the nineteenth century involving the singing of a brief refrain within sacred Latin songs and hymns. Tracing the circulation of the two-part refrain “Fulget dies … Fulget dies ista” across multiple centuries, in both song-form tropes of the office versicle Benedicamus Domino and as a trope interpolated into hymns, I chart its unique movement between genres and in and out of written record. Examining the unusual origins, transmission, and function of the refrain, I begin with its emergence in twelfth-century

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முனைவர், ச. ஆனந்தி /. Dr. S. Ananthi. "ஆழ்வார்கள் பாசுரங்களில் திவ்யதேசங்கள் / Divya Desangal in Azhwars Pasurangal". PTJTS 4, № 1 (2024): 1–12. https://doi.org/10.5281/zenodo.10586012.

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<em>In this article, the Vaishnava religion and the life of azhwars are recorded. There are twelve Alvars and they have sung four thousand divine Prabandhams. This article gives a clear idea about the hymns that induce the spiritual spirit. This research is also a study based on the original lines taken from the select songs and does a conducive study to know the Divyadesams portrayed in the spiritual hymns sung by the Alwars. The 108 Divyadeshas are indicated with ample citations. Through this study, it is known that the Alvars have recorded in their sacred scriptures about the Vaishnava holy

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Van Dyken, Tamara J. "Worship Wars, Gospel Hymns, and Cultural Engagement in American Evangelicalism, 1890–1940." Religion and American Culture: A Journal of Interpretation 27, no. 2 (2017): 191–217. http://dx.doi.org/10.1525/rac.2017.27.2.191.

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AbstractThis article argues that gospel hymnody was integral to the construction of modern evangelicalism. Through an analysis of the debate over worship music in three denominations, the Methodist Episcopal Church, the Christian Reformed Church, and the Reformed Church in America, from 1890–1940, I reveal how worship music was essential to the negotiation between churchly tradition and practical faith, between institutional authority and popular choice that characterized the twentieth-century “liberal/conservative” divide. While seemingly innocuous, debates over the legitimacy of gospel hymns

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Kalvāne, Skaidrīte. "SEARCHING FOR THE SOURCES OF 18TH AND 19TH CENTURY LATGALIAN RELIGIOUS SONGS." Via Latgalica, no. 7 (March 22, 2016): 172. http://dx.doi.org/10.17770/latg2015.7.1218.

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<p><em>Latgalian </em><em>„</em><em>svātuos dzīsmis”</em><em> (‘sacred songs’) were not only sung in the church in the 18<sup>th</sup> and 19<sup>th</sup> centuries. These songs became integral and necessary components of both home and spiritual life.</em></p><p><em>Some publications of spiritual song and prayer books written by the Latvians of Latgale have been preserved until today: </em><em>„</em><em>Nabożeństwo” (1771, 1786, etc.) and </em><em>„</em><

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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were i

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Kruger, Daleen. "“Mein Gmut ist mir verwirret”: contrafactum-practice in the Liedboek van die Kerk (“Afrikaans Hymn book of the Church”)." Koers - Bulletin for Christian Scholarship 81, no. 2 (2016): 61–79. http://dx.doi.org/10.19108/koers.81.2.2252.

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The contrafactum-practice which utilises secular melodies and/or texts as sources in the creation of sacred hymns, is an age-old tradition. This practice generated amongst others a few Protestant hymns (particularly in the German Reformed context), which are viewed today as important hymns in the hymn corpus. One example would be the hymn for lent, “Herzlich tut mich verlangen”. In several historic sources the use of secular melodies in church hymns is motivated: the fact that the melodies are already well-known amongst the congregation would make it easy to learn the new texts. Sources also c

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Wilkins, Frances. "Singing and the Dùsgaidhean: The Impact of Religious Awakenings on Musical Creativity in the Outer Hebrides." Scottish Studies 40 (January 24, 2024): 111–24. http://dx.doi.org/10.2218/ss.v40.9292.

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The evangelical revivals (known in English as ‘awakenings’ and in Gaelic as na dùsgaidhean) of the nineteenth and twentieth centuries had an immediate impact upon singing and music-making in Presbyterian communities in the Western Isles as well as a significant long-term effect on both traditional and sacred musical practice and performance. Awakenings often led converts to re-evaluate their participation in traditional music-making and singing and compelled many to give up their secular music practices upon conversion. Even so, music-making itself was not discouraged, and these religious revi

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Dissertations / Theses on the topic "Gospel hymns and sacred songs"

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Eglite, Sarma A. "The sacred songs of the followers of the lamb an examination of Latvian Brudergemeine hymns from 1739 /." Theological Research Exchange Network (TREN), 2002. http://www.tren.com.

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Akers, Mary Elizabeth. "A cultural studies analysis of the Christian women vocalists movement from the 1980's to 2000: Influences, stars and lyrical meaning making." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3266.

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This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.

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Knapp, Brady Keith. "Charles Villiers Stanford's sacred repertoire for solo voice, choir, and organ: An analysis of "Six Bible Songs and Hymns", Opus 113." Thesis, 2003. http://hdl.handle.net/1911/18546.

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This paper explores aspects of Sir Charles Villiers Stanford's life and music, with an emphasis on his sacred works for solo voice, choir, and organ, and an analysis of the Six Bible Songs and Hymns or Chorales (to follow the Bible songs), Opus 113 for baritone solo, SATB choir, and organ. The second chapter is a brief biography of significant events and major accomplishments in Stanford's life. The third chapter provides an overview of his compositional style, with an emphasis on the defining characteristics of his vocal music. The fourth chapter focuses on Stanford's sacred vocal music, par

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Papenfus, Anna Francina. "'n Waardebepaling van die nie-amptelike, informele kerklied soos gesing in die erediens in gemeentes van die Nederduitse Gereformeerde Kerk in die PWV." Diss., 1994. http://hdl.handle.net/10500/15739.

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This dissertation falls in line with work produced during the past fifteen years or so, aimed at improving our appreciation of late medieval/early Tudor English Drama. The approach is based especially on looking at the rapport likely to be achieved between audience and players (and via the players, with the playwrights), in actual performance. Attention is given to the permanent modes of human thought, that are unaffected by the ephemeralities of a particular period; attention is therefore drawn to the traps that may mislead the unwary twentieth-century critic, and some new insights a

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Books on the topic "Gospel hymns and sacred songs"

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1838-1876, Bliss P. P., and Sankey Ira D. 1840-1908, eds. Gospel hymns and sacred songs, words only. Copp, Clark, 1986.

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Brumley, Albert E. Albert E. Brumley's book of sacred songs. Kessinger Pub., 2009.

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Topping, Eva C. Sacred songs: Studies in Byzantine hymnography. Light and Life Pub., 1997.

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1840-1908, Sankey Ira D., ed. Sacred songs and solos: Twelve hundred hymns. Marshall Pickering, 1998.

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Rev. Dr. Delores Carpenter (Editor) and Jr., Rev. Nolan E. Williams (Editor), eds. African American Heritage Hymnal: 575 Hymns, Spirituals, and Gospel Songs. Gia Publications, 2001.

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Sankey, Ira David. Gospel Hymns and Sacred Songs. Franklin Classics Trade Press, 2018.

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Sankey, Ira David. Gospel Hymns and Sacred Songs. Creative Media Partners, LLC, 2023.

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Sankey, Ira David. Gospel Hymns and Sacred Songs. Franklin Classics Trade Press, 2018.

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Sankey, Ira David. Gospel Hymns and Sacred Songs [microform]. Creative Media Partners, LLC, 2021.

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Sankey, Ira David. Gospel Hymns and Sacred Songs; V. 2. Creative Media Partners, LLC, 2021.

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Book chapters on the topic "Gospel hymns and sacred songs"

1

Loewe, Andreas, and Katherine Firth. "Hymns and Sacred Songs." In Martin Luther and the Arts. BRILL, 2022. http://dx.doi.org/10.1163/9789004527430_004.

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"Index of Hymns, Carols and Sacred Songs." In Hymns and the Christian Myth. University of British Columbia Press, 2007. http://dx.doi.org/10.59962/9780774853002-024.

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Preston, Katherine K. "Sacred Music." In George Frederick Bristow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043420.003.0006.

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Bristow served as a church organist and choir director for most of his professional life, in almost a dozen different churches (1840s-1890s). The type of music performed in churches on holy days is readily available; what was heard on regular Sundays is mostly unknown. A 1906 publication about music at Manhattan’s Trinity Church, however, is instructive about both types of services. Bristow programmed compositions by both European and American composers, especially on holy days; this indicates his continued support for fellow composers. He wrote numerous sacred works for organ (interludes, vol

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Bartenstein, Fred. "Using My Bible for a Roadmap." In Industrial Strength Bluegrass. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043642.003.0006.

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Musicians, ministers, evangelical churches, music promoters, recording studios, and radio made southwestern Ohio an epicenter for sacred bluegrass. Worship services, revivals, homecomings, church concerts, WPFB’s Hymns from the Hills and WYSO’s Rise When the Rooster Crows played sacred bluegrass music. The Brown’s Ferry Four and King’s Sacred Quartet recorded at King. Shannon Grayson, Flatt and Scruggs, Jim and Jesse, Reno and Smiley, Sonny Osborne, Red Allen, the Stanley Brothers, Moore and Napier, and J.D. Jarvis also recorded in Cincinnati. Lillimae Haney Whitaker headed the Dixie Gospel-Ai

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Monge, Luigi. "African American Disaster Songs and Memory." In Wasn't That a Mighty Day. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496841698.003.0005.

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The final chapter draws general conclusions on the way African American singers and composers depicted disasters in their sacred and secular songs and on how their approach compares with the white one. A brief introduction to the interrelated concepts of memory (both collective and individual) and its different meanings is followed by a discussion of the field of study known as oral history and performance. After this theoretical treatment, a more empirical study based on the song lyrics’ analysis in the three preceding chapters enables to provide answers to the questions posed in the Introduc

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Mungons, Kevin, and Douglas Yeo. "Introduction." In Homer Rodeheaver and the Rise of the Gospel Music Industry. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043840.003.0001.

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Homer Rodeheaver’s brand of gospel songs became a commercial music force at the height of World War I, when print music and recorded music was marketed with genre labels like “hillbilly” and “race.” These categories influenced a generation of scholarship that searched for authenticity, a mythical roots music that was untainted by commerce. As a result, early gospel music studies examined folk spirituals and evangelical hymns, culminating in the performance styles of black gospel and southern gospel. Recent studies have expanded these interpretations to also study the influence of technology, t

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Darden, Robert F., and Stephen M. Newby. "Live in London." In Soon & Very Soon. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197748121.003.0013.

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Abstract The songs comprising the four-sided Live in London LP were recorded over two concerts in four manic days in the United Kingdom. As was Crouch’s custom, instead of playing his best-known songs, much of the album is composed of arrangements of beloved old hymns, new songs (some composed on the spot), and more evangelical preaching from Andraé. The album’s iconic cover—an air-brushed spaceship with a keyboard hovering over Great Britain—marks one of the first times a gospel record featured a cover to rival the best work in popular music. The concerts also marked the end of the Disciples.

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Bester, Christian, and Bronwen Forbay. "Peter John Philander (1921–2006)." In Afrikaans Art Song Literature. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197660812.003.0028.

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Abstract This chapter contains a newly crafted translation and International Phonetic Alphabet (IPA) transcription of a poem by Peter John Philander, “Eclipse.” Set to music by P. J. de Villiers, this is the first song in his sacred song cycle “Four Songs of Doubt and Faith.” Famous for his musical settings of the Boerneef poems, de Villiers was the first South African to record all the Psalms and Hymns in the first Afrikaans Hymnbook. As a collaborative artist, he performed with several notable South African opera singers including Mimi Coertse, Joyce Barker, Cecilia Wessels, and Werner Nel,

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Shelley, Braxton D. "“The Evidence of Things Not Seen”." In Healing for the Soul. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197566466.003.0004.

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This chapter argues that the gospel tradition is animated by an incarnational approach to text: a pervasive belief that sacred words hold together visible and invisible realms, occasioning traffic between the two. The chapter begins with analyses of Smallwood’s “Hebrews 11” (2014) and “His Mercy Endureth Forever” (1992), two songs whose striking relationship with their scriptural source reveals the agency that believers attribute to hallowed verse. These songs epitomize gospel’s conviction about the transformative power of holy words, read, spoken, and sung, a transcendent principle that motiv

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Bidgood, Lee. "Singing Truth, Fidelity, and Play in Czech Bluegrass Gospel." In Czech Bluegrass. University of Illinois Press, 2017. http://dx.doi.org/10.5622/illinois/9780252041457.003.0005.

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The Czech bluegrass band Reliéf has made U.S. gospel bluegrass songs a cornerstone of their performances, despite the fact that its members are not strong Christian believers. Interviews with mandolinist Tomáš Dvořák and with luthier Ondřej Holoubek(brother of the band's guitarist Jiří) reveal tensions between genre expectations of bluegrass and the desire to present performances that are locally relevant and true to the performers' worldview. Analysis of Czech cultural contexts, the work of Richard Schechner, and the author's experiences as a participant in gospel singing shows that these ten

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