Academic literature on the topic 'Gospel hymns and sacred songs'
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Journal articles on the topic "Gospel hymns and sacred songs"
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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 references form one of the most important means of characterisation in the novel. The texts are often used by the characters in a harsh and ironic way – and without respect for the religious content – but there are also some touching situations in which the original religious context is retained.
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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 manuscripts and conclude with its unnotated appearance in nineteenth-century printed Catholic songbooks. I argue that the refrain’s long-standing appeal can be located in its function as a poetic and liturgical trope of time itself. While tropes often enhance the “hic et nunc” (here and now) of the liturgy, the “Fulget dies” refrain gained additional temporal significance through its intimate link to songs of the Christmas season. The “shining day” imagery introduced by the refrain offered a tangible way of marking seasonal time in devotional rites, poetically indexing the light-based symbolism of Christmas, the winter solstice, and the New Year. The inherently temporal meaning of the refrain lent it flexibility as a trope, enabling its movement across genres and liturgies. Integrated into sacred Latin songs, the “Fulget dies” refrain functioned as a pithy musical and poetic commentary on liturgical, calendrical, and seasonal temporalities—in other words, as a trope of time in sacred song.
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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 in congregational worship were a significant aspect of the increasing theological, social, and cultural divisions within denominations as well as between evangelicals more broadly. Gospel hymnody became representative of a newly respectable, nonsectarian, and populist evangelicalism that stressed individualized salvation and personal choice, often putting it at odds with doctrinal orthodoxy and church tradition. These songs fostered an imagined community of conservative evangelicals, one whose formation rested on personal choice and whose authority revolved around a network of nondenominational organizations rather than an institutional body. At the same time, denominational debates about gospel hymnody reveal the fluid nature of the conservative/liberal binary and the complicated relationship between evangelicalism and modernism generally. While characterizations of “liberal” and “conservative” tend to emphasize biblical interpretation, the inclusion of worship music and style complicates this narrow focus. As is evident through the case studies, denominations typically categorized as theologically liberal or conservative also incorporated both traditional and modern elements of worship.
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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 in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.
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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><em>Dzismies Swatas” (1801, etc.). Of these are both first editions and reissues. These compilations represent the basic core of 19<sup>th</sup> century spiritual songs in conjunction with the book </em><em>„</em><em>Piļneigajā gruomotā lyugšonu” (“The Complete Book of Prayers”) published in the latter half of the century. Psalms which were written well before the birth of Christ are among the oldest religious songs. Psalms of penance and prayers for the dead were first published in Latgalian in the 1786 edition of </em><em>„</em><em>Nabożeństwo”.</em></p><p><em>The diversity of genres of songs is surprising: songs using scriptural texts, hymns of the Fathers of the Church, sequences and antiphonies. The progress of the liturgical year was supported by additional processionary hymns, hour songs (godzinkas), descriptions of the lives of saints set to music, catechism songs and prayers which are written as prose but given a melody in order to be sung. Directly arrhythmic language and certain metrical text used for worship in prayers made it unclear exactly how many texts were in fact songs.</em></p><em>It is not possible to determine the authors of all songs. Text recognition is also hampered by the lack of a printed Polish source – the work that the Jesuits translated to create the hymnals has not been found. Thus, for comparison of these texts it is necessary to find them in various books or consult the wider body of 19<sup>th</sup> century songs, wherein the content of songs is usually altered. The “sacred songs” examined and analyzed in this article were selected at random. The majority of songs so far sourced are from „Nabożeństwo”, but identification work continues at present.</em>
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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 confirm that this practice makes the songs more accessible for the youth. This article explores the development of selected hymns from the Liedboek van die Kerk (2001) (“Afrikaans Hymn book of the Church”) to determine their secular roots and describe how they developed into sacred hymns. It is pointed out that the utilisation of the melodies as settings for different sacred texts, illustrates their quality and flexibility and is instrumental in their acceptance as hymn tunes. It is also argued that historic distance between the secular source and the church hymn contributes to the weakening of the original secular association. The ongoing debate on the secular versus the sacred is also touched upon, and finally the renewed interest in contrafacta in the late 20th and early 21st century is discussed. Die kontrafaktuurpraktyk, waar sekulêre melodieë en/of tekste as bronne gebruik word in die skep van geestelike tekste en/of melodieë, kom al eeue lank in kerkliedere voor. Hierdie werkswyse het onder andere ʼn aantal Protestantse liedere opgelewer (veral in Duitse Reformatoriese verband), wat deesdae as groot liedere van die kerkliedskat geag word. Een voorbeeld is die lydenslied “Herzlich tut mich verlangen”. In verskeie historiese bronne word die gebruik van sekulêre melodieë by kerkliedtekste gemotiveer: die melodieë was reeds bekend en daarom kon die nuwe liedtekste makliker aangeleer word. Die toeganklikheid vir die jeug staan ook voorop. Hierdie artikel ondersoek enkele liedere in die Liedboek van die Kerk (2001) ten einde vas te stel wat die sekulêre wortels daarvan was. Voorts word aangetoon hoe die liedere as geestelike liedere ontwikkel het. Daar word verwys na die hergebruik van sekere melodieë by ʼn verskeidenheid tekste, wat dui op die aanpasbaarheid van die kontrafakmelodieë en die mate waarin dit inslag gevind het as kerkliedmelodieë. Verder word daar geredeneer dat historiese afstand tussen die sekulêre bron en die kontrafak daartoe bygedra het dat so ʼn lied sy sekulêre assosiasies mettertyd verloor het. In hierdie artikel kom die voortdurende debat waarin die geestelike teenoor die sekulêre musiek staan ten opsigte van gebruik in die erediens ook ter sprake. Die hernude belangstelling in en skepping van kontrafakte vanaf die laaste dekades van die 20ste eeu word ook ten slotte onder die soeklig geplaas.
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Mirea, Ruxandra. "Mirroring the Authorʼs Personality in Composer Carmen Petra-Basacopolʼs Sacred Music". Artes. Journal of Musicology 21, № 1 (2020): 169–92. http://dx.doi.org/10.2478/ajm-2020-0010.
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AbstractFor centuries, the study of personality has been a need for understanding human nature, but it also has become a scientific endeavour, starting with the first half of the twentieth century. Research in this matter has materialised through papers by important psychologists, who considered the unitary study of human beings, the understanding of their motivation, as well as the understanding of the psychological differences that make us unique. Thus, personality is a dynamic concept which reveals the behaviour of a person that allows the possibility of adapting to the environment. While her works are frequently performed in recitals and concerts, Carmen Petra-Basacopol is one of the most appreciated Romanian musicians also due to personality traits, which are undoubtedly reflected in her creation. The universe of sacred music has been a favourite field in her works and includes all musical genres, from chamber music to concerts. In this study I have planned to analyse musicologically three choral works with sacred orientation from the perspective of a psychological profile of the composer: Sacred songs for a capella mixed choir, op. 90; Sacred hymns for male choir, op. 112; Psalm triptych for a capella choir with female voices, op. 116. The proposed working tool for outlining the psychological profile, as well as the correlation of the studied works with the universe of sacred music is represented by the interview.
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Williams, Sonja D. "Wade in the Water." Resonance 1, no. 1 (2020): 15–24. http://dx.doi.org/10.1525/res.2020.1.1.15.
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In January 1994, Wade in the Water: African American Sacred Music, a first-time radio series collaboration between the Smithsonian Institution and National Public Radio, began airing on hundreds of NPR affiliate stations throughout America. An ambitious and influential series of 26 hour-long documentary programs, Wade explored 200 years of black sacred music, including spirituals, ring shouts, lined hymns, jazz, and gospel. The series also featured the insights of music creators, performers, listeners, and historians who could place African American sacred music traditions within the social, political, and cultural context of their times. Wade eventually won a Peabody Award and other awards of distinction. Conceived and hosted by Smithsonian Institution curator, artist, and MacArthur Foundation “Genius” Fellow Bernice Johnson Reagon, Wade required an intensive, five-year-long fundraising, research, and production journey of commitment. As the series’ associate producer, this article’s author worked with a host of dedicated radio producers, researchers, engineers, scholars, and music collectors who helped to make Wade a reality. Therefore, this article describes the series’ production journey from the vantage point of an insider, and it serves as a personal reflection on the making of a series that would set the standard for future long-form, NPR-based music documentary productions.
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Gärtner, Stefan. "The Passion of Christ on Television: Intertextuality as a Mode of Storytelling." Religions 11, no. 11 (2020): 603. http://dx.doi.org/10.3390/rel11110603.
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The Passion is a contemporary performance of the passion of Christ live on stage, combined with pop music, city marketing, social media, and entertainment. The result is an encounter between the Christian gospel and traditional elements of devotion like a procession of the cross on the one hand, and the typical mediatization and commercialization of late modern society on the other. In this article, I will first briefly describe the phenomenon, including the different effects that the event has upon the audience and the stakeholders and benefits it has for them. It is one characteristic of The Passion that it allows for a variety of possible approaches, and this is, at the same time, part of its formula for success. Another characteristic is the configured intertextuality between the sacred biblical text and secular pop songs. In the second section, I will interpret this as a central mode of storytelling in The Passion. It can evoke traditional, but also new, interpretations of the Christian gospel. The purpose of the article is to interpret The Passion as an expression of constructive public theology. It is an example of how the gospel is brought into dialogue with secular society.
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, particularly his contribution to the liturgy and service of the Anglican Church. In chapter four, a discussion of Stanford's works for solo voice, choir, and organ will include: (1) the Evening Service in G, Opus 81, for soprano and baritone soloists, choir, and organ, (2) the virtually unknown cantata Awake my heart, Opus 16, for baritone, choir, and organ, and (3) an introduction to Stanford's Six Bible Songs and Hymns, Opus 113, discussing the genesis of the work, and its unique position within the repertoire of the Anglican Church. The fifth chapter is a detailed analysis of the Six Bible Songs and Hymns that investigates musical aspects of Stanford's score, but also the history of the cycle's texts and hymn tunes, as well as performance and other extra musical considerations. A concluding sixth chapter will discuss the publication history and performance practices of the Six Bible Songs and Hymns , Opus 113.
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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 are
offered into the purposes of the playwrights.
Several cycle plays are treated, together with two of the
moralities and two interludes. The point is made that these
playwrights showed a considerable mastery of the possibilities
inherent in drama, as is demonstrated by the provision for
achieving rapport with the audienceThe reformed churches have theological and musicological criteria for their hymns, which, however, are not always unambiguous. After the introduction of the Jeugsangbundel (1984) an informal song, with informal accompaniment, entered the worship and forms a prominent part of the singing in Dutch Reformed Churches today. Some congregations compile their own volumes of songs. This study set out to identify these congregations by means of a questionnaire and evaluate the songs. Other relevant information was also required from congregations. 21 % of the respondent congregations sing unapproved songs. They have a larger percentage of young people than those singing official songs. Congregations prefer a balance of formal and informal hymns and both are sung with equal enthusiasm. The melody is the strongest characteristic of the informal song and edification the strongest of the formal hymn. The evaluation, however, shows that a considerable number of songs do not meet the required standard
Art History, Visual Arts & Musicology
M.A. (Musicology)
Books on the topic "Gospel hymns and sacred songs"
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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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Songs of glory: Stories of 300 great hymns and gospel songs. Zondervan Books, 1990.
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Mama, Big. Them gospel songs: Lore of the Black church experience. National Writers Press, 1990.
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Simpson, A. B., and A. B. Simpson. Hymns and songs of the four-fold Gospel, and the fullness of Jesus. Christian Alliance, 1985.
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H, Matter F., ed. Fontes hymnodiae Neerlandicae impressi 1539-1700 =: De melodieën van het Nederlandstalig geestelijk lied 1539-1700 : een bibliografie van de gedrukte bronnen. B. de Graaf, 1985.
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Nijenhuis, Emmie te. Sacred songs of India: Dīkṣitar's cycle of hymns to the Goddess Kamalā. Amadeus, 1987.
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1958-, Maule Graham, ed. The courage to say no: Twenty-three songs for Lent and Easter. Wild Goose Publications, 1996.
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Music, Hosanna! The Smithton outpouring: Revival from the heartland songbook ; new songs for worshiping churches. Integrity Inc., 1999.
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Brunk, J. D., and S. F. Coffman. Church hymnal : Mennonite: A collection of hymns and sacred songs suitable for use in public worship, worship in the home, and all general occasions. Mennonite Publishing House, 2000.
Book chapters on the topic "Gospel hymns and sacred songs"
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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, voluntaries, various pieces) and voice (anthems, sentences, services, hymns, songs, offertories, and oratorios).
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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 tensions are part of the blurred boundaries between sacred and secular, work and play, and self and other.Keywords: fidelity, play, gospel music, craft, boundaries, work
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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 motivates the practice of tuning up. As it incarnates time, tuning up activates the otherworldly intensity of these interworldly texts. As they are iterated and intensified the gospel song’s lyrics become something more—the living word of God. The second section of this develops a fuller picture of the textual sources that gospel regards as sacred, formulations that mediate between worlds, offering believers specific windows through which to experience the eternal. The chapter demonstrates that gospel’s views about the efficacy of words ultimately derive from a preoccupation with the name of Jesus—an enduring belief that spiritual power is unleashed when that name is spoken. Gospel vamps use this pivotal utterance to re-incarnate Jesus, proclaiming—again and again—that Jesus is the living word of God. But this incarnation has two trajectories: as gospel texts commingle live performances and a host of other scriptural scenes, they also draw believers into the presence of God, through the spiritual realm—the spatial dimension of kairos.
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Reid, Susan. "Music." In The Edinburgh Companion to D. H. Lawrence and the Arts. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474456623.003.0019.
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Music resounds throughout Lawrence’s work; from hymns, folk songs, classical music and opera to Native American singing and drumming. This chapter considers the various ways in which he deployed music in his art, beginning with the culturally engaged way of listening evident in Aaron’s Rod; a novel that critiques musical listeners with features of what Adorno later described as ‘culture consumers’, while displaying its author’s propensity to be both a ‘good’ and ‘emotional’ listener. For Lawrence music suggests a similar potential to fill a perceived gap in our language for the emotions that we find in the ideas of thinkers from Schopenhauer to Lefebvre, and particularly in the latter’s concept of bodily rhythm. This chapter’s readings of piano music in The Lost Girl, music hall in Mr Noon and the sacred rhythms of David (for which Lawrence composed ten songs) explore how Lawrence uses music as a bridge between individual and communal experiences, with an ever-increasing awareness of embodiment and interrelationship with other bodies and places.
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Bradley, Ian. "1871‒1877." In Arthur Sullivan. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198863267.003.0005.
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By now widely recognized as England’s leading composer, Arthur Sullivan devoted the first half of the 1870s to sacred works, including a massive Te Deum to celebrate the recovery of the Prince of Wales from typhoid fever (1872), his most significant oratorio, The Light of the World (1873), forty-two original hymn tunes and seventy-five hymn tune arrangements and numerous sacred songs and ballads. The Light of the World broke significant new ground by dispensing with a narrator and for the first time in English oratorio making Jesus a real character who appeared and sang and interacted with other characters. As well as acting as editor for a major Anglican hymnal, Church Hymns and Tunes (1874), Sullivan wrote numerous hymn tunes, including the ever-popular ST GERTRUDE for ‘Onward, Christian soldiers’ and NOEL for ‘It came upon the midnight clear’. He may also have had a hand in ST CLEMENT for ‘The day, Thou gavest, Lord, is ended’. In 1877, sitting at the bedside of his dying brother, he wrote the tune for his sacred ballad, ‘The Lost Chord’ which became the best-selling song of the last quarter of the nineteenth century.