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Relevant bibliographies by topics / Hymns, American

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Academic literature on the topic 'Hymns, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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Journal articles on the topic "Hymns, American"

1

Marini, Stephen. "Hymnody as History: Early Evangelical Hymns and the Recovery of American Popular Religion." Church History 71, no. 2 (June 2002): 273–306. http://dx.doi.org/10.1017/s000964070009569x.

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The hymns of evangelical Protestantism are the most widely used spiritual texts in American history. Sacred lyrics like “All hail the power of Jesus' name,” “Jesus, lover of my soul,” “How firm a foundation,” and “When I survey the wondrous cross” have been sung, preached, and prayed by millions of Americans since the eighteenth century. At worship, revivals, youth services, conferences, conventions, and colleges, and in the family circle, these hymns have been ceaselessly repeated in an unending round of living oral tradition. Since the Great Awakening two and a half centuries ago, the churches of the evangelical tradition have published tens of thousands of hymn texts and tunes. This continuous popularity since colonial times establishes hymnody as a crucial expression of American evangelical religiousness.

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2

Eskew, Harry, Albert Christ-Janer, Charles W. Hughes, Carlton Sprague Smith, and Charles W. Hughes. "American Hymns Old and New." American Music 4, no. 2 (1986): 224. http://dx.doi.org/10.2307/3051990.

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Chu, Calida. "William Newbern and Youth Hymns: The Music Ministry of the C&MA in South China in the Mid-Twentieth Century." International Bulletin of Mission Research 43, no. 3 (July 2019): 226–37. http://dx.doi.org/10.1177/2396939319832280.

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American missionary William Newbern (1900–1972), one of the first C&MA missionaries to China, is known as the father of the Hong Kong Alliance Bible Seminary. Newbern, a successful evangelist and educator, also made a major contribution to Chinese hymnology in the mid-twentieth century, especially in his editorial role in preparing Youth Hymns, whose hymns are still used in Chinese churches today. As primary sources, I use mainly his autobiography ( The Cross and the Crown), his articles in Alliance Magazine, and his music commentaries Narrating Hymns ( Shengshi mantan).

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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 (August 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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Studwell, William E. "The Curious Interface of Hymns and American Popular Culture." Music Reference Services Quarterly 3, no. 4 (October 3, 1995): 69–73. http://dx.doi.org/10.1300/j116v03n04_07.

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رشوان, هاني. ""النار العاتية التي ذاقت من طعم وهج اللهيب:"." Al Abhath 68, no. 1 (December 30, 2020): 106–81. http://dx.doi.org/10.1163/2589997x-06801006.

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This article offers the first Arabic translation of a praise hymn dedicated to Ramsess II (d. 1213 B.C.E.), with philological and poetic commentaries. The text was carved on the facade of Abū Simbel temple twice because of its exceptional literary nature, as this study demonstrates. I discuss why Euro- American scholars were unable to separate the literary dimensions of the praise hymns from its political framework, and also tackle the pictorial nature of ancient Egyptian writing, providing the Arabic reader with the necessary instruments for understanding the several visual features that were creatively deployed by the writer to enhance the reading process of this particular praise hymn. I then trace the early foundations of premodern Arabic khiṭāba and its close relation to constructing oral/aural arguments in comparison with balāgha that deals with the literary devices of the Qur’ānic text. This study breaks new ground in the discipline of comparative literature by establishing a collation between the two praise hymns of Ramsess II (d. 1213 B.C.E.) and Senwosret III (d. 1839 B.C.E.). This collation makes it possible to rediscover the way each eulogist built unique or similar images to describe the praised king. The article discusses several problematic questions of loanwords to pave the way for further research on ancient Egyptian words that were incorporated inside the classical Arabic dictionary, and the analysis ends with an ancient Egyptian-Arabic lexicon of the hymn under study. It is hoped that this may encourage the new generation of Egyptian Egyptologists to generate a comprehensive dictionary of the ancient Egyptian language based on direct engagement with ancient Egyptian literary texts.

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رشوان, هاني. ""النار العاتية التي ذاقت من طعم وهج اللهيب:"." Al Abhath 68, no. 1 (December 30, 2020): 106–81. http://dx.doi.org/10.1163/18115586-00680105.

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This article offers the first Arabic translation of a praise hymn dedicated to Ramsess II (d. 1213 B.C.E.), with philological and poetic commentaries. The text was carved on the facade of Abū Simbel temple twice because of its exceptional literary nature, as this study demonstrates. I discuss why Euro- American scholars were unable to separate the literary dimensions of the praise hymns from its political framework, and also tackle the pictorial nature of ancient Egyptian writing, providing the Arabic reader with the necessary instruments for understanding the several visual features that were creatively deployed by the writer to enhance the reading process of this particular praise hymn. I then trace the early foundations of premodern Arabic khiṭāba and its close relation to constructing oral/aural arguments in comparison with balāgha that deals with the literary devices of the Qur’ānic text. This study breaks new ground in the discipline of comparative literature by establishing a collation between the two praise hymns of Ramsess II (d. 1213 B.C.E.) and Senwosret III (d. 1839 B.C.E.). This collation makes it possible to rediscover the way each eulogist built unique or similar images to describe the praised king. The article discusses several problematic questions of loanwords to pave the way for further research on ancient Egyptian words that were incorporated inside the classical Arabic dictionary, and the analysis ends with an ancient Egyptian-Arabic lexicon of the hymn under study. It is hoped that this may encourage the new generation of Egyptian Egyptologists to generate a comprehensive dictionary of the ancient Egyptian language based on direct engagement with ancient Egyptian literary texts.

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Stølen, Marianne. "Om Grundtvigs sanges liv i Nordamerika." Grundtvig-Studier 59, no. 1 (January 1, 2008): 170–93. http://dx.doi.org/10.7146/grs.v59i1.16532.

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Om Grundtvigs sanges liv i Nordamerika[On the life of Grundtvig’s songs in North America]By Marianne StølenThe article discusses three important conditions for that rich life which Grundtvig’s songs have enjoyed among Danish-Americans in North America. Treated first is the songbook of Frederik Lange Grundtvig, Sangbog for det danske Folk i Amerika [Songbook for the Danish folk in America] (1888), commonly known as “the red one,” with focus upon F. L. Grundtvig’s selection of familiar and unfamiliar songs and hymns gathered from his father’s treasury of song and his reworking of some of these with regard to their relevance for use among the Danish immigrants. Next is described the production of songs among the migrants, especially the Danish pastors, with examples of the word-choice which reveals an assimilation of key conceptwords from Grundtvig’s writings along with readily recognisable echoes of lines from the Grundtvig classics. There follows a description of the Hymnal for Church and Home (1927) and the Danish-American A World of Song (1941), each of which in its way collaborated in building a bridge between successive generations of users. Particular attention is drawn to the translations contributed to the songbook by the Danish-American translator and pastor S. D. Rodholm, with use of examples from Grundtvig’s authorship.Finally a glimpse is offered into the role played today by Grundtvig’s songs in the song-repertoire of Danish-American conventions and among the present members of two singing groups in the Pacific Northwest.

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Stricklin, David, Richard J. Mouw, and Mark A. Noll. "Wonderful Words of Life: Hymns in American Protestant History and Theology." Journal of Southern History 71, no. 2 (May 1, 2005): 508. http://dx.doi.org/10.2307/27648810.

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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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Dissertations / Theses on the topic "Hymns, American"

1

Hobbs, June Hadden. ""I sing for I cannot stay silent" : the feminization of American hymnody, 1870-1920 /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1994.

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Abbott, Rebecca L. ""What? bound for Canaan's coast?" songs of pilgrimage in the American church /." Online full text .pdf document, available to Fuller patrons only, 2002. http://www.tren.com.

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Ginn, Craig Warryn Clifford. "Theological authority in the hymns and spirituals of American Protestantism, 1830-1930." Thesis, University of Leeds, 2009. http://etheses.whiterose.ac.uk/12735/.

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This dissertation examines theological authority in the hymns and spirituals of American Protestantism within the period 1830-1930. It investigates the deuterocanonical status of hymns in hymnic-theological commentary, and demonstrates the functional canonicity of hymns in three case studies (children's hymnody, African American spirituals, and hymns of marginalized groups), and two representative areas of praxis (conversion and missions). This dissertation consults a variety of primary source materials, both elite and popular, including journals, biographies, conference minutes, academic addresses, theological works, hymn prefaces, domestic novels, newspapers, and poetry. These sources are used to situate the hymnal in the cultural context of American Protestantism and determine the status and role of hymnody. As the Bible is acclaimed the exclusive canonical text of Protestantism, consideration of the hymnal's theological authority in canonical terms is at odds with Protestant biblicism. As such, this dissertation's claim that the hymnal shared, to a significant degree, the Bible's place as a textual source of theological authority, is intellectually innovative. In identifying didactic and doctrinal themes in hymnals, primarily through systematic theology, this dissertation shows the role of hymns and spirituals in regulative theology and audible faith. Thus defended in this dissertation, is the hymnal's capacity to adjudicate on matters of faith and praxis. Of additional importance to this dissertation is its contribution toward hymnic theology, as well as demonstrating the hymnal's influence upon historical theology, liturgical theology, cultural theology, and evangelistic theology. This dissertation yields various insights for theology, especially the soteriological efficacy· of hymnody, the role of hymns in regulative theology, and the discussion of antiSemitism and black-liberation theology in African American spirituals. In applied theology and congregational studies the ramifications are critical, with the analysis of hymnic authority, the intersection of singing and doctrine (lex cantandi lex credendi), and the Bible and hymnal as mutually constitutive, all of paramount importance.

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La, Spata Adam Nunzio. "Psalms, Hymns, and Commercial Songs: Tradition and Innovation in James Lyon's "Urania"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707400/.

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This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.

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Spearman, Richard E. "African American acculturation as a consideration for the revision of the hymnal in the United States Armed Forces Book of worship." Online full text .pdf document, available to Fuller patrons only, 2001. http://www.tren.com.

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Stevens, Theresa A. "America's Patriotic Hymnal - Sweet Land of Liberty, Fruited Plains, and The Coming of the Lord." Ohio Dominican University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=odu1406576170.

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Ridley, Sarah Elizabeth. ""That Every Christian May Be Suited": Isaac Watts's Hymns in the Writings of Early Mohegan Writers, Samson Occom and Joseph Johnson." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc984204/.

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This thesis considers how Samson Occom and Joseph Johnson, Mohegan writers in Early America, used the hymns of English hymnodist, Isaac Watts. Each chapter traces how either Samson Occom or Joseph Johnson's adapted Isaac Watts's hymns for Native communities and how these texts are sites of affective sovereignty.

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Sims, Scott G. "Dissonance Treatment in Fuging Tunes by Daniel Read from The American Singing Book and The Columbian Harmonist." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501161/.

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This thesis treats Daniel Read's music analytically to establish style characteristics. Read's fuging tunes are examined for metric placement and structural occurrence of dissonance, and dissonance as text painting. Read's comments on dissonance are extracted from his tunebook introductions. A historical chapter includes the English origins of the fuging tune and its American heyday. The creative life of Daniel Read is discussed. This thesis contributes to knowledge of Read's role in the development of the New England Psalmody idiom. Specifically, this work illustrates the importance of understanding and analyzing Read's use of dissonance as a style determinant, showing that Read's dissonance treatment is an immediate and central characteristic of his compositional practice.

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McCabe, Juhnke Austin. "Music and the Mennonite Ethnic Imagination." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523973344572562.

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Kindley, Carolyn E. "Miriam's timbrel : a reflection of the music of Wesleyan Methodism in America, 1843-1899." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/454809.

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The purpose of the study was to examine nineteenth century church music practices. This was done by 1) studying the attitudes displayed in the church periodical of The Wesleyan Methodist Connection (later, Church) of America; 2) locating and analyzing 44 tunes suggested in Miriam's Timbrel, a hymnal published for the Connection in 1853. This church was formed by people who seceded from a number of different denominations over the issue of slavery. It therefore represented the music practices of several American Protestant groups of the time.Findings1. Vocal music dominated music worship practices.2. Congregational singing was emphasized; every worshipper was urged to participate.3. Choirs were permitted but were often criticized and many thought their membership and music should be carefully regulated.4. There was much controversy over instrumental music; from 1845 to 1899 the church Discipline recommended that congregations dispense with its use.5. The history of each suggested tune was studied. Sources were discovered to be primarily European, either by actual composition or by influence.6. The tunes were grouped in categories according to origin: 1) the "better music" school of Lowell Mason and his coworkers, twelve tunes; 2) parlor songs by known composers, twelve; 3) folk song origin, nine; 4) European sacred sources, six; 5) European secular sources, four; 6) early American hymn tune, one.Similar characteristics were discovered among the tunes.The majority displayed:A 6- or 7-tone scaleMelodic range o f a 7th-9thFour or eight line stanzasConjunct melody linesSyllabic or slightly neumatic settings Common duple, triple, or quadruple meters Repetitive rhythmic patternsGenerally slow harmonic rhythm Simple harmonic structuresMajor keys with less than four sharps/flatsNon-traditional poetic meters.The tunes were relatively simple, easily learned, and in the popular styles, sacred and secular, of the nineteenth century.

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Books on the topic "Hymns, American"

1

Dillon, Kevin Patrick. Brand-new lyrics for old hymns. Florence, Ala. (Rt. 11, Box 345-A, Florence 35630): Kevinart, 1988.

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2

Snow, Douglas Alvin. Revive us again: Chronological anthology of American gospel hymnody. Benton, Ark: Blessed Hope Publications, 2004.

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3

Listen to the sunrise: Hymns and prayers. Elgin, IL: FaithQuest, 1991.

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Kroeger, Karl. American fuging-tunes, 1770-1820: A descriptive catalog. Westport, Conn: Greenwood Press, 1994.

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5

Harbach, Barbara. Toccatas and fugues on American hymns: For solo organ. Pullman, WA: Vivace Press, 1996.

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6

Guide to the hymns and tunes of American Methodism. New York: Greenwood Press, 1986.

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Christierson, Frank von. Make a joyful noise: Hymns and verses. Fort Bragg, Calif: Q.E.D. Press, 1987.

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8

Langlais, Jean. American folk-hymn settings: For organ. [United States]: H.T. FitzSimons Co., 1986.

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9

Public worship, private faith: Sacred harp and American folksong. Athens: University of Georgia Press, 1997.

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10

Gibson, Andrea. Pole Dancing to Gospel Hymns: Poems. Nashville, Tenn: Write Bloody Publishing, 2008.

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Book chapters on the topic "Hymns, American"

1

Koerner, E. F. K. "Wilhelm von Humboldt and North American Ethnolinguistics: Boas (1894) — Hymes (1961)." In North American Contributions to the History of Linguistics, 111. Amsterdam: John Benjamins Publishing Company, 1990. http://dx.doi.org/10.1075/sihols.58.10koe.

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Morgan, Robbert J. "American Gospel Song Movement." In Hymns and Hymnody III, 65–79. The Lutterworth Press, 2020. http://dx.doi.org/10.2307/j.ctv1931hg5.11.

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Tel, Martin. "North American Metrical Psalters." In Hymns and Hymnody III, 190–204. The Lutterworth Press, 2020. http://dx.doi.org/10.2307/j.ctv1931hg5.19.

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Crookshank, Esther R. "“We’re Marching to Zion” Isaac Watts in America." In Rethinking American Music, 103–37. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042324.003.0006.

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In 1872 Henry Ward Beecher, the most prominent American preacher of the time, claimed that hymns, particularly those of Isaac Watts, shaped Americans’ theology in a uniquely powerful way. Hymns even apart from music—read aloud, memorized, and contemplated—found a special place in the inner lives of nineteenth-century Americans closely akin to that of Scripture itself. The roots of “religious emotions” in hymnody—especially for those generations of Americans who had learned hymns from childhood—were linked to a range of theological concepts. Crookshank examines how the poetry and music associated with the towering figure of Isaac Watts has been invoked and supported in a variety of religious settings for more than two hundred years.

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Newby, Stephen Michael, Jocelyn Russell Wallage, and Vernon M. Whaley. "African American Sacred Music and Black Hymnody." In Hymns and Hymnody III, 134–51. The Lutterworth Press, 2020. http://dx.doi.org/10.2307/j.ctv1931hg5.15.

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"Nineteenth‐and Early Twentieth‐Century American Hymns." In An Annotated Anthology of Hymns, edited by J. R. Watson, 358–80. Oxford University Press, 2002. http://dx.doi.org/10.1093/0198269730.003.0011.

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O’Connor, Michael. "Hymns, Songs, and the Pursuit of Freedom." In Theology, Music, and Modernity, 217–44. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198846550.003.0011.

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The most recent biographer of Richard Allen (1760–1831) calls him a ‘Black Founding Father’, and the hymn books he published played their part in supporting his unyielding conviction that life, liberty, and the pursuit of happiness belonged no less to black Americans than to whites. The hymn texts bear witness to Christian faith at a crucial period in the history of American Christianity, but they cannot be appreciated without the wider context of performance practice and social customs. Central to this context is the tension in Allen’s day between ‘Methodist enthusiasm’ and ‘law-and-order religion’—especially where this is racially encoded. The article will consider representative contributions from opposing sides, published in Philadelphia during Allen’s lifetime, by John Watson and Thomas Everard. Embedded in debates about the repertoire of hymns and songs, and the attendant performance practice, is an argument about human freedom before God. Within and beyond the covers of his hymnbooks, Richard Allen promoted an integral sense of Christian freedom that is inextricably religious, ecclesiastical, cultural, social, political, and eschatological.

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"A Selection of Shape-Note Folk Hymns." In Recent Researches in American Music, 52. A-R Editions, 2005. http://dx.doi.org/10.31022/a052.

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Decker, Todd. "Movies and Memorials." In Hymns for the Fallen. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520282322.003.0002.

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This chapter defines the serious Hollywood war film of the post-Vietnam era within industry, genre, visual style, and reception history. These movies engage seriously with historical fact from the point of view of the individual soldier and veteran and reflect their makers’ sense of moral urgency. Several of these films have sparked larger national conversations about specific American wars. The various discourses and practices of authenticity undergirding these films are discussed. The capacity of young men to read ostensibly anti-war films as celebrations of war is noted. The four overlapping cycles of serious war film production after Vietnam are outlined: films about Vietnam made between 1978 and 1989, four films about US military involvements in the Middle East in the 1990s, the long-lived World War II cycle begun in the late 1990s, and the twenty-first-century cycle of combat films about ongoing American wars in Iraq and Afghanistan.

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Decker, Todd. "Soldiers’ Talk." In Hymns for the Fallen. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520282322.003.0004.

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Serious Hollywood war films moderate the dialogue norms of the action/adventure genre, opting for a reserved sort of male speech that is moderate in tone and delivery. Aggressive talk is typically used as an element of contrast to suggest characters are inexperienced, undisciplined, untrustworthy, or overaggressive. The masculinity of American soldiers in these films is thereby shaped for a mixed gender and generational audience, as evidenced by comparison of films with their sources and draft scripts. The foul-mouthed and confrontational drill instructor (especially in Full Metal Jacket) stands outside this norm. War film dialogue regularly draws from authentic military speech. Poems (“The Rifleman’s Creed) and sayings (the Vietnam expressions “don’t mean nothin’” and “sorry ’bout that”) resound across the genre, connecting these films to each other and to actual military culture. Some such sayings also function as refrains within given films (the African American soldiers who dap each other in Hamburger Hill).

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