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Journal articles on the topic 'Hymns, American'

Author: Grafiati

Published: 4 June 2021

Last updated: 15 February 2022

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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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

McKelly, James C. "Hymns of Sedition: Portraits of the Artist in Contemporary African-American Drama." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 48, no. 1 (1992): 87–107. http://dx.doi.org/10.1353/arq.1992.0003.

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12

Carter-Ényì, Aaron, and Quintina Carter-Ényì. "“Bold and Ragged”: A Cross-Cultural Case for the Aesthetics of Melodic Angularity." Music & Science 3 (January 1, 2020): 205920432094906. http://dx.doi.org/10.1177/2059204320949065.

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Smaller corpora and individual pieces are compared to a large corpus of 2,447 hymns using two measures of melodic angularity: mean interval size and pivot frequency. European art music and West African melodies may exhibit extreme angularity. We argue in the latter that angularity is motivated by linguistic features of tone-level languages. We also found the mean interval sizes of African-American Spirituals and Southern Harmony exceed contemporary hymnody of the 19th century, with levels similar to Nigerian traditional music (Yorùbá oríkì and story songs from eastern Nigeria). This is consistent with the account of W. E. B. Du Bois, who argued that African melody was a primary source for the development of American music. The development of the American spiritual coincides with increasing interval size in 19th-century American hymnody at large, surpassing the same measure applied to earlier European hymns. Based on these findings, we recommend techniques of melodic construction taught by music theorists, especially preference rules for step-wise motion and gap-fill after leaps, be tempered with counterexamples that reflect broader musical aesthetics. This may be achieved by introducing popular music, African and African Diaspora music, and other non-Western music that may or may not be consistent with voice leading principles. There are also many examples from the European canon that are highly angular, like Händel’s “Hallelujah” and Schönberg’s Pierrot Lunaire. Although the tendency of textbooks is to reinforce melodic and part-writing prescriptions with conducive examples from the literature, new perspectives will better equip performers and educators for current music practice.

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13

MUSIC, DAVID W. "Early New England Psalmody and American Folk Hymns in the Tune Books of Thomas Hastings." Journal of the Society for American Music 10, no. 3 (August 2016): 270–303. http://dx.doi.org/10.1017/s1752196316000213.

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AbstractThomas Hastings and his contemporary, Lowell Mason, have often been criticized for rejecting the music of the eighteenth-century American psalmodists and nineteenth-century folk hymnody in favor of what are sometimes considered to be insipid arrangements or imitations of imported European melodies. Hastings, in particular, made a number of vehement statements castigating pieces in these idioms. It is certainly true that Hastings held a low opinion of many pieces in these genres, but it is also true that he printed a surprising number of them in his tune books. While many of these items were probably included because he needed them to help sell his tune books, it is also evident that his rejection of the earlier American pieces was not quite as complete as it is sometimes made out to be. This study traces his use of these “objectionable” items and of some tunes the origins of which are uncertain.

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14

Richardson, Paul A. "Book Review: III. Ministry Studies: Guide to the Hymns and Tunes of American Methodism." Review & Expositor 85, no. 3 (August 1988): 598–99. http://dx.doi.org/10.1177/003463738808500365.

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15

Chybowski, Julia J. "Becoming the “Black Swan” in Mid-Nineteenth-Century America:." Journal of the American Musicological Society 67, no. 1 (2014): 125–65. http://dx.doi.org/10.1525/jams.2014.67.1.125.

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Elizabeth Taylor Greenfield was first in a lineage of African American women vocalists to earn national and international acclaim. Born into slavery in Mississippi, she grew up in Philadelphia and launched her first North American concert tour from upstate New York in 1851. Hailed as the “Black Swan” by newspapermen involved in her debut, the soubriquet prefigured a complicated reception of her musical performances. As an African American musician with slavery in her past, she sang what many Americans understood to be “white” music (opera arias, sentimental parlor song, ballads of British Isles, and hymns) from the stages graced by touring European prima donnas on other nights, with ability to sing in a low vocal range that some heard as more typical of men than women. As reviewers and audiences combined fragments of her biography with first-hand experiences of her concerts, they struggled to make the “Black Swan” sobriquet meaningful and the transgressions she represented understandable. Greenfield's musical performances, along with audience expectations and the processes of patronage, management, and newspaper discourse complicated perceived cultural boundaries of race, gender, and class. The implications of E. T. Greenfield's story for antebellum cultural politics and for later generations of singers are profound.

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16

MILLER, BONNY H. "Augusta Browne: From Musical Prodigy to Musical Pilgrim in Nineteenth-Century America." Journal of the Society for American Music 8, no. 2 (May 2014): 189–218. http://dx.doi.org/10.1017/s1752196314000078.

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AbstractAugusta Browne Garrett composed at least two hundred piano pieces, songs, duets, hymns, and sacred settings between her birth in Dublin, Ireland, around 1820, and her death in Washington, D.C., in 1882. Judith Tick celebrated Browne as the “most prolific woman composer in America before 1870” in her landmark study American Women Composers before 1870. Browne, however, cast an enduring shadow as an author as well, publishing two books, a dozen poems, several Protestant morality tracts, and more than sixty music essays, nonfiction pieces, and short stories. By means of her prose publications, Augusta Browne “put herself into the text—as into the world, into history—by her own movement,” as feminist writer Hélène Cixous urged of women a century later. Browne maintained a presence in the periodical press for four decades in a literary career that spanned music journalism, memoir, humor, fiction, poetry, and Christian devotional literature, but one essay, “The Music of America” (1845), generated attention through the twentieth century. With much of her work now easily available in digitized sources, Browne's life can be recovered, her music experienced, and her prose reassessed, which taken together yield a rich picture of the struggles, successes, and opinions of a singular participant and witness in American music of her era.

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17

Pérez, Elizabeth. "Spiritist Mediumship as Historical Mediation: African-American Pasts, Black Ancestral Presence, and Afro-Cuban Religions." Journal of Religion in Africa 41, no. 4 (2011): 330–65. http://dx.doi.org/10.1163/157006611x604760.

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Abstract The scholarship on Afro-Atlantic religions has tended to downplay the importance of Kardecist Espiritismo. In this article I explore the performance of Spiritist rituals among Black North American practitioners of Afro-Cuban religions, and examine its vital role in the development of their religious subjectivity. Drawing on several years of ethnographic research in a Chicago-based Lucumí community, I argue that through Spiritist ceremonies, African-American participants engaged in memory work and other transformative modes of collective historiographical praxis. I contend that by inserting gospel songs, church hymns, and spirituals into the musical repertoire of misas espirituales, my interlocutors introduced a new group of beings into an existing category of ethnically differentiated ‘spirit guides’. Whether embodied in ritual contexts or cultivated privately through household altars, these spirits not only personify the ancestral dead; I demonstrate that they also mediate between African-American historical experience and the contemporary practice of Yorùbá- and Kongo-inspired religions.

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18

Ball, Jeremy. "The ‘Three Crosses’ of Mission Work: Fifty Years of the American Board of Commissioners for Foreign Missions (ABCFM) in Angola, 1880-1930." Journal of Religion in Africa 40, no. 3 (2010): 331–57. http://dx.doi.org/10.1163/157006610x532202.

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AbstractIn 1930 the American Board of Commissioners for Foreign Missions (ABCFM) commemorated fifty years of mission work in central Angola with a celebration that sought to unite thousands of Umbundu Christians into a community. Rituals such as the singing of hymns, daily church services, and bold performances of religious music by the 540-voice Jubilee Choir aimed at reinforcing Christian identity. A historical pageant dubbed the ‘Three Crosses’ was created in order to present a missionary perspective of Angolan history, one that juxtaposed Christian societal improvement with indigenous scenes of death, violence, and ignorance. This paper provides an account of the pageant and argues that its program also transmitted prominent subtexts associated with colonial discourse. Theories of social evolution and racism were widespread among early twentieth-century Americans, and ABCFM missionaries used this rhetoric to preach self-improvement through Christianization by disparaging indigenous Umbundu beliefs. Although providing Western education proved an effective tool for attracting converts and a lasting measure of the ABCFM’s influence in Angola, the legacy of the mission preserves these contradictions of colonial missionary work.

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19

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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20

Taylor, William. "“To Sing with the Spirit:” Psalms, Hymns and the Spirituality of Late Eighteen Century American Presbyterians." Religions 4, no. 4 (December 11, 2013): 657–68. http://dx.doi.org/10.3390/rel4040657.

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21

Rothenbusch, Esther. "“Is not this the Land of Beulah?”: The Search for the Holy Spirit in American Gospel Hymns." Review & Expositor 94, no. 1 (February 1997): 53–77. http://dx.doi.org/10.1177/003463739709400106.

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22

Marini, Stephen A. "Cheryl C. Boots. Singing for Equality: Hymns in the American Antislavery and Indian Rights Movements, 1640–1855." American Historical Review 120, no. 1 (February 2015): 251–52. http://dx.doi.org/10.1093/ahr/120.1.251.

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23

Loftis, Deborah Carlton. "Word about Recent Book: II. Historical-Theological Studies: Wonderful Words of Life: Hymns in American Protestant History & Theology." Review & Expositor 102, no. 4 (December 2005): 749–50. http://dx.doi.org/10.1177/003463730510200413.

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24

Lassiter, Luke Eric. ""From Here on, I Will Be Praying to You": Indian Churches, Kiowa Hymns, and Native American Christianity in Southwestern Oklahoma." Ethnomusicology 45, no. 2 (2001): 338. http://dx.doi.org/10.2307/852678.

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25

Slough, Rebecca J. "Wonderful Words of Life: Hymns in American Protestant History and Theology ? Edited by Richard J. Mouw and Mark A. Noll." Religious Studies Review 32, no. 3 (July 2006): 185. http://dx.doi.org/10.1111/j.1748-0922.2006.00089_3.x.

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26

Scharfe, Hartmut. "Religious Healing in the Veda, with Translations and Annotations of Medical Hymns from the Ṛgveda and the Atharvaveda and Renderings from the Corresponding Ritual Texts. By Kenneth G. Zysk. Transactions of the American Philosophical Society, vol. 75, part 7. Philadelphia: The American Philosophical Society, 1985. xviii, 312 pp. Lists of Illustrations, Hymns, and Verses, Appendixes, Bibliography, Indexes. $30.00 (paper)." Journal of Asian Studies 46, no. 4 (November 1987): 942–44. http://dx.doi.org/10.2307/2057137.

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27

Scharfe, Hartmut. "Religious Healing in the Veda, with Translations and Annotations of Medical Hymns from the Ṛgveda and the Atharvaveda and Renderings from the Corresponding Ritual Texts. By Kenneth G. Zysk. Transactions of the American Philosophical Society, vol. 75, part 7. Philadelphia: The American Philosophical Society, 1985. xviii, 312 pp. Lists of Illustrations, Hymns, and Verses, Appendixes, Bibliography, Indexes. $30.00 (paper)." Journal of Asian Studies 46, no. 04 (November 1987): 942–44. http://dx.doi.org/10.1017/s0021911800055947.

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28

Maguire, Daniel C. "The Abnormality of War: Dissecting the “Just War” Euphemisms and Building an Ethics of Peace." Horizons 33, no. 01 (2006): 111–26. http://dx.doi.org/10.1017/s036096690000298x.

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I dedicate this essay to a ten year old Afghan boy, Mohammed Noor. He was having his Sunday dinner when an American bomb struck. He lost both eyes and both hands. Who, with this child in mind, would dare sing “God bless America,” the hymn that would make God a co-conspirator with American war-makers? The sightless eyes of this child should haunt us to the end of our days and sear on our souls the absolute need to not just pray for peace, but to do something to make it happen.

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29

Wieteska, Magda. "Chinese education in the novel by A. Chua Battle hymn of the tiger mother." Journal of Education Culture and Society 8, no. 1 (July 10, 2017): 201–8. http://dx.doi.org/10.15503/jecs20171.201.208.

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Chinese culture and tradition stand in direct opposition to American and European cultures. Chinese children must live according to the principles of metaconfucianism from an early age. Failure to do so threatens social ostracism.Amy Chua in her autobiographical novel Battle Hymn of the Tiger Mother describes the education of her two daughters living in America according to the principles present in China. The educational methods used by Chua are considered controversial by western parents. The author made an attempt to explain the motives of Asian mothers.

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30

Dzivaltivskyi, Maxim. "Historical formation of the originality of an American choral tradition of the second half of the XX century." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 23–43. http://dx.doi.org/10.34064/khnum2-21.02.

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Background. Choral work of American composers of the second half of the XX century is characterized by new qualities that have appeared because of not only musical but also non-musical factors generated by the system of cultural, historical and social conditions. Despite of a serious amount of scientific literature on the history of American music, the choral layer of American music remains partially unexplored, especially, in Ukrainian musical science, that bespeaks the science and practical novelty of the research results. The purpose of this study is to discover and to analyze the peculiarities of the historical formation and identity of American choral art of the second half of the twentieth century using the the works of famous American artists as examples. The research methodology is based on theoretical, historical and analytical methods, generalization and specification. Results. The general picture of the development of American composers’ practice in the genre of choral music is characterized by genre and style diversity. In our research we present portraits of iconic figures of American choral music in the period under consideration. So, the choral works of William Dawson (1899–1990), one of the most famous African-American composers, are characterized by the richness of the choral texture, intense sonority and demonstration of his great understanding of the vocal potential of the choir. Dawson was remembered, especially, for the numerous arrangements of spirituals, which do not lose their popularity. Aaron Copland (1899–1990), which was called “the Dean of American Composers”, was one of the founder of American music “classical” style, whose name associated with the America image in music. Despite the fact that the composer tends to atonalism, impressionism, jazz, constantly uses in his choral opuses sharp dissonant sounds and timbre contrasts, his choral works associated with folk traditions, written in a style that the composer himself called “vernacular”, which is characterized by a clearer and more melodic language. Among Copland’s famous choral works are “At The River”, “Four Motets”, “In the Beginning”, “Lark”, “The Promise of Living”; “Stomp Your Foot” (from “The Tender Land”), “Simple Gifts”, “Zion’s Walls” and others. Dominick Argento’s (1927–2019) style is close to the style of an Italian composer G. C. Menotti. Argento’s musical style, first of all, distinguishes the dominance of melody, so he is a leading composer in the genre of lyrical opera. Argento’s choral works are distinguished by a variety of performers’ stuff: from a cappella choral pieces – “A Nation of Cowslips”, “Easter Day” for mixed choir – to large-scale works accompanied by various instruments: “Apollo in Cambridge”, “Odi et Amo”, “Jonah and the Whale”, “Peter Quince at the Clavier”, “Te Deum”, “Tria Carmina Paschalia”, “Walden Pond”. For the choir and percussion, Argento created “Odi et Amo” (“I Hate and I Love”), 1981, based on the texts of the ancient Roman poet Catullus, which testifies to the sophistication of the composer’s literary taste and his skill in reproducing complex psychological states. The most famous from Argento’s spiritual compositions is “Te Deum” (1988), where the Latin text is combined with medieval English folk poetry, was recorded and nominated for a Grammy Award. Among the works of Samuel Barber’s (1910–1981) vocal and choral music were dominating. His cantata “Prayers of Kierkegaard”, based on the lyrics of four prayers by this Danish philosopher and theologian, for solo soprano, mixed choir and symphony orchestra is an example of an eclectic trend. Chapter I “Thou Who art unchangeable” traces the imitation of a traditional Gregorian male choral singing a cappella. Chapter II “Lord Jesus Christ, Who suffered all lifelong” for solo soprano accompanied by oboe solo is an example of minimalism. Chapter III “Father in Heaven, well we know that it is Thou” reflects the traditions of Russian choral writing. William Schumann (1910–1992) stands among the most honorable and prominent American composers. In 1943, he received the first Pulitzer Prize for Music for Cantata No 2 “A Free Song”, based on lyrics from the poems by Walt Whitman. In his choral works, Schumann emphasized the lyrics of American poetry. Norman Luboff (1917–1987), the founder and conductor of one of the leading American choirs in the 1950–1970s, is one of the great American musicians who dared to dedicate most of their lives to the popular media cultures of the time. Holiday albums of Christmas Songs with the Norman Luboff Choir have been bestselling for many years. In 1961, Norman Luboff Choir received the Grammy Award for Best Performance by a Chorus. Luboff’s productive work on folk song arrangements, which helped to preserve these popular melodies from generation to generation, is considered to be his main heritage. The choral work by Leonard Bernstein (1918–1990) – a great musician – composer, pianist, brilliant conductor – is represented by such works as “Chichester Psalms”, “Hashkiveinu”, “Kaddish” Symphony No 3)”,”The Lark (French & Latin Choruses)”, “Make Our Garden Grow (from Candide)”, “Mass”. “Chichester Psalms”, where the choir sings lyrics in Hebrew, became Bernstein’s most famous choral work and one of the most successfully performed choral masterpieces in America. An equally popular composition by Bernstein is “Mass: A Theater Piece for Singers, Players, and Dancers”, which was dedicated to the memory of John F. Kennedy, the stage drama written in the style of a musical about American youth in searching of the Lord. More than 200 singers, actors, dancers, musicians of two orchestras, three choirs are involved in the performance of “Mass”: a four-part mixed “street” choir, a four-part mixed academic choir and a two-part boys’ choir. The eclecticism of the music in the “Mass” shows the versatility of the composer’s work. The composer skillfully mixes Latin texts with English poetry, Broadway musical with rock, jazz and avant-garde music. Choral cycles by Conrad Susa (1935–2013), whose entire creative life was focused on vocal and dramatic music, are written along a story line or related thematically. Bright examples of his work are “Landscapes and Silly Songs” and “Hymns for the Amusement of Children”; the last cycle is an fascinating staging of Christopher Smart’s poetry (the18 century). The composer’s music is based on a synthesis of tonal basis, baroque counterpoint, polyphony and many modern techniques and idioms drawn from popular music. The cycle “Songs of Innocence and of Experience”, created by a composer and a pianist William Bolcom (b. 1938) on the similar-titled poems by W. Blake, represents musical styles from romantic to modern, from country to rock. More than 200 vocalists take part in the performance of this work, in academic choruses (mixed, children’s choirs) and as soloists; as well as country, rock and folk singers, and the orchestral musicians. This composition successfully synthesizes an impressive range of musical styles: reggae, classical music, western, rock, opera and other styles. Morten Lauridsen (b. 1943) was named “American Choral Master” by the National Endowment for the Arts (2006). The musical language of Lauridsen’s compositions is very diverse: in his Latin sacred works, such as “Lux Aeterna” and “Motets”, he often refers to Gregorian chant, polyphonic techniques of the Middle Ages and the Renaissance, and mixes them with modern sound. Lauridsen’s “Lux Aeterna” is a striking example of the organic synthesis of the old and the new traditions, or more precisely, the presentation of the old in a new way. At the same time, his other compositions, such as “Madrigali” and “Cuatro Canciones”, are chromatic or atonal, addressing us to the technique of the Renaissance and the style of postmodernism. Conclusions. Analysis of the choral work of American composers proves the idea of moving the meaningful centers of professional choral music, the gradual disappearance of the contrast, which had previously existed between consumer audiences, the convergence of positions of “third direction” music and professional choral music. In the context of globalization of society and media culture, genre and stylistic content, spiritual meanings of choral works gradually tend to acquire new features such as interaction of ancient and modern musical systems, traditional and new, modified folklore and pop. There is a tendency to use pop instruments or some stylistic components of jazz, such as rhythm and intonation formula, in choral compositions. Innovative processes, metamorphosis and transformations in modern American choral music reveal its integration specificity, which is defined by meta-language, which is formed basing on interaction and dialogue of different types of thinking and musical systems, expansion of the musical sound environment, enrichment of acoustic possibilities of choral music, globalization intentions. Thus, the actualization of new cultural dominants and the synthesis of various stylistic origins determine the specificity of American choral music.

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Miller, Jeanetta. "Battle Hymn of American Studies." English Journal 84, no. 1 (January 1995): 88. http://dx.doi.org/10.2307/820484.

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Hau, Caroline S. "Tiger Mother as Ethnopreneur: Amy Chua and the Cultural Politics of Chineseness." TRaNS: Trans -Regional and -National Studies of Southeast Asia 3, no. 2 (March 18, 2015): 213–37. http://dx.doi.org/10.1017/trn.2014.22.

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AbstractAmy Chua catapulted to fame in the United States with the publication of her bestsellingWorld on Fire: How Free Market Democracy Breeds Ethnic Hatred and Global Instability(2002) and a much-discussedWall Street Journalexcerpt from her next book,Battle Hymn of the Tiger Mother(2011). A wry account of a ‘Chinese’ mother's efforts, not all successful, to raise her two daughters to be high-achievers,Tiger Mothercreated some controversy owing to its critique of ‘Western’-style parenting and its perceived advocacy of a ‘Tiger Mother’ brand of parenting that drew on the author's own experience of being raised by Chinese-Filipino immigrant parents in America. Not only didBattle Hymngenerate heated discussion in America about the stereotyping of Asian-Americans as ‘model minority’; it also tapped into American anxieties about the waning of U.S. power in the wake of a rising China, while provoking spirited responses from mainland Chinese women looking to raise their children in ‘enlightened’ ways. This article follows Amy Chua's career as an ‘ethnopreneur’ who capitalises on her claims of ‘Chineseness’ and access to ‘Chinese culture.’ Drawing on localised/provincialised, regional, and family-mediated notions of Chineseness, Chua exemplifies the ‘Anglo-Chinese’ who exploits – and profits from – national and cultural differences within nations as well as among Southeast Asia, the U.S., and China in order to promote particular forms of hybridised (trans)national identities while eschewing the idea of mainland China as the ultimate cultural arbiter of Chineseness.

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Mercer-Taylor, Peter. "Mendelssohn in Nineteenth-Century American Hymnody." 19th-Century Music 32, no. 3 (2009): 235–83. http://dx.doi.org/10.1525/ncm.2009.32.3.235.

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Abstract The nineteenth century witnessed the rapid rise and gentle decline of an unprecedented vogue, particularly in the English-speaking world, for crafting hymn tunes from the work of Europe's most revered composers. Indeed, through the widely circulated publications of Lowell Mason and several like-minded American editors, it was in the form of hymnody that the European classical tradition reached a substantial part of the American population for the first time. After setting forth broadly the historical underpinnings of such adaptations' dissemination, this study seeks to bring an unprecedented critical focus to the examination of a much-maligned repertoire through an exploration of the hymn tunes based on the work of one of its leading beneficiaries, Felix Mendelssohn. Gathered here are fifty-eight hymn tunes drawn from Mendelssohn's work, capturing what appears (based on a survey of 250 tune books and hymnals) to be the entry point of each particular melody into the American hymn repertoire. This body of music permits us not only to explore a multiplicity of approaches to the adaptation process itself, but to articulate a set of fundamental shifts that appear to have occurred in the genre as the nineteenth century wore on. From the late 1850s onward, we see not only a markedly heightened eagerness to adhere, in the adaptation process, to Mendelssohn's compositional will, but a pronounced move in the selection of melodic material away from the adventurous, catch-as-catch-can breadth of the mid-century publications toward tunes drawn from a more tightly circumscribed body of works that were coming to enjoy an established place in the concert repertoire at large.

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Koerner, E. F. Konrad. "Wilhelm Von Humboldt and North American Ethnolinguistics." Historiographia Linguistica 17, no. 1-2 (January 1, 1990): 111–28. http://dx.doi.org/10.1075/hl.17.1-2.10koe.

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Summary Noam Chomsky’s frequent references to the work of Wilhelm von Humboldt during the 1960s produced a considerable revival of interest in this 19th-century scholar in North America. This paper demonstrates that there has been a long-standing influence of Humboldt’s ideas on American linguistics and that no ‘rediscovery’ was required. Although Humboldt’s first contacts with North-American scholars goes back to 1803, the present paper is confined to the posthumous phase of his influence which begins with the work of Heymann Steinthal (1823–1899) from about 1850 onwards. This was also a time when many young Americans went to Germany to complete their education; for instance William Dwight Whitney (1827–1894) spent several years at the universities of Tübingen and Berlin (1850–1854), and in his writings on general linguistics one can trace Humboldtian ideas. In 1885 Daniel G. Brinton (1837–1899) published an English translation of a manuscript by Humboldt on the structure of the verb in Amerindian languages. A year later Franz Boas (1858–1942) arrived from Berlin soon to establish himself as the foremost anthropologist with a strong interest in native language and culture. From then on we encounter Humboldtian ideas in the work of a number of North American anthropological linguists, most notably in the work of Edward Sapir (1884–1939). This is not only true with regard to matters of language classification and typology but also with regard to the philosophy of language, specifically, the relationship between a particular language structure and the kind of thinking it reflects or determines on the part of its speakers. Humboldtian ideas of ‘linguistic relativity’, enunciated in the writings of Whitney, Brinton, Boas, and others, were subsequently developed further by Sapir’s student Benjamin Lee Whorf (1897–1941). The transmission of the so-called Sapir-Whorf Hypothesis – which still today is attracting interest among cultural anthropologists and social psychologists, not only in North America – is the focus of the remainder of the paper. A general Humboldtian approach to language and culture, it is argued, is still present in the work of Dell Hymes and several of his students.

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Bear, Jonathan R. "Richard J. Mouw, , and Mark A. Noll, , eds. Wonderful Words of Life: Hymns in American Protestant History and Theology. The Calvin Institute of Christian Worship Liturgical Studies Series. Grand Rapids, MI: William B. Eerdmans, 2004. xx+288 pp. $18.00 (paper)." Journal of Religion 85, no. 2 (April 2005): 322–23. http://dx.doi.org/10.1086/430547.

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Werner, Karel. "Religious healing in the Veda: with translations and annotations of medical hymns from the Ṛgveda and the Atharvaveda and renderings from the corresponding ritual texts. By Kenneth G. Zysk, (Transactions of the American Philosophical Society, Vol. 75, Part 7, 1985.) pp. xvii, 311, 9 illus. Philadelphia, Penn., The American Philosophical Society, 1985. US$30.00." Journal of the Royal Asiatic Society of Great Britain & Ireland 119, no. 2 (April 1987): 352–53. http://dx.doi.org/10.1017/s0035869x00141024.

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Kowalke, Kim H. "For Those We Love: Hindemith, Whitman, and "An American Requiem"." Journal of the American Musicological Society 50, no. 1 (1997): 133–74. http://dx.doi.org/10.2307/832064.

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Hindemith's setting of Whitman's When Lilacs Last in the Dooryard Bloom'd has been called his only "profoundly American" work. However, the double entendre of its original subtitle, "An American Requiem," alluding to Brahms's Ein deutsches Requiem, mirrors Hindemith's ambivalence about his own postwar cultural identity. Although the work's intertextual links with the German polyphonic tradition extend back to Bach, "Taps" is the only overt "American" reference. But the phrase in quotation marks within the final subtitle, "A Requiem 'For those we love,' " is the incipit of a World War I hymn of commemoration, "For those we love within the veil." Hindemith quotes verbatim the melody for this hymn from the 1940 Episcopal Hymnal, which identifies it as "Gaza," a "Traditional Jewish Melody" (in turn derived from a Yigdal). The Requiem may be reinterpreted as a covert commentary on Whitman's text from the post-Holocaust perspective of Hindemith's conflicted personal and artistic circumstances.

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Head, Raymond. "Holst and India (II)." Tempo, no. 160 (March 1986): 27–37. http://dx.doi.org/10.1017/s0040298200023032.

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In an effort to discover a more personal style, free of Wagnerian overtones and more truly representative of English culture, Hoist took the curious step of studying the Rig Veda in considerable depth. The year was 1907, a time when others too were searching for different ideas. In America the young Henry Cowell, disillusioned with romantic harmonies, sought (about 1908) new rhythmic and melodic possibilities in Oriental music and studied it under Oriental teachers. The year 1908 was important for Schoenberg, then—with the support of his close friends—on the point of bursting the chromatic dam to release expressionistic torrents. Beset with similar stylistic problems, Hoist went instead to Luzac & Co, an orientalist bookseller, and bought the two volumes of Ralph Griffith's translations of The Hymns of the Rigveda, the most ancient literature in the world. Through these hymns he returned to the source of Indo-Aryan culture in the hope that a new type of music, free of former constraints, would be suggested to him.

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Johnson, Bret. "American Music." Tempo 57, no. 226 (October 2003): 56–57. http://dx.doi.org/10.1017/s004029820330035x.

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LEES: Symphonies Nos. 2, 3 and 51; Etudes for piano and orchestra2. 1Staatsphilharmonie Rheinland-Pfalz c. Stephen Gunzenhauser, 2James Dick (pno), Texas Festival Orchestra c. Robert Spano. Albany TROY 564/565 (2-CDset).LEES: Passacaglia. PERSICHETTI: Symphony No 4. DAUGHERTY: Philadelphia Stories; Hell's Angels. Oregon Symphony c. James De Preist. Delos DE 3291.FLAGELLO: Symphony No. 1; Theme, Variations and Fugue; Sea Cliffs; Intermezzo. Slovak Radio Symphony Orchestra c. David Amos. Naxos 8.559148.HOVHANESS: Symphony No 22, City of Light1; Cello Concerto2. 2Janos Starker (vlc), Seattle Symphony c. 1Alan Hovhaness, 2Dennis Russell Davies. Naxos 8.559158.HOVHANESS: Symphonies: No 2, Mysterious Mountain; No 50, Mount St Helens; No 66, Hymn to Glacier Peak; Storm on Mt Wildcat, op.2 no.2. Royal Liverpool Philharmonic Orchestra c. Gerard Schwarz. Telarc CD-80604.

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Temperley, Nicholas. "The Lock Hospital Chapel and its Music." Journal of the Royal Musical Association 118, no. 1 (1993): 44–72. http://dx.doi.org/10.1093/jrma/118.1.44.

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It has been generally recognized that the music of the Lock Hospital chapel was an important new influence in English and American church music during the late eighteenth and early nineteenth centuries. The chapel attracted fashionable congregations and thereby disseminated an elegant, theatrical type of hymnody that was far removed from the norms of church music, whether in cathedral, town church, village parish or dissenting meeting-house. Many hymn tunes first used at the Lock Hospital became enormously popular; some still remain in common use; and their style became the model for a ‘school’ of hymn tunes that remained in vogue for several decades.

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Ogasapian, John. "Wonderful Words of Life: Hymns in American Protestant History and Theology. Edited by Richard J. Mouw and Mark A. Noll. Foreword by John D. Witvliet. Grand Rapids, Mich.: William B. Eerdmans, 2004. xx + 288 pp. $18.00 paper. - How Sweet the Sound: Music in the Spiritual Lives of Americans. By David W. Stowe. Cambridge, Mass.: Harvard University Press, 2004. xii + 335 pp. $27.95 cloth." Church History 74, no. 2 (June 2005): 414–16. http://dx.doi.org/10.1017/s0009640700110662.

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Faithful, George. "A More Brotherly Song, a Less Passionate Passion: Abstraction and Ecumenism in the Translation of the Hymn “O Sacred Head Now Wounded” from Bloodier Antecedents." Church History 82, no. 4 (November 20, 2013): 779–811. http://dx.doi.org/10.1017/s0009640713001145.

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When nineteenth-century American Presbyterian pastor James Waddel Alexander wrote the lyrics of the hymn “O Sacred Head Now Wounded,” he created what has become the most popular of numerous English translations of seventeenth-century German Lutheran pastor Paul Gerhardt's hymn “O Haupt voll Blut und Wunden.” That text was, in turn, a translation of part of an anonymous thirteenth-century cycle of passion poems, one dedicated to each of Christ's wounds. From the medieval original through Gerhardt to Alexander, each subsequent translation has diminished its depictions of blood and rendered its narrator's interaction with the crucified body of Christ less passionate, dictated by the theological needs and aesthetic sensibilities of the translator's religious tradition. At the same time, both Gerhardt and Alexander included significant elements from the original that were anomalous in their own contexts. The inclusion of a medieval poem in the worship of seventeenth-century Lutherans and nineteenth-century Presbyterians may reveal an ecumenical bent on their part, albeit with clear limits. A comparison of the various versions of the hymn demonstrates the complex interrelationship between an original text and translations of it, some of which may properly be called versions of it and some of which may have become something altogether different.

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Leaver, Robin A. "Singing the Lord’s Song in a Strange Land: Hymnody in the History of North American Protestantism. Edited by Edith L. Blumhofer and Mark A. Noll. University of Alabama Press, 2004. 260 pages. $52.50. Wonderful Words of Life: Hymns in American Protestant History and Theology. Edited by Richard J. Mouw and Mark A. Noll. William B. Eerdmans, 2004. 288 pages. $18.00. How Sweet the Sound: Music in the Spiritual Lives of Americans. By David W. Stowe. Harvard University Press, 2004. 335 pages. $27.95." Journal of the American Academy of Religion 74, no. 1 (January 10, 2006): 262–66. http://dx.doi.org/10.1093/jaarel/lfj049.

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Barnes, Trevor J. "A marginal man and his central contributions: The creative spaces of William (‘Wild Bill’) Bunge and American geography." Environment and Planning A: Economy and Space 50, no. 8 (May 8, 2017): 1697–715. http://dx.doi.org/10.1177/0308518x17707524.

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The aim of the paper is to develop a geographical account of creativity by drawing on Arthur Koestler’s work. For Koestler creativity is sparked by the clash of two incompatible frames of meaning, and resolved by a new act of creation. Missing from Koestler’s account is geography, however. To show how geography might be brought into Koestler’s scheme the paper works through a detailed case study within the recent history of geography: the writing and publication of two very different but equally creative books by the well-known American geographer, William Bunge (1928–2013). In the late 1950s at the University of Washington, Seattle, Bunge wrote Theoretical Geography (1962), a meticulously executed hymn to the mathematics of abstract space, and which helped transform the discipline of geography into spatial science. Then during the late 1960s in inner-city Detroit Bunge wrote Fitzgerald: Geography of a Revolution (1971), and quite a different hymn. It was a paean to urban rebellion, to grassroots neighbourhood insurrection. It focussed not on abstract space, but a very concrete place: the one mile square that formed the Detroit inner city neighbourhood of Fitzgerald. In this case, Bunge’s book was a forerunner to radical geography. Catalytic to both of Bunge’s acts of creation, the paper argues, were the marginal spaces in which he wrote, marginal in the sense that they were distant from mainstream American academic geography. Incorporating them provides not only an explanation creativity within geography, but also geography’s own geography.

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Robin, William. "Traveling with “Ancient Music”." Journal of Musicology 32, no. 2 (2015): 246–78. http://dx.doi.org/10.1525/jm.2015.32.2.246.

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In reforming psalmody in early nineteenth-century New England, participants in the so-called “Ancient Music” movement imported the solemnly refined hymn tunes and scientific rhetoric of Europe. This transatlantic exchange was in part the result of European travels by a generation of young members of the American socioeconomic and intellectual elite, such as Joseph Stevens Buckminster and John Pickering, whom scholars have not previously associated with hymnody reform. This study asserts that non-composers, particularly clergy and academics, played a crucial role in the “Ancient Music” movement, and offers a fuller picture of a little-examined but critical period in the history of American psalmody. Tracing the transatlantic voyages of figures like Buckminster and Pickering reveals that the actions and perspectives of active participants in the Atlantic world shaped “Ancient Music” reform and that hymnody reform was part of a broader project of cultural and intellectual uplift in New England.

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Tanikella, Leela. "Arthur K. Spears (ed.), Race and ideology: Language, symbolism, and popular culture. (African American Life Series.) Detroit: Wayne State University Press, 1999. Pp. 242. Hb $39.95, pb $19.95." Language in Society 31, no. 1 (January 2002): 122–25. http://dx.doi.org/10.1017/s0047404502221053.

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Following a long tradition in anthropology and linguistics, introductory textbooks typically claim that all languages are equal and have an equal potential for communication and thought. The theoretical model posed in this anthology, as articulated by contributor Angela Gilliam, similarly suggests that “all languages are equal in terms of their expressive potential” (p. 84). However, editor Arthur K. Spears and the contributors aim to situate linguistic relativity within a framework of political, social, economic, and (most centrally) racial inequalities. The key theme of the collection is the centrality of politics, particularly what Spears terms “racial hierarchies of oppression” (13), in the study of language and linguistic diversity. As the contributors provide detailed historical, economic, and social frameworks for their studies, they demonstrate a claim made by Dell Hymes more than two decades ago that linguistic relativity “omits the costs and the constitutive role of social factors” (1973: 64). Thus, this edited volume challenges the tradition of claiming linguistic equality and demonstrates sociolinguistic inequality; it is part of a theoretical movement in this direction also exemplified by Zentella 1995, Hymes 1996, Schieffelin, Woolard & Kroskrity 1998, and Kroskrity 2000.

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Pasewark, Kyle A. "The Troubles with Harry: Freedom, America, and God in John Updike's Rabbit Novels." Religion and American Culture: A Journal of Interpretation 6, no. 1 (1996): 1–33. http://dx.doi.org/10.1525/rac.1996.6.1.03a00020.

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[I] had all of Shillington to say, Shillington and Pennsylvania and the whole mass of middling, hidden, troubled America to say.… In the beauty of the lilies Christ was born across the sea—this odd and uplifting line from among the many odd lines of “The Battle Hymn of the Republic” seemed to me, as I set out, to summarize what I had to say about America, to offer itself as the title of a Continental magnum opus of which all my books, no matter how many, would be mere installments, mere Starts at the hymning of this great roughly rectangular country severed from Christ by the breadth of the sea.John Updike's corpus is punctuated forcefully by his own magnum opus, the Rabbit series, a tetralogy that is simultaneously literature, cultural critique, and theology.

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Thomson, Andrew, Janet Hilton, Raphael Wallfisch, and Peter Wallfisch. "Kenneth Leighton: Fantasy on an American Hymn Tune; Alleluia Pascha nostrum; Piano Sonata; Variations." Musical Times 134, no. 1804 (June 1993): 350. http://dx.doi.org/10.2307/1003077.

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Stricklin, David, William T. Dargan, Mark A. Noll, and Edith L. Blumhofer. "Lining Out the Word: Dr. Watts Hymn Singing in the Music of Black Americans." Journal of Southern History 73, no. 4 (November 1, 2007): 875. http://dx.doi.org/10.2307/27649577.

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Thomas, Gideon. "Lining Out the Word: Dr Watts Hymn Singing in The Music of Black Americans." Folklore 120, no. 2 (August 2009): 230–31. http://dx.doi.org/10.1080/00155870902969533.

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