Relevant bibliographies by topics / Hymns and songs of the church

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Academic literature on the topic 'Hymns and songs of the church'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Hymns and songs of the church"

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Peno, Vesna. "Communion songs not regulated by the typicon in the recent tradition of Serbian church singing." Muzikologija, no. 4 (2004): 121–52. http://dx.doi.org/10.2298/muz0404121p.

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In notated collections of Serbian church hymns from the 19th and 20th century there are, among others, communion songs with texts that were not regulated by the Typicon. These so-called "arbitrary communion songs" have been very popular in the recent tradition of Serbian church chanting. They have been gradually pushing out the hymns that are regulated for singing on concrete days and feasts during the church year. Analysis of possible influences that determined the way texts and the melodies delved into the recent Serbian church chanting follows two possible directions. The first commenced from late-Byzantine singing tradition; more specifically, from a group of songs that although based on liturgical texts, were performed in extra-liturgical occasions. These are calophonic irmoi which were composed by a great number of known late-Byzantine masters of singing. The second direction had its beginning in Russian spiritual music that generated a new melodic genre kant, based on western models. The majority of those compositions have freely written spiritual texts, too, and not part of the liturgy. Kanti were, namely, singing numbers in liturgical dramas - theatrical pieces with Christian historical themes. The majority of arbitrary communion hymns from Serbian collections have texts from the psalms or use texts for irmoi of specific canons. There is only one text that does not belong to the output of church hymnography. In spite of that, the melodies of the analyzed hymns reflect the presence of traditional compositional procedures characteristic of late-Byzantine and Serbian traditions. On either side, they possess atypical musical phrases that relate them to the the kanti. The usage of paraliturgical songs instead of communion hymns is commentated upon from the liturgic aspect also. That song belongs to the central part of the Liturgy and most fundamental during the service of the Orthodox church. Therefore the deviation in Serbian practice from the rules that define its place and role demonstrate the distancing from the tradition, raises a fundamental question: is liturgical meaning being compromised.
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Koryshev, Mikhail V. "On the subgenre system in medieval German catholic hymnography." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2020): 54–59. http://dx.doi.org/10.20339/phs.6-20.054.

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This paper is an analysis of church hymns in the folk language using medieval German-speaking Catholic hymnography as a case study. Understudied by literary scholars, this phenomenon used to be in the center of attention of liturgics scholars. The only exceptions included philological and historical studies of ancient writings in the German language. The existence of church chant (German Kirchenlied) is manifested by a separate genre, which, in contrast to the views of Germanic language philologists in Germany is not a special case of the spiritual song (German Geistliches Lied). In relation to the German Middle Ages, the emergence is described of church hymns as a genre represented by the most ancient artifacts of the German language. A borderline is drawn between seemingly similar phenomena: translations of Latin hymnography into German, which did not always have liturgical / paraliturgical significance, and actual church chants. Analysis of the writings (more than one and a half thousand texts) suggests a six-part subgenre system in medieval German Catholic hymnography (translated hymns, acclamations, leisen, canticles, antiphonic chants, church readings and macaronic songs). The peripheral role of German-speaking church chants in medieval pre-reformation Germany is highlighted.
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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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Groenewald, H. C. "The role of political songs in the realisation of democracy in South Africa." Literator 26, no. 2 (July 31, 2005): 121–36. http://dx.doi.org/10.4102/lit.v26i2.231.

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The issue this article attempts to explore is whether a form of oral art – political songs – played a part in achieving democracy in South Africa, and, if so, how this aim was achieved. In this regard it should be kept in mind that political songs form part of the large, vibrant body of oral art in South Africa. An aspect of oral art that is particularly relevant to political songs is that it is often performed to be efficacious, that is, it is performed to achieve a desired result. Equally important is the attribute of performance. It is obvious that the political song derived much of its power from the dynamics of performance. Political songs evolved from church hymns with obscure references of suffering to power singing with an overt and belligerent political message. The conclusion arrived at is that political songs played a vital role in forging democracy from below.
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Žičkienė, Aušra, and Kristina Syrnicka. "Funeral Hymns of Lithuanians and Vilnius Region Poles’: General Features and Trends of the Repertoire." Vilnius University Open Series, no. 5 (December 4, 2020): 163–88. http://dx.doi.org/10.15388/vllp.2020.8.

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The article discusses the key features and trends of the repertoire of Catholic funeral hymns, functioning in Lithuania in both Polish and Lithuanian; at the same time attempts are made to grasp the possible causes of mutual interactions and influences. In combining literary and ethnological approaches, field research data, historical sources, printed and manuscript hymns are analysed and interpreted, related scientific literature is examined. The conclusion is reached that the similarity and commonalities of the Lithuanian and Vilnius Region Poles’ folk piety funeral repertoire were, and still are, a result of similar cultural conditions. The basis of the old repertoire is primarily determined by trends, influences, and themes coming from Poland, while the areas of the modern repertoire’s influence are much broader: both general international trends and a broad mutual influence can be noted.In Lithuania’s villages and cities it is still common practice to invite a group of hymn-singers to a funeral wake and burial ceremony. Singing of funeral hymns is an old tradition, likely coming from the 17th c., from Poland, slowly covering also the territory of modern-day Lithuania and gradually settling down, gaining distinct regional features. However, we do not have any accounts as to whether a folk piety funeral repertoire existed in Lithuanian – it likely formed later.The texts of funeral songs can be divided into several groups according to their origin and function: some are adapted from church liturgies and are traditional church hymns, while others were created at different times by either anonymous local authors or well-known songwriters. Some hymns, for a long time, functioned as part of the liturgy of death and funerals, they established themselves in the practice of folk piety, while others became part of the funeral repertoire when they came into it from various thematically-fitting church calendar holidays or they were created by known or (more often) anonymous songwriters, then spreading among the people.The similarities of the repertoire of Lithuanian and Polish funeral songs are first of all a result of close cultural conditions. The texts of the oldest repertoire of funeral hymns were usually translated from Polish to Lithuanian, with the former taking root in the practices of folk piety much earlier. The melodies of hymns also mostly came from Poland; many are of liturgical origin, although over the centuries they grew into the local musical environment and gained a distinctive tone.The trends of the formation of the new hymns (from the beginning of 20th c. until now), on the one hand, are a continuation of the previous ones; however, on the other hand, local (Lithuanian) features, resulting from the faster and wider spread of information, become clearer, as well as various international influences. A certain group of hymns exists only in Lithuania, we can clearly see the influence of the Lithuanian environment on the poetry and melodics of Polish-language funeral hymns. This repertoire spreads only through writing down by hand the texts, while melodies are learned by ear; they are not published in any hymnals approved by the Church.
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Lon, Yohanes S., and Fransiska Widyawati. "Adaptasi dan Transformasi Lagu Adat dalam Liturgi Gereja Katolik di Manggarai Flores." Jurnal Kawistara 10, no. 1 (April 22, 2020): 17. http://dx.doi.org/10.22146/kawistara.45244.

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Manggarai, a community in Flores, Eastern Indonesia is known for its rich culture of folk songs with unique rhythm and lyrics. There are various types of folk songs for different purposes such as traditional chants, harvest celebrations, lamentation of the dead, war anthems, children songs, and other profane functions. When European missionaries started Catholic evangelization in Manggarai in the beginning of the 20th century, many of these folk songs were prohibited due to their use in rituals deemed idolatry. However, some missionaries saw the potential of folk songs for evangelization and empowered local artists to arrange Catholic liturgical songs based on these traditional songs. Eventually, many folk songs were adapted and transformed into Catholic hymns. This paper explores this irony through socio-historical research to understand the relationship dynamics between the Catholic Church and the Manggaraian culture. This research has discovered that there is a dialectical encounter between Catholicism and the Manggaraian culture which has shaped a unique identity of the Catholic Church in Manggarai
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Høirup, Henning. "Nekrolog over Uffe Hansen." Grundtvig-Studier 46, no. 1 (January 1, 1995): 18–25. http://dx.doi.org/10.7146/grs.v46i1.16174.

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Uffe Hansen 14.12. 1894 - 11.9. 1994By Henning HøirupThe obituary begins with a description of Uffe Hansen’s background as an Independent Congregation clergyman (from 1925) to the Grundtvigian Independent Congregation (Danish valgmenighed, i.e. a congregation within the National Church, claiming the right to employ their own minister) of Ubberup, where the prominent clergymen V.J.Hoff and Carl Koch were his predecessors. Carl Koch’s extensive writings, theologically erudite, but .popular. in their language, and thus accessible to the layman, were to become the model for Uffe Hansen’s studies in Grundtvig’s hymnwriting. Through his membership of the Hymn Book Commission of the free Grundtvigian congregations (HYMNS. Independent Congregations and Free Church Congregations, 1935), Uffe Hansen was motivated to realize his plan of a complete account of the whole of Grundtvig’s hymn writing in the book Grundtvig’s Hymn Writing. Its History and Content I. 1810-1837, published in 1937. In the following years Uffe Hansen was absorbed in organizational work (Grundtvigian Convent, the »No More War« organization) and by his membership of the Grundtvigian Hymn Book Committee (The Danish Hymn Book. A Grundtvigian Proposal, 1944). In the 1940s efforts were made to unite the hymn tradition of the re-united Southern Jutland with the traditions of the Kingdom, i.e. the old Danish treasury of hymns and the Grundtvigian hymns. Uffe Hansen became a member of the Hymn Book Commission which published the proposal The Danish Hymn Book in 1951. More than anybody else, Uffe Hansen is responsible for the large number of Grundtvig hymns in this proposal, often with verses from the original versions of the hymns added to them. In spite of vehement criticism on this point The Danish Hymn Book was authorized in 1953. Grundtvig remained the predominant contributor, even though significant Grundtvig hymns, expressing his church view, were omitted, much to Uffe Hansen’s regret. The Hymn Book includes Uffe Hansen’s own translation of the Latin antiphone Oh, Grant Us Peace, Our Lord. While this debate was going on, the continuation of Uffe Hansen’s work, Grundtvig9s Hymn Writing II. 1837-1850 appeared in 1951, an important contribution to a comprehensive interpretation of Grundtvig’s work to renew the Danish hymnody. However, Uffe Hansen’s main achievement as a hymn researcher was his work as a co-editor of Grundtvig’s Song-Work I-VI, 1944-1964. This new edition was worked out on scientific principles, and the hymns were brought in chronological order, as far as it was possible. The edition included a critical variant apparatus, compiled by Uffe Hansen. Concurrently with this work, Uffe Hansen participated in the compilation of a Register of Grundtvig’s Posthumous Papers 1-IXXX, 1956-1964, and, while engaged on this, found several hitherto unknown hymns, which were included in the new edition of the Song-Work.Here Uffe Hansen’s abilities as a researcher and scholar were amply demonstrated. Then, in 1966, came his finalwork, Grundtvig’s Hymn Writing III. 1851-1872, which, like the other volumes, testify to Uffe Hansen’s talent for combining erudition with easy comprehensibility. In his last years Uffe Hansen lived in Holland; he was laid to rest from the Independent Congregation Church of Ubberup.
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Müller, Alfons. "Message Becomes Incarnate in Song: Church Hymns in the Diocese of Kenge." Mission Studies 7, no. 1 (1990): 76–86. http://dx.doi.org/10.1163/157338390x00100.

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AbstractAs one cannot dance without music, so there is no music without dancing - so goes the popular thinking in Zaire. The Zairean Catholics have shown in the past admirable patience to imported European melodies and imposed language structures and their songs, robbed of their natural rhythm, were stilled until vernacular liturgy was approved in 1965. There is now music in the land, rich in the variety of various African traditions. The Catholic Church in Zaire is at last able to express itself in its own culture, and the Christian message becomes incarnate in songs and hymns.
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Wild-Wood, Emma, and Peter Wood. "'One Day we Will Sing in God's Home': Hymns and Songs Sung in the Anglican Church in North-East Congo (drc)." Journal of Religion in Africa 34, no. 1-2 (2004): 145–80. http://dx.doi.org/10.1163/157006604323056750.

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Abstract'Songs preach a lot' claim members of the Anglican Church in North-East Congo (DRC). This article analyses what these songs preach and how they convey their message. It examines the theology of the texts as sung in their musical and social context. The songs fall into two broad categories: western hymns translated by missionaries and contemporary songs often composed locally or nationally. They have different but overlapping theologies and functions within worship. Heaven emerges as a central motif in both categories, presenting an eschatological oral theology, which offers comfort, escape and social comment.
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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 (October 31, 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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Dissertations / Theses on the topic "Hymns and songs of the church"

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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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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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Hammond, Susan J. "Psalms, Hymns, And Spiritual Songs For The Use Of The People Called Christians." Costa Mesa, CA : Vanguard University of Southern California, 2007. http://dx.doi.org/10.2986/tren.034-0051.

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Cedergren, Mats. "Lars Åke Lundberg och den andliga visan 1965-1973 : tolkning och teologiskt tänkande under 68-epoken." Thesis, Uppsala universitet, Teologiska institutionen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-445511.

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Uppsatsen visar hur prästen och tonsättaren Lars Åke Lundberg har medverkat till den andliga visans teologiska bestämning i en banbrytande och samhällsomvälvande tid 1965-1973. Studien omfattar det urval av andliga visor Lundberg själv valt att tonsätta/översätta under tidsperioden. I uppsatsen görs en analys av vistexterna utifrån några valda samhällsteologiska motiv. Resultatet av textanalysen sammankopplas med den tidsanda, som då rådde. Uppsatsen bidrar också till en samhällsteologisk förståelse av vad som hände inom Svenska kyrkan under perioden. Förståelsen av den politiska förändringen kom inifrån Svenska Kyrkan i första hand och inte genom yttre påverkan.
The essay shows how the priest and composer Lars Ake Lundberg has contributed to the theological determination of the spiritual song in the pioneering and revolutionary period of the society in 1965-1973. The study includes the selection of spiritual songs that Lundberg himself chose to compose/translate during the time period. In the essay, analaysis of the lyrics is made based on some selected theological motives belonging to the society. The result of the analysis of the texts is connected with the spirit of the time, which then prevailed. The essay also contributes to a theological understanding of what happened whithin the Church of Sweden during the period. The understanding of the politcial change came from the Church of Sweden itself and not primarly through external influences.
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Bart, Carol Vanderbeek. "Developing worship enrichment through congregational song at Ramapo Valley Baptist Church, Oakland, New Jersey." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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鄭寧人. "中文聖歌集 心頌 、 頌恩 之語言風格初探 = The stylistic exploration of Chinese hymns in Xin Song and Song En." Thesis, University of Macau, 2000. http://umaclib3.umac.mo/record=b1636173.

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Kloppers, Elizabeth C. "Kerkliedere vir 'n nuwe generasie - 'n Liturgies-himnologiese ontwerp onder voorwaarde van die Ekumene." Thesis, University of Pretoria, 2004. http://hdl.handle.net/2263/31115.

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Hymns are handed down from generation to generation, from country to country, and from church to church. In every time in history, hymns and songs are needed that are new for that time and generation – hymns through which the timeless message can be voiced in a new and unique way. The historical binding, as well as the ecumenical tie, are thus indispensable features for the church, her liturgy and her music. In the processes of creating new hymns and liturgical forms, the una sancta ecclesia always needs to be in focus. In this study the ecumenical and liturgical movements of the twentieth century, their goals, and the influence they exerted on liturgical renewal and hymn singing, are investigated. The ecumenical meaning of new hymns and liturgical forms is evaluated in terms of these goals. To determine the functionality of new hymns, a theoretical grounding for the various functions of hymns is given. Renewal in the form of contemporary material, new styles and ecumenical-liturgical forms is reflected in the Liedboek van die Kerk (2001), the new hymnal for the Afrikaans-speaking churches. The hymnal is discussed with regard to the content, and the processes of compilation. The versification of the psalms, fundamentalist views, and the resistance to transformation in the processes of canonization, also comes under scrutiny. Documentation, motivation and report of about sixty new hymns and liturgical forms in the Liedboek van die Kerk (2001) are given. Hymns, songs and liturgical forms are researched from hymnological perspectives, by relevant musical and textual analysis, and by exploring their origin, history, working history, and liturgical function. The functionality of the hymns is assessed, and their hymnological, liturgical, contextual and ecumenical significance determined, with regard to the theoretical grounding in the preceding chapters. The conclusion is that ecumenicity is a sine qua non for the hymns and songs of a new generation. History and tradition, but also the contemporary church as a whole, should co-determine processes. The future of liturgical singing depends on the way in which theological, liturgical, hymnological, ecumenical and anthropological fields of tension could be kept in balance. Balance thus needs to be found between functionality, ethics, and aesthetics; between tradition and creativity; historical fidelity and contemporary embodiment; individualism and community; between the individual church and ecumenism; quality and popularity; between Christian/confessional identity, and general religiosity; between orthodox expressions of faith, and the poetical-symbolical shifting of boundaries. Boundaries are exceeded through the singing of hymns – boundaries of language, of confession, of time and space, and boundaries between individuals and groups. Liturgical singing can be the singing of believers of all times and all places only by preserving the traditional ecumenical heritage on the one hand, and on the other hand, through ecumenical cooperation when creating new hymns and forms – thus the one faith in many languages, the audible sign of the una sancta ecclesia.
Thesis (DMus)--University of Pretoria, 2005.
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Zueger, Agnes C. "The Psalms, hymns and spiritual songs of the season of Advent." University of Portland, 2009. http://library2.up.edu/theses/2009_zuegera.pdf.

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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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Cinquegrani, David J. "The language of hymnody a theological and catechetical exploration /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Books on the topic "Hymns and songs of the church"

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

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Vajda, Jaroslav J. Now the joyful celebration: Hymns, carols, and songs. St. Louis, MO: Morning Star Music Publishers, 1987.

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Hudson, Michael. Songs for the cycle: Fresh hymn texts. New York: Church Pub., 2004.

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Vajda, Jaroslav J. So much to sing about: Hymns, carols, and songs. St. Louis, MO: MorningStar Music Publishers, 1991.

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Rigdon, Bob. Concordance to church hymns: Based on the hymnal, Songs of the church. Sylva (21B Josephine St., Sylva, NC 28779): Institute for Educational Religious Publications, 1993.

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Martens, Helen. Hutterite songs. Kitchener, ON: Pandora Press / Herald Press, 2003.

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Hutterite songs. Kitchener, Ont: Pandora Press, 2002.

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America, Reformed Church in, Witvliet John D, Tel Martin, and Borger Joyce, eds. Lift up your hearts: Psalms, hymns, and spiritual songs. Grand Rapids, Mich: Faith Alive Christian Resources, 2013.

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Heavenly song: Stories of Church of God song writers and their songs. Anderson, Ind: Warner Press, 1993.

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Mama, Big. Them gospel songs: Lore of the Black church experience. Aurora, CO: National Writers Press, 1990.

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Book chapters on the topic "Hymns and songs of the church"

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Desplenter, Youri. "Songs of Praise for the ‘Illiterate’: Latin Hymns in Middle Dutch Prose Translation." In Medieval Church Studies, 127–42. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.mcs-eb.3.3597.

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Hilton, Nelson. "What has Songs to do with Hymns?" In Blake in the Nineties, 96–113. London: Palgrave Macmillan UK, 1999. http://dx.doi.org/10.1007/978-1-349-27602-8_6.

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Watson, J. R. "The Language of Hymns: Some Contemporary Problems." In Language and the Worship of the Church, 174–95. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20477-9_9.

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Coombe, Margaret. "What a Performance: The Songs of St Godric of Finchale." In Medieval Church Studies, 219–42. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.mcs-eb.5.113520.

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Andreatta, Michela. "Subverting Patronage in Translation: Flavius Mithridates, Giovanni Pico della Mirandola, and Gersonides’ Commentary on the Song of Songs." In Medieval Church Studies, 165–98. Turnhout: Brepols Publishers, 2014. http://dx.doi.org/10.1484/m.mcs-eb.5.103108.

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Sithole, Nkosinathi. "The Bible, the Hymns and Identity: The Prophet Isaiah Shembe and the Hymns of His Nazareth Baptist Church." In The Changing World Religion Map, 2783–99. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-9376-6_145.

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Kollamparampil, Thomas. "PARADISE-CHURCH AND THE KINGDOM IN ST. EPHREM S HYMNS ON PARADISE VI." In The Harp (Volume 20 Part 1), edited by Geevarghese Panicker, Rev Jacob Thekeparampil, and Abraham Kalakudi, 111–20. Piscataway, NJ, USA: Gorgias Press, 2011. http://dx.doi.org/10.31826/9781463233082-012.

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Henry, Dorinda G. "I, too, Sing Songs of Freedom: A Theo-Sociological Praxis toward an Emancipatory Ethic for the Black Church and Its Trans-Same-and-Both-Gender-Loving Members." In The Black Church Studies Reader, 279–90. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137534552_24.

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Royel, Mar Awa David. "SINGING HYMNS TO THE MARTYRS: THE ‘ANTIPHONS OF THE SĀHDĒ’ IN THE ASSYRIAN CHURCH OF THE EAST." In Journal of the Canadian Society for Syriac Studies 12, edited by Amir Harrak, Françoise Briquel-Chatonnet, Kyle Smith, Adam Lehto, David Royel, Bernard Heyberger, Amir Harrak, and Khalid S. Dinno, 43–49. Piscataway, NJ, USA: Gorgias Press, 2012. http://dx.doi.org/10.31826/9781463235468-005.

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Gampiot, Aurélien Mokoko. "Inspired Hymns as a Belief System in the Kimbanguist Church: A Revelation of the Meanings of Blackness." In Churches, Blackness, and Contested Multiculturalism, 217–33. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137386380_16.

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Conference papers on the topic "Hymns and songs of the church"

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Purba, Berehme, Lidya Kandowangko, Siguti Sianipar, and Erwin Sianturi. "The Transformation of Hymn Song in Local Church: a Study of Musical Style in Manado." In Proceedings of the First International Conference on Christian and Inter Religious Studies, ICCIRS 2019, December 11-14 2019, Manado, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.11-12-2019.2302108.

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Batubara, Junita, and Kamaluddin Galingging. "The Role of Indonesian Worship Songs at Rise Up Generation (RG) Ministry Church in Tanjong Malim-Malaysia." In Proceedings of the First Nommensen International Conference on Creativity & Technology, NICCT, 20-21 September 2019, Medan, North Sumatera, Indonesia. EAI, 2020. http://dx.doi.org/10.4108/eai.20-9-2019.2296590.

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You might also be interested in the extended bibliographies on the topic 'Hymns and songs of the church' for particular source types:
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