Relevant bibliographies by topics / Hymns, German

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Academic literature on the topic 'Hymns, German'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Hymns, German"

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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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Triškaitė, Birutė. "Jono Berento giesmyno Is naujo perweizdėtos ir pagerintos Giesmu-Knygos ir maldyno Maldu-Knygelos antrasis leidimas (1735): nežinotas egzempliorius Prahoje." Archivum Lithuanicum, no. 22 (December 3, 2020): 33–82. http://dx.doi.org/10.33918/26692449-22002.

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T he second edition of J ohann B ehrendt ’ s hymn book ISZ naujo pérweizd ėtos ir pagérintos Giesm û-Knygos AND PRAYER BOOK Maldû-Knygélos (1735): an unknown copy in Prague The article presents a 1735 Lithuanian publication from Königsberg (Lith. Karaliaučius) which was believed to not have survived—the hymn book for Prussian Lithuania’s Evangelical Lutherans Iß naujo pérweizdėtos ir pagérintos Giesmû-Knygos (Reviewed and Improved Hymn-book) and the prayer book Maldû-Knygélos (Prayer-book). The only known copy of the second edition of the hymn book and the prayer book was discovered in the National Library of the Czech Republic (Czech Národní knihovna České republiky; NK ČR: 33 K 139) in Prague. It has not been registered in Lithuanian bibliographies. Just as the first 1732 edition, the second edition appeared thanks to the initiative of the theology professor of the University of Königsberg and the chief court preacher, Johann Jacob Quandt (Lith. Jonas Jokūbas Kvantas, 1686–1772), while the archpresbyter of Insterburg (Lith. Įsrutis), Johann Behrendt (Lith. Jonas Berentas, 1667–1737), led the editing team. Aiming to reveal the differences of the second edition from the first, and to highlight the editing tendencies of the hymn and prayer books, this article not only discusses the main features of the copy, but also analyzes the structure of the 1735 edition including the repertoire of new hymns and linguistic particularities of the texts of hymns and prayers written in Lithuanian. Provenance research revealed that the copy belonged to the Lithuanian Dovydas Blindinaitis or Bl(i)undinaitis before reaching this library, and this is supported by handwritten inscriptions on the front and back flyleaves. He acquired the book in 1736 for 33 groschen and must have been its first owner. The imprint “REGIÆ BIBLIOTH: ACAD: PRAGEN:” (“Royal Library of the Academy of Prague”) which is seen on the title page of the hymn book could only appear after 1777 when the Public Imperial-Royal University Library (Czech Veřejná císařsko-královská univerzitní knihovna) in Prague had been established. From the perspective of structure, the 1735 Lithuanian publication is a convolute which consists of two alligates: (1) hymn book and (2) prayer book. The hymn book comprises: (a) two introductions—one written by Quandt in German and one written by Behrendt in Lithuanian, (b) the main section of the hymn book and its appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”), (c) two indexes—the index for the Lithuanian hymns “Prirodijimas Wiſſû Gieſmû, ant kurro Laißko jos ßoſa Knygoſa randamos yra” (“A listing of all hymns which page they are found on in this book”) and the index of German original hymns called a “Regiſter” (“Register”). The prayer book comprises prayers, collects, the story of Christ’s suffering, and a list of thematic groups of these texts marked “Prirodijimas Wiſſû Maldû” (“A listing of all prayers”). The second (1735) edition of the hymn book differs remarkably from the first (1732) in its structure and scope: (1) All of the hymns that had been previously included in the 1732 edition’s “Appendix arba Kittos naujos Gieſmes ßwėey pridėtos” (“Appendix or other new recently added hymns”) (a total of 34) were integrated into the main section of the hymn book of the 1735 edition comprising 334 hymns; their thematic groupings and subgroupings remained the same; (2) The 1735 edition does not include one of the hymns published in 1732: Peter Gottlieb Mielcke’s (Lith. Petras Gotlybas Milkus, 1695–1753) translation “MIeli Krikßćionis dʒaukimės” (“Dear Christians let us rejoice”) (← Martin Luther, “Nun freut euch lieben Chriſten”); (3) The 1735 edition was supplemented with 26 hymns, that is to say, the second edition comprises 360 hymns. The new hymns are published in the appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”). Cryptonyms attached to these hymns attest to the fact that their translators were two priests of Prussian Lithuania. For the first time, 18 hymns of the priest of Didlacken (Lith. Didlaukiai), Fabian Ulrich Glaser (Lith. Fabijonas Ulrichas Glazeris, 1688–1747), were included in this hymn book. The priest of Popelken (Lith. Papelkiai), Adam Friedrich Schimmelpfennig (Lith. Adomas Frydrichas Šimelpenigis, 1699–1763), translated 8 new hymns (while 15 of his hymns that had been already published in the 1732 edition were presented in the main section of the hymn book of the 1735 edition). The new repertoire of the Lithuanian hymn book was compiled from the translations of the following German hymn creators of the 16th–18th centuries: Johann Georg Albinus (1624–1679), Martin Behm (1557–1622), Kaspar Bienemann (Melissander, 1540–1591), Simon Dach (1605–1659), Johann Burchard Freystein (1671–1718), Paul Gerhardt (1607–1676), Johannes Gigas (Heune, 1514–1581), Ludwig Andreas Gotter (1661–1735), Johann Heermann (1585–1647), Heinrich Held (1620–1659), Martin Moller (1547–1606), Johann Rist (1607–1667), Samuel Rodigast (1649–1708), Johann Röling (1634–1679), Gottfried Wilhelm Sacer (1635–1699), Arnold Heinrich Sahme (1676–1734), Benjamin Schmolck (1672–1737). In contrast to the hymn book, the structure of the 1735 prayer book published concurrently were not changed; the thematic groups of prayers remained essentially the same as they were in the first edition of 1732. Texts of both the hymn book and the prayer book were edited. The editing tendencies in both are similar and encompass all linguistic levels (phonetics, morphology, lexicon, syntax), as well as orthography and punctuation, but the intensity of editing was different. The orthographic corrections prevail and the most consistent of them are: [i·] <ij> → <y> (characteristic only of the hymn book), [č’] <ć> → <cʒ> (together with refusing the marker indicating consonant palatalization <i>), [·] <e> → <ė>, [ž] ir [ž’] <Ʒ> → <>, marking accent placement with an acute accent < ’ >. The second edition reflects an important stage in the quantitative and qualitative development of Behrendt’s hymn book. In the second edition that appeared just three years later, we see the further consistent efforts of the editors to expand the repertoire of hymns and improve the texts in terms of language (i.e. they first of all sought to standardize the orthography of texts written in different centuries by many different translators). In contrast to the hymn book, the prayer book was improved along only one vector: the language of the texts was edited according to the same principles, while the number of prayers was not increased. The fact that the editors of the second edition devoted more attention to the hymn book than the prayer book probably stems from the important place that hymns hold in the Evangelical Lutheran liturgy.
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Rudolf, Gerhild Ingrid. "The Translation of German Hymns into Romanian Between Poetry and Pragmatism." Review of Ecumenical Studies Sibiu 8, no. 1 (April 1, 2016): 85–99. http://dx.doi.org/10.1515/ress-2016-0006.

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Abstract After centuries of celebrating the divine services only in German language, the Evangelical Church A. C. in Romania (ECR) embarked during the last few decades on the use of a second language within church. The traditional “Evangelical-Saxon” identity of the congregations is undergoing a changing process. Having lost most of its members through emigration, the Evangelical Church A. C. in Romania copes with new social circumstances which have also an effect upon the choice of language. Therefore, in 2007, the ECR published a bilingual (German and Romanian) hymnal. Translating hymns is an intricate endeavour. The practical use of a bilingual hymn-book is challenging as well. The German-Romanian Evangelical hymnal is a witness of how the diaspora church accommodates itself to new linguistic conditions.
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Zhuk, Alexandra D. "The Problem of Genre in the Hymns by the Lake Poets and Thomas Moore." Imagologiya i komparativistika, no. 15 (2021): 7–30. http://dx.doi.org/10.17223/24099554/15/1.

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Though there are many seminal works on early Romanticism and Thomas Moore’s poetry, their hymns remain understudied. This article focuses on the genre problem in the hymns by the Lake Poets (S.T. Coleridge, W. Wordsworth, R. Southey) and Thomas Moore, whose poetry is studied in context of English Literature and German Romanticism. The characteristics of the hymn are emotionality, associative composition, abundance of repetitions and parallelisms, archaic grammatical forms of verbs and pronouns, and the use of verb contractions. The combination of genres in hymns results in such variants as the odic hymn, the idyllic and elegiac hymn, the mythological hymn, and even the satirical hymn, with each of them evolving in its own way in the period under study. The odic hymn is represented in “Hymn before Sun-rise, in the Vale of Chamouni” (1802) by S.T. Coleridge and “Hymn. For the Boatmen, as They Approach the Rapids under the Castle of Heidelberg” (1820/1822) and “To the Laborer’s Noon-Day Hymn” (1834/1835) by W. Wordsworth. These poems have such odic features as comparisons and conditional and cause-and-effect syntactic constructions. Coleridge’s hymn going back to the psalms of praise was influenced by German Romanticism, while Wordsworth’s hymns feature religious vocabulary and quotations from the Mass. The mythological hymn comes in two versions – one with idyllic features (“Hymn to the Earth” (1799, publ.1834) by S.T. Coleridge) and the mythological hymn-fragment (“Fragment of a mythological hymn to Love” (1812) by T. Moore). The fist is the translation of Stolberg’s hymn, from which the leitmotif of the Earth as the mother and the nanny of the World is borrowed. The image of the Earth has anthropomorphic features, with the marriage of the Earth and Heaven going back to W. Blake. The myth created by T. Moore is more complex. The creation of the world begins with the marriage of Love and Psyche. Love appears as the masculine principle of the Universe, while Psyche as the feminine one. The plot goes back to the ancient myths of the world creation from the Chaos and marriage of Eros and Psyche. However, T. Moore changed the myth and transformed the heroes into a source of life. “Hymn to the Penates” (1796) by R. Southey combines the idyllic, elegiac, publicistic and hymn features proper. The idyllic features are related to the image of the Penates that turn into a force controlling human lives and the souls of the dead. The childhood memories give rise to the elegiac features. The publicistic features appear in the verses of the people who do not worship the Penates. The composition, repetitions and parallelisms in the satirical “A Hymn of Welcome after the Recess” (1813) by T. Moore go back to the hymn genre; however the main stylistic devices used are irony and metonymy. Summing up, the genre of hymn in the works by the Lake Poets and Thomas Moore undergoes significant transformations, which will be further developed in late Romanism.
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Kim, Yong Hwa. "Wesley’s Conversion Hymns through German Pietist." Bible & Theology 93 (April 25, 2020): 125–54. http://dx.doi.org/10.17156/bt.93.05.

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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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Thunberg, Lars. "Grundtvig og de latinske salmer - et teologisk perspektiv." Grundtvig-Studier 43, no. 1 (January 1, 1992): 67–92. http://dx.doi.org/10.7146/grs.v43i1.16076.

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Grundtvig and the Latin Hymns - A Theological PerspectiveBy Lars ThunbergA number of scholars have devoted attention to Grundtvig’s hymns, as they are represented in his magnificent Sang-Værk. The hymns form a kind of corona of Christian poetry, intended for the congregation to use in its worship and outside the church. A number of them are congenial renderings of hymns from other traditions: the Greek, the Latin, the Anglo-Saxon, beside the Lutheran. As far as the Greek and the Latin material is concerned, Jørgen Elbek, the literary historian, has made a remarkable contribution. This article follows up Elbek’s intentions.In his Sang-Værk Grundtvig follows the principle that his collection of hymns should reflect what is given - to Christendom as a whole, and the Danish congregation specifically - through the seven historical traditions: the Hebraic, the Greek, the Latin, the English, the German, the Nordic (= Danish) and possibly a seventh, not yet fully discovered. Theoretically Grundtvig develops this idea in his late work Christenhedens Syvstieme, where an Indian congregation is indicated as the seventh one. Elbek has shown that - against this background - Grundtvig wanted to give to the Danish Church a collection of hymns, expressing the unison hymnody of the present day Danish congregation..Among the classical traditions, the Latin ‘congregation’ occupies a particular place. This particularity, however, is a problem to Grundtvig at the same time. Elbek has underlined that Grundtvig was aware of the fact that no Christian is basically able to speak on behalf of the universal Church. Thus, this is also true of Grundtvig himself in his translation/rendering of Greek or Latin hymns. His translation of them into present-day Danish involves a contextualisation, which means that they are at the same time felt to be close and familiar as well as distinct from their original setting. They become songs of praise, integrated into the Danish contemporary situation.However, it is characteristic of Grundtvig that he is very faithful to his Latin originals (which he studied in different versions and very carefully), and at the same time feels free to render them according to his own understanding of what is of importance to his own Danish Church. This combination of faithfulness and freedom is a genuine expression of Grundtvig’s unique ability as a hymn writer. He uses it to express his very personal feeling of what is - as a matter of fact - universal Christian belief.In the article these principles of Grundtvig are illustrated through a short analysis of his rendering of the following 14 Latin hymns: Conditor alme siderum, Veni redemptor gentium, Puer natus in Bethlehem, Vexilla regis prodeunt, Salve crux arbor, Stabat mater dolorosa, Salve mundi salutare, Mane prima sabbad, Mundi renovatio, Zyma vetus expurgetur, Laus tibi Christi, Beata nobis gaudia, Urbs beata Ierusalem and Pange lingua gloriosi.
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H. Geyer, Martin. "On the Road to a German “Postnationalism”? Athletic Competition between the Two German States in the Era of Konrad Adenauer." German Politics and Society 25, no. 2 (June 1, 2007): 140–67. http://dx.doi.org/10.3167/gps.2007.250209.

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Sports have always been used to promote the nation state and the invention of national traditions with national symbols such as flags and national hymns playing an important role. This article looks at the peculiar situation of the post-war period when two Germanys established themselves also in the field of sports, yet cooperated in some athletic disciplines, and, most important of all, at the Olympic Games until 1968. This raised a great number of delicate political questions, particularly the politics of the nonrecognition of the GDR which strove hard to establish itself internationally by way of the international sports movement. Konrad Adenauer and the German Sports Organization clashed on this issue which brought to the fore the question of a German and an emerging West-German identity. In order to describe this negotiation of the nation state in the realm of sports, this article tries to make fruitful use of the term postnationalism in order to understand the ambiguities of identity of Germans towards their nation state. It also takes a brief look at the Olympic Games of 1972, which epitomizes more than anything else the peculiar postnationalism of the Federal Republic.
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Völker, Alexander. "The Tradition of Hymns and Hymnals in the German-Speaking World." Studia Liturgica 28, no. 1 (March 1998): 74–101. http://dx.doi.org/10.1177/003932079802800105.

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Siopsi, Anastasia. "Music in the Imaginary Worlds of the Greek Nation: Greek Art Music during the Nineteenth-Century's fin de siécle (1880s–1910s)." Nineteenth-Century Music Review 8, no. 1 (June 27, 2011): 17–39. http://dx.doi.org/10.1017/s1479409811000048.

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This essay analyzes ways in which music becomes attached to the growing demand for national culture by the Greek middle class since the last decades of the nineteenth century.In modern Greece of that period, the predominant notions of ‘historic continuity’ and ‘Hellenism’, or ‘Greekness’, interpret Greek history as an uninterrupted evolution from the classical past to Byzantium. In terms of music, continuity was believed to be found from ancient Greek music to Byzantine hymns and folk songs. This theory, supported by important scholars and composers both in Greece and abroad, placed tradition in a privileged position both in composition and reception of music; composers incorporated rhythms, scales and the character of Greek folk songs and Byzantine hymns in their works and the middle-class audience was eager to accept folkloristic styles and the embodiment of tradition in art music because they reflected the notion of ‘national’. Musically, the theory of ‘historic continuity’ was strengthened by the links between German romanticism and attitudes to ancient culture. Moreover, German models, or the organic romantic perception of music, influenced representatives of the so-called National School of Music; the consequence was a growing alienation from Italian music in terms of offering aesthetic standards to composition and reception.
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Dissertations / Theses on the topic "Hymns, German"

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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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Krispin, Gerald Siegfried. "Paul Gerhardt I̲n̲ s̲t̲a̲t̲u̲ c̲o̲n̲f̲e̲s̲s̲i̲o̲n̲i̲s̲ a study of Paul Gerhardt's confession of Christ /." Theological Research Exchange Network (TREN), 2005. http://www.tren.com.

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Kohle, Maria. "Das Paderborner Gesangbuch 1609 : das älteste erhaltene katholische Gesangbuch Westfalens und sein gottesdienstlicher Gebrauch im Dienst der Katholischen Reform /." Paderborn : Bonifatius, 2004. http://www.loc.gov/catdir/toc/fy054/2005377827.html.

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Green, Richard T. (Richard Thurmond). "Remembrance of the Fiftieth Anniversary of the Dedication of the Moravian Church at Lititz, Pennsylvania, 13 August 1837: An Edition of Moravian Music." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500942/.

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This thesis is a musical reconstruction of the primary services held on 13 August 1837, for the fiftieth anniversary of the dedication of the Moravian church at Lititz, Pennsylvania. The work includes general background on the Moravians and interprets information from contemporary sources to place the music in its accurate historical context. The edition of music comprises more than one half of the paper, and is taken from the original manuscript scores used. Included in the edition are five concerted anthems for choir and orchestra, and eighteen hymns from eighteenth- and early nineteenth-century Moravian tunebooks. The special texts come from an original set of orders of service.
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Lyon, Nicole M. "Between the Jammertal and the Freudensaal the existential apocalypticism of Paul Gerhardt (1607-76) /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1243366861.

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Thesis (M.A.)--University of Cincinnati, 2009.
Advisor: Richard Schade. Title from electronic thesis title page (viewed Aug. 12, 2009). Includes abstract. Keywords: Early Modern Germany; Paul Gerhardt; Apocalypticism; Protestant Hymns; Revelations; 17th Century; Thirty Years' War; Poetry; Protestantism. Includes bibliographical references.
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Michel, Stefan. "Gesangbuchfrömmigkeit und regionale Identität : ihr Zusammenhang und Wandel in den reußischen Herrschaften vom 17. bis zum 20. Jahrhundert /." Leipzig : Evang. Verl.-Anst, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2963693&prov=M&dokv̲ar=1&doke̲xt=htm.

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Neufeld, Matthias. "Das Bild der Kirche im Singen der Gemeinde : Überlegungen zur Bedeutung des gesungenen Wortes für das Selbstverständnis der Kirche anhand ausgewählter Lieder des "Evangelischen Gesangbuchs" /." Freiburg : [Rombach], 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2770153&prov=M&dok_var=1&dok_ext=htm.

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Lelos, Ingrid Goggan. "The spirit in the flesh : the translation of German Pietist imagery into Anglo-American cultures." 2009. http://hdl.handle.net/2152/18446.

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During the Protestant evangelical awakenings of the eighteenth and nineteenth centuries, widely-circulated hymnals carried the message of evangelicals by way of mouth across great periods of time and vast geographic expanses. This study traces the cultural route of specific religious expressions in these hymns as they crossed national, linguistic, ecclesiastic, social, and other cultural barriers to become ubiquitous expressions found in religious, social, and political discourses. More specifically, this dissertation traces the route of fleshly-spiritual imagery in Baroque Lutheran and German Pietist hymns as they traveled to England by way of the Wesleys during the eighteenth-century evangelical revival and eventually surfaced during the Methodist revivals of the Second Great Awakening in nineteenth-century America. Fleshly-spiritual imagery, that concretizes spiritual experience in the human body, expressed a change in religious subjectivity experienced by Protestant revivalists in the period. This imagery captures an epistemological change in progress as individuals took authority from the clergy to commune directly with the Divine and judge the validity of that experience for themselves. Rather than framing this work as a study of specific authors or literary movements, I have traced the historical trajectory of a set of discursive practices as they were used by hymn authors, re-written by hymn editors, and often spontaneously reedited by participants. This discursive approach without regard to authorship and often in absence of standard texts more clearly illuminates the convergence of religious and public rhetoric, an intersection that remains occluded by traditional studies of a single author, genre, literary period, or national literature.
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Books on the topic "Hymns, German"

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Novalis. Hymns to the night. Petersfield, Hampshire: Enitharmon Press, 1989.

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1933-, Rödding Gerhard, ed. Geistliche Lieder. Stuttgart: Reclam, 1991.

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Freylinghausen, Johann Anastasius. Geistreiches Gesangbuch: Edition und Kommentar. Tübingen: Verlag der Franckeschen Stiftungen Halle im Max Niemeyer Verlag, 2004.

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Neander, Joachim. Einfältige Bundeslieder und Dankpsalmen. Leipzig: Evangelische Verlagsanstalt, 2001.

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O'Malley, J. Steven. Gesungenes Heil: Untersuchungen zum Einfluss der Heilingungsbewegung auf das methodistische Leidgut des 19. Jahrhunderts am Beispiel von Gottlieb Füssle und Ernst Gebhardt. Stuttgart: Christliches Verlagshaus, 1994.

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Helden-Sarnowski, Egon von. Liedkonkordanz zum Gemeindegesangbuch der Neuapostolischen Kirche. Frankfurt am Main: Bischoff, 1992.

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Friedrich Schleiermacher und das Berliner Gesangbuch von 1829. Göttingen: Vandenhoeck & Ruprecht, 1998.

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Ühlein, Hermann. Kirchenlied und Textgeschichte: Literarische Traditionsbildung am Beispiel des deutschen Himmelfahrtsliedes von der Aufklärung bis zur Gegenwart. Würzburg: Königshausen & Neumann, 1995.

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Durnbaugh, Hedwig T. The German hymody of the Brethren, 1720-1903. Philadelphia: Brethren Encyclopedia, 1986.

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Bense, G. "Giedojam taw - "Wir singen dir": Zur Textgeschichte der preussisch-litauischen Gesangbücher im 18. Jahrhundert : mit besonderer Berücksichtigung der Liedersammlung von Fabian Ulrich Glaser (1688-1747) und ihrem Umfeld. Frankfurt: Lang, 2001.

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Book chapters on the topic "Hymns, German"

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Dodds, Phil. "The Cultural Production of Scalability: Music, Colonialism and the Moravian Missionary Project." In Music and the Cultural Production of Scale, 77–102. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-36283-5_5.

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AbstractAnalysis of the work of the music historian, composer, editor and Moravian missionary administrator Christian Ignatius Latrobe (1756–1836) enables a better understanding of the role of music in colonial expansion in the first half of the nineteenth century. In London, Latrobe received and circulated accounts of the missions’ supposed success in training disciplined and ‘sweet’ choirs of Christian singers from among formerly ‘heathen’ ‘barbarians’, and these accounts were taken to demonstrate the scalability of the ‘civilisation’ project of European colonialism, which suited both antislavery campaigners and colonial state officials. Latrobe sent standardised Christian hymn books, in English and German but also translated into indigenous languages, to mission stations around the world, from Suriname to Jamaica to Labrador to Greenland to Siberia to South Africa. He also sent musical instruments to accompany the hymn-singing, favouring the organ both aesthetically and for its ability to function in different climates. He also circulated specific instructions for training organists, with firm recommendations for a simple accompaniment style and learning hymns by heart. At the different stations, the policy increasingly became to train local members of the congregation according to Latrobe’s advice, so that the instrument, the canon of tunes and the performance conventions were exported uniformly from Europe, embodied in the organ and the organist. Crucially, this uniform and standardised imposition of music—although always resisted and never fully achieved—required the remaking of the cultural landscapes on which they were to be imposed, including through the violent outlawing of existing musical practices and styles. As such, key periods in the history of large-scale musical colonisation can be better understood when framed in terms of the cultural production of scalability, following Anna Tsing, with empirical attention to the efforts involved in musical scale-building projects that make claims about music’s universal qualities and that seek to propagate a standardised, common music around the world.
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Regier, Alexander. "Hybrid Hymns." In Exorbitant Enlightenment, 183–203. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827122.003.0007.

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This chapter uncovers the multilingual aspects of the literary genre of the British hymn by looking at the surprisingly polyglot, Anglo-German influences on its formation and their impact during the eighteenth century. Once we read across languages, we realize that a great part of what we think of as typically British hymns are, in fact, translations from the German, composed by the Moravians. Many of their hymns are exorbitant in their use of erotic Christianity, a topic that is also important to Blake and Hamann. The hymn is a hybrid, something that is reflected directly in the bilingual hymnbooks, so far neglected by scholarship. The chapter provides a fresh reading of Blake’s Songs of Innocence and of Experience across languages that attends to these multilingual and comparative echoes that have not been noticed before.
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"Translations of German Hymns." In The Precious Gift, 99–110. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvzcz44c.9.

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Herl, Joseph. "German Lutheran Hymnody (1650–1750)." In Hymns and Hymnody, 179–94. The Lutterworth Press, 2020. http://dx.doi.org/10.2307/j.ctv14gpjf9.19.

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"TRANSLATIONS OF OTHER GERMAN HYMNS." In Dawnlight Breaks, 93–122. 1517 Media, 2020. http://dx.doi.org/10.2307/j.ctvzcz3k6.7.

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Ruff, Anthony. "Pre-Reformation German Vernacular Hymnody." In Hymns and Hymnody, Volume 1, 223–34. Lutterworth Press, 2020. http://dx.doi.org/10.2307/j.ctv14gpjgt.22.

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France, Peter, and Kenneth Haynes. "Texts for Music and Oral Literature." In The Oxford History Of Literary Translation In English, 411–42. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199246236.003.0009.

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Abstract The nineteenth century is a high point in the translation of hymns into English. The principal examples were from Latin and from German, although Greek hymns were not far behind, and there were some translations from Danish and other languages. The activity was remarkable: Julian’s Dictionary of Hymnology lists 133 translations of the ‘Dies Irae’, 38 of ‘Adeste fideles’, 37 of ‘Vexilla regis prodeunt’, and 34 of ‘Veni sancte Spiritus’, together with 68 of ‘Ein’ feste Burg ist unser Gott’.
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Leaver, Robin A. "Did the Choir Introduce German Hymns to the Wittenberg Congregations?" In Lutheran Music Culture, 47–68. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110680959-005.

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Weltak, Marcel. "The European Tradition." In Surinamese Music in the Netherlands and Suriname, 36–52. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496816948.003.0005.

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This chapter discusses the European influences on Surinamese music and provides a survey of the most important classical music composers as well as detailing the music of military and police brass bands, church choirs, and bazuinkoor ensembles that played music with heavy European influences. European classical music in Suriname was mainly influenced by German composers, and predominately Johannes Sebastian Bach. The most plausible explanation for this can be found in the largest European religious denomination in Suriname the Protestant church founded by Moravian missionaries. Another influence stems from English church music that dates to the time of English rule. English hymns that together with German chorales that were played by the bazuinkoor (choir of trumpets) small ensembles of brass instruments, ended up becoming vehicles for the composer’s repertoire. The earliest songs were almost purely European, but gradually evolved to incorporate popular local rhythmic patterns to become part of compositions.
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Uher, Valerie. "Triumph of the Will (1935)." In Routledge Encyclopedia of Modernism. London: Routledge, 2024. http://dx.doi.org/10.4324/9780415249126-rem2143-1.

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Triumph des Willens (Triumph of the Will) is a black and white propaganda film made by German filmmaker Leni Riefenstahl. The film documents the 1934 Nazi Party Congress in Nuremberg, including speeches by Adolf Hitler, Rudolf Hess, Joseph Goebbels and other Nazi leaders. The film eschews the newsreel-style documentary realism popular at the time and instead relies on innovations in cinematography, editing and music to communicate that Hitler is the saviour of the German people. Betraying a modernist fascination with visual spectacle, Riefenstahl documented the pageantry of the occasion from manifold angles with a pioneering use of mounted moving cameras. In order to emphasise Hitler’s dominance, Riefenstahl repeatedly shot him from a low angle, making him appear to tower above the vast crowds attending the rally, who appear small and compressed because of the use of long focus telephoto lenses. Rhythmic editing intercutting historic German architecture with Nazi Party symbols works to present the party as the natural fulfilment of Germany’s mythic past. That aim is also achieved through Herbert Windt’s score, which combines Wagnerian symphonies with folk songs, military marches and Nazi hymns. Derided for its message, yet praised for its technical brilliance, Triumph of the Will remains extremely polarising amongst critics.
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