CONGREGATIONAL SONG



CONGREGATIONAL SONG NAME Michael Mays

MUMIN 422A

EXAM III DATE 5/5/03

I. Match (20 points)

A. John Tufts

_D Dictionary of Hymnology

B. Myles Coverdale

I Protected Evangelical Preachers

C. Thomas Ken

B Goostly Psalms and Spiritual Songes

D. John Julian

E Translated Medieval hymns and sequences

E. John Mason Neale

C “Praise God from Whom all blessings flow”

F. George Herbert

G Father of English Hymnody

G. Isaac Watts

A Introduction to the Singing of Psalm Tunes

H. Benjamin Keach

H The Breach Repaired in God’s Worship

I. Lady Huntingdon

J American folk hymnody

J. George Pullen Jackson

F “King of glory, king of peace”

II. Match (20 points)

D The Christian Year A. Timothy Dudley-Smith

F Prepared psalter used by Pilgrims B. Lowell Mason

B leading composer of Sunday School Music C. William Billings

C fuguing tunes D. John Keble

I most prolific writer of gospel song texts E. Erik Routley

A Lift Every Heart F. Henry Ainsworth

G Executive Director of Society G. Carl Daw

E 20th-century British scholar and hymnologist H. William Bradbury

J Contemporary American hymn writer I. Fanny J. Crosby

H hymn tunes composer; pioneered training J. Thomas Troeger

for music teachers

III. Give one collection of hymns associated with the following people: (15 points)

Isaac Watts Hymns & Spiritual Songs

Wesleys Collection of Psalms and Hymns

John Rippon Selection of Psalm and Hymn Tunes

John Newton Olney Hymns (with William Cowper)

W. H. Monk Hymns Ancient and Modern

Ralph Vaughan Williams The English Hymnal

B.F. White and E.J. King The Sacred Harp

Philip Bliss and Ira Sankey Gospel Hymns and Sacred Songs

Donald Hustad The Worshiping Church: A Hymnal

William J. Reynolds The Baptist Hymnal (1975)

IV. List a hymn written or translated by the following authors: (15 points)

Isaac Watts “How firm a foundation”

Charles Wesley “O For a Thousand Tongues to Sing”

Edward Perronet “All Hail the Pow’r of Jesus Name”

William Cowper “God moves in mysterious ways”

Catherine Winkworth “Wake, awake, for night is flying” (trans.)

Robert Grant “O worship the King”

Fred Pratt Green “When the church of Jesus”

Terry York “Worthy of worship, worthy of praise”

William J. Reynods “Share his love”

Fanny J. Crosby “Redeemed, how I love to proclaim it”

V. Discuss the development of congregational song during one of the following periods. Be specific as

to significant events and characteristics, dates, country, authors, composers, hymns, collections, etc.

(30 points)

English Hymnody (17th-18th C.)

Oxford Movement

20th-Century English Hymnody

Gospel Hymnody

20th-Century American Hymnody

The “gospel song” was a function of the spread of the Sunday School and YMCA usage and one of the most important developments of the 19th century. Most denominations were in transition from the use of metrical psalmody to the development of their own hymn writers, and many of these hymns were nationalistic and patriotic in nature. They were also very missions-minded, a phenomenon that had been world-wide but caught on especially brightly here. Many such songs addressed the afterlife, and only acknowledged the church year at Christmas and Easter. Clergymen typically wrote the gospel song, though there was some notable involvement by laypeople.

With its emergence the gospel song dealt with several controversial issues (such as slavery) that caused major splits in mainline denominations. It was pivotal to the Second Great Awakening and Depression panic in the early 20th century, and saw significant development as the American frontier was expanded west.

The term “gospel song” became attached to the songs popularized in the revivals led by Dwight L. Moody and Ira S. Sankey. Jeremiah Ingalis, however, had compiled Christian Harmony in 1905, which was full of folk hymnody. The types of song contained work proved to be the precursor to the gospel songs.

What became known as “Sunday school songs” began life as “gospel hymnody,” a parallel of the gospel song. Its first significant proponent was William Bradbury, a former student of famous music educator Lowell Mason. He was the most instrumental figure in the Sunday school movement, and one of the few composers whose works are still performed. He established the Biglow & Main publishing company to “push his product,” over 70 collections of sacred and secular music, such as The Psalmodist (1844), The Golden Chain (1861), Devotional Hymn and Tune Book (1864), and The Golden Censer (1864). His hymn tune compositions included CHINA (“Jesus loves me”), BRADBURY (“Savior, like a shepherd, lead us”), WOODWORTH (“Just as I am”), and SWEET HOUR (“Sweet hour of prayer”).

Robert Lowry succeeded Bradbury as editor of Sunday school songbooks for Biglow and Main. He was a Baptist pastor wrote texts and tunes, and his contributions included “What can wash away my sin?” (and its common tune, PLAINFIELD), “Shall we gather at the river” (and HANSON PLACE), MARCHING TO ZION for Watts’ “Come, we that love the Lord” (adding a refrain), NEED for Annie S. Hawks’ “I need thee every hour,” and ALL THE WAY (“All the way my Savior leads me,” Fanny Crosby).

William H. Doane collaborated with Lowry and composed over 2,000 tunes, including settings of many of Fanny Crosby’s texts, such as TO GOD BE THE CLORY, NEAR THE CROSS (“Jesus, keep me near the cross”), I AM THINE, and PASS ME NOT.

Fanny Crosby herself was probably the culminating figure in this era. Despite being blind at six weeks of age, she composed some 8,000 hymn texts. She was not actually capable of writing anything but her name; she did not even use Braille. Most of her transmission was oral; she would compose the text in her mind at night, then dictate to her secretary the next morning. She made no real financial gain from her works; her publisher, Biglow and Main, paid her a mere $2 for each hymn submitted. Her astonishing body of work contains such songs still sung today as “Pass me not, O gentle Savior,” “Praise him! Praise him! Jesus our blessed Redeemer,” “Rescue the perishing,” “Blessed assurance,” “Redeemed, how I love to proclaim it,” and “He hideth my soul.”

Drs. Music and Price suggest that the use of the gospel song in the evangelistic movement from 1870 on had its immediate roots in at least four lines of development: (1) the “praise services” of Eben Tourjée, who founded the New England Conservatory of Music; (2) the hearting singing of large groups attending the annual national convention of the YMCA and Sunday School Union; (3) the “services of song” led by Philip Phillips at Sunday school conventions and evangelistic campaigns both in America and abroad; and (4) the influence of Philip P. Bliss, in connection with Moody’s early work in Chicago.

What has come to be known as “the Moody-Sankey era” might better be referred to as the “Bliss-Sankey era” of gospel song. Philip Bliss was one of the most widely known and best-loved musicians of his day. He had complied several collections of gospel song published by the John Church Company of Cincinnati, including The Charm (1871), The Song Tree (1872), Sunshine (1873), and Gospel Songs (1874). Both lyricist and composer, some of Bliss’ most popular and still-sung works include “Sing the over again to me” (“Wonderful Words of Life”), “Man of sorrows! what a name,” and VILLE DU HAVRE for Horatio Spafford’s “It is well with my soul.”

Bliss met Dwight L. Moody in Chicago in 1869. He frequently sang in Moody’s services, and at Moody’s prompting abandoned teaching to lead singing for Major Daniel W. Whittle, another prominent evangelist. His career ended prematurely, however, in a train wreck in 1876.

Moody enlisted the aid of Ira Sankey in 1870 after the latter had been working for the YMCA for several years. Sankey made use of Philip Phillips’ Hallowed Songs and additional songs in his 1872 with Moody to England. He asked the publishers to update the collection with some of his songs included; their refusal prompted English publisher Morgan & Scott to put out Sankey’s own Sacred Songs & Solos In 1873.

Sankey’s Gospel Hymns series, an alliance with Bliss to produce a series extending the latter’s original collection, involved two publishers–Biglow & Main and the John Church Company. Both publishers had developed successful merchandising operations through local retail music dealers and a nation-wide mail-order business. When Bliss died, James McGranahan and George C. Stebbins continued the work with Sankey.

McGranahan also worked with Daniel Whittle, setting his lyrics to tune. His works included EL NATHAN for “I know not why God’s wondrous grace” and SHOWERS OF BLESSINGS. Stebbins’ collection (now located at Southwestern Seminary) includes such works as ADELAIDE for Adelaide Pollard’s “Have thine own way, Lord;” JESUS, I COME for William T. Sleeper’s “Out of my bondage, sorrow and night;” and CALLING TODAY for Fanny Crosby’s “Jesus is tenderly calling thee home.”

Other contributors include Daniel Towner, head of the music department at Moody Bible Institute from 1983 to his death in 1919 (TRUST AND OBEY, MOODY [“Marvelous grace of our loving lord”]); William J. Kirkpatrick, a Methodist involved in the publication of almost 100 gospel collections (KIRKPATRICK [“A wonderful Savior is Jesus my Lord,” Fanny Crosby], REDEEMED [“Redeemed, how I love to proclaim it,” Crosby], JESUS SAVES (“We have heard the joyful sound,” Priscilla Owens], and TRUST IN JESUS [“’Tis so sweet to trust in Jesus,” Louise M. R. Stead]); and John R. Sweney, Kirkpatrick’s principal business partner and collaborator, who himself wrote over 1,000 tunes for gospel hymns (SWENEY [“More about Jesus,” Eliza Hewitt], STORY OF JESUS [“Tell me the story of Jesus,” Crosby]).

The gospel songs were intended mainly to meet the needs of evangelistic services and Sunday school meetings, so their emphasis was on emotional appeal rather than intellectual reflection. They were simple expressions of Christian experience and salvation. Because they were written in a popular musical style, there was a great appeal to the masses; they very much resembled the popular styles of the day. This caused a great deal of upheaval as many of these songs were being inserted into the churches.

Both the tunes and texts were characterized by simplicity in both content and structure. They almost all make use of refrains, which could easily be taught first and then used to leverage the stanzas in. They involved very slow harmonic rhythm, and the texts were light; that is, not deep doctrinally speaking. There was a lack of lyric or poetic beauty, and they were deficient in doctrinal strength compared to the more established hymns. Still, around the beginning of the 20th century many hymnals began including great numbers of these pieces (where initially they had had very little influence).

Along with these new “gospel hymnals” came the gospel quartet (or “barber shop” quartets like Stamps Baxter-types), a phenomenon that would mutate into gospel families and “gospel get-togethers,” or singing conventions. Charles Alexander was the most famous of evangelistic singers of the early 20th century, and is easiest to connect with conducting congregational song. Also significant was Homer Rodeheaver, who had become Billy Sunday’s song leader and used a large portion of solo-oriented material. He had been criticized for using “secular-sounding gospel song,” but he responded by saying that his material was meant to “bridge the gap” to people who were not necessarily ingrained in Christian hymnody.

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