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Table of contents

Translated hymns are usually selections from a much larger number of stanzas and it is often instructive to be able to study the whole structure of the original work. I wish to acknowledge valuable help received from the following and to express hereby my gratitude to them: to Dr. Robert McCutchan, author of Our Hymnody , who generously responded to my request for information on a dozen or more hymns on which I had no data; to Dr. Henry Wilder Foote, of Harvard University, author of Three Centuries of American Hymnody , for biographical material on several hymn writers, and the use of books from his private library; to x Dr.

Armin Heussler, author of a forth-coming handbook to the Evangelical hymnal , for material on several of the chorales; to Wm. Runyan of the Hope Publishing Company, and to Dr. Cornelius Krahn who made the rich hymnic treasures of the Mennonite Historical Library at Bethel College available to me; to the late Rev.


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Krehbiel who loaned me material from his private library for this work but did not live to see its completion; to B. Bargen for help in preparing the manuscript for publication; to Mrs. Beatrice Buller for reading the manuscripts and proofs of the German chorales; to my wife, Charity Steiner Hostetler, who read all the manuscripts and proofs and whose constant interest and assistance were indispensable; and to others, too numerous to mention, who in any way facilitated the completion of the work.

The book, written during spare moments of a busy pastorate, is sent forth with the prayer that, in spite of errors and imperfections, it may inspire all who use it to sing with greater devotion the praises of Him who loved us and redeemed us. The original texts of German hymns found throughout the Handbook , especially in the section of Chorales, Book IV, are the versions used in one or more of the following works: Gesangbuch mit Noten , Berne, Ind. Many variations occur in the texts as found in these versions, the explanation of which would require a much greater knowledge of German hymnody than the author possesses.

A hymn is the praise of God by singing. A hymn is a song embodying the praise of God. If there is merely praise but not praise of God it is not a hymn.

OTTO WEININGER

If there be praise, and praise of God, but not sung, it is not a hymn. For it to be a hymn, it is needful, therefore, for it to have three things—praise, praise of God, and these sung.


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The Christian hymn A hymn is to be sung by a congregation. Its message must be simple, not subtle. It must read well and sing well. In modern usage, the hymn is not limited to the praise of God but includes other moods of worship such as resignation and consecration. Hymn singing has always been associated with Christian worship. Jesus and the Twelve sang a hymn, presumably a portion of the Hallel Ps.

The great Apostle recognized the value of song when he exhorted the churches thus:. Be filled with the Spirit; speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord. Let the word of Christ dwell in you richly in all wisdom; teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord.

The Jewish converts who at first composed the church had a rich heritage of song in the Book of Psalms. This was their hymnbook, used in the Temple worship and in the home and probably also in the synagogue services. The use of the Psalms, carried over from the Jewish service, forms to this day an important element in Christian worship. Besides the Psalms, the early church sang the nativity lyrics that adorn the first two chapters of the Gospel of Luke.

The nativity hymns in Luke, five in all, are extensively used in Roman Catholic and Anglican services. Hymn of the Virgin Mary. Song of Zacharias.

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Nunc Dimittis. Song of Simeon. Gloria in excelsis. Song of the Angels. Used as a part of the Roman mass and often found in Protestant hymns, e. The ancient Eastern Church developed a rich hymnody, rising steadily in the fourth century until it reached its culmination in the eighth and xiv ninth centuries. Since it employed the Greek and Syriac languages, its hymnic treasures remained almost completely hidden and unknown to the English speaking churches for many centuries.

It is only in recent years, through the efforts of scholars like John Mason Neale and Edward Caswall that some of the Eastern hymns have been translated and made available for modern use. Eastern hymns are characterized by an objective, dignified, contemplation of God. Except when confessing sin and unworthiness, they contain nothing of the subjective feelings of the worshipper such as is found in many modern hymns. Though there is very little in the Hymnary from the Eastern Church, our collection is enriched by the inclusion of a small number of hymns from this source.

Two great names are associated with the music of the Western Church: Ambrose, c. Ambrose, Bishop of Milan, not only composed hymns and music but stimulated others to do the same. Under his leadership there developed a large body of church music based upon four scales, which came to be known as Ambrosian Chant. None of his hymns are found in our collection.

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Gregory the Great, two centuries later, carried forward the work of Ambrose. He added four more scales or modes to the Ambrosian system, thus giving to the repertory of church music more definiteness and variety. The music that developed during the papacy of Gregory came to be known as Gregorian Chant, or plainsong, or plainchant. Its rhythm is the free rhythm of speech, the beats falling irregularly. The Gregorian Chant remained the music of the church for a thousand years and forms the basis of all Roman Catholic music today. Some of these chants were adapted by Luther for congregational singing, and set to words in the vernacular of the people.

The singing in the medieval church was liturgical in character and confined to the clergy and trained choirs. This was its weakness. The laity was not expected to sing, neither were they able to do so. Congregational singing, so important in our worship today, had for centuries been unknown in the Roman Catholic Church.


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Reform was inevitable and it came in due time. While only remnants of the music survive, many hymns from the Western Church have been translated from the Latin and a few choice ones have found their way into the Hymnary.

The followers of John Hus who came to be known as the Bohemian Brethren, and later as the Moravians, were the first Protestant group to introduce congregational singing into their worship. They also published the first Protestant hymnbooks, one in and another in , containing 89 and hymns, respectively, in their native Bohemian tongue. Their efforts to introduce congregational singing were sternly opposed by the Roman hierarchy. The Council of Constance condemned Hus to be burned at the stake and warned his successor, Jacob of Misi, to cease the singing of hymns in the churches.

It decreed:.

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If laymen are forbidden to preach and interpret the Scriptures, much more are they forbidden to sing publicly in the churches. As a result of their persecution, the Brethren in sent out messengers to search for true Christian people into whose communion they might apply for admission—one to Russia, one to Greece, one to Bulgaria, xvi and one to Palestine and Egypt. All returned unsuccessful. No such Christians had been found.

They therefore remained in their own country, giving themselves assiduously to the translation and printing of the Bible. In the Brethren sent two messengers to Luther to greet him and ask his advice. Luther became interested in them and welcomed their fellowship. He was impressed with the hymnbook the Brethren had published, and later used some of the hymns in his own work.

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The movement toward congregational singing, inaugurated by the Bohemian Brethren, was soon to be merged into the greater Reformation movement. For a thousand years the laymen had had no part in church song. Congregational singing was unknown. Ambrosian music had at first been introduced for congregational use but it became more and more liturgical, thrusting the laity into the background. The Gregorian Chant which followed was never intended for use except by the priests and trained choirs. The followers of Hus pioneered in congregational singing; but it was Luther and his followers who brought it into full fruition.

Luther was a born music lover and a musician of adequate training. Moreover he possessed a remarkable gift for writing hymns in clear thought to bring the Word of God home to the hearts of the common people. He and his followers put songs on the lips of the German people and they sang themselves into the Reformation. The melodies had much to do with the popularity of the songs.

They came from various sources.

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Many of them were original compositions by Luther and others; some were borrowed from the hymn books of the Bohemian Brethren; a considerable number were adaptations of plainsongs used in the Catholic Church; still others were adopted from beloved folksongs. Luther was an eclectic in his choice of music. He used any tune from any source that suited his purpose. Many thousands of chorales came into existence in Germany during his time and the two centuries that followed. The hundreds still in use represent the best in church music today.

They are characterized by a plain melody, a strong harmony, and a stately rhythm; all of which adapts them well for effective congregational singing. The chorales at first did not have the regular rhythms that they later took on. Though unison singing has been widely practiced and is advocated today by some good authorities in church music, Luther encouraged part singing.

These songs have been set in four parts, for no other reason than because I wished to provide our young people who both will and ought to be instructed in music and other sciences with something whereby they might rid themselves of amorous and carnal songs, and in their stead learn something wholesome, and so apply themselves to what is good with pleasure, as becometh the young.

The period of the German chorales may be said to have begun with Luther, , and ended two centuries later with J. Bach, Bach brought the chorale tunes to their highest perfection, using many of them in his larger choral works.