Hymnology

Opplysningene er innhentet fra Luthersk Kirketidende, avisene Morgenbladet og Fædrelandet, samt J. N. Skaars arbeider om Evangelisk-kristelig salmeboks historie i de ulike stift, 1891-1903, i tillegg til lister i Kirkedepartementets arkiv i Riksarkivet og spredte lokalhistoriske opplysninger. Målet er å utarbeide en fullstendig oversikt over innføringen av Landstads og Hauges salmebøker, og på sikt også Elias Blix’ Nokre Salmar (fra 1892). Supplerende opplysninger om innføring av salmebøkene kan sendes undertegnede.
Ås 19.06.2020
Per Kristian Aschim, pkaschim@gmail.com.

The article deals with the song postil Písně na epištoly a evanjelia nedělní a sváteční (Songs on the Epistles and Gospels for Sundays and Feast Days), written down during the 1570s by the Utraquist priest and follower of Luther Valentin Šubar Lanškrounský and printed during the second decade of the seventeenth century by Jiří Hanuš Lanškrounský z Kronenfeldu and relatives Jan Schumann the Elder. There is a comparison of all five preserved specimens: a manuscript copy (V B 7) and a printing (K16012) from the National Museum Library, two printings from the Education and Research Library of the Pilsen Region (K16012 and K16014), and a printing from the Strahov Library (K16012). Mainly on the basis of chronograms, it has been determined that the previously stated dating of the printed editions was incorrect. The supposedly lost prose "Summas" are found in a specimen dated to 1612, which is the only one also containing a foreword by Valentin Šubar and seven uniquely preserved Easter songs.

Im Zentrum der Studie steht die Verwendung des Chorals protestantischer Provenienz als kompositorisches Idiom in der Symphonik des 19. Jahrhunderts mit besonderer Berücksichtigung der Finalgestaltung. Anhand der "Reformationssymphonie" von Felix Mendelssohn Bartholdy und der Religions- und Kulturpolitik in Preussen in der ersten Hälfte des 19. Jahrhunderts werden einige Eigentümlichkeiten in der noch ungeschriebenen Geschichte des symphonischen Chorals beleuchtet. Jene schlichten Melodien, unisono oder im Kantionalsatz, erhalten als musikalisches Erbe der Reformation im 19. Jahrhundert eine fundamentale Bedeutung für die Musik auch außerhalb des Kirchenraums. Vor dem Hintergrund der gleichzeitigen ästhetischen Erhöhung der Instrumentalmusik am Ende des Jahrhunderts markieren die strukturellen Eigenheiten in der Faktur des Chorals als distinktes kompositorisches Idiom somit auch den Übergang vom Liturgischen und Geistlichen hin zum Charakteristischen und Programmatischen.

The study focuses on the use of the chorale of Protestant provenance as a compositional idiom in 19th century symphonic music, with special attention to the design of finale. With reference to the "Reformation Symphony" by Felix Mendelssohn Bartholdy and the religious and cultural politics in Prussia in the first half of the 19th century, some peculiarities in the still unwritten history of the symphonic chorale are illuminated. Those simple melodies, in unison or four-part setting, are given fundamental importance for music outside the church as well, as a musical legacy of the Reformation in the 19th century. Against the background of the simultaneous aesthetic elevation of instrumental music at the end of the century, the  peculiarities in the structure of the chorale as a distinct compositional style thus also mark the transition from the liturgical and sacred to the characteristic and programmatic idiom.

Dette essay præsenterer nogle overvejelser over de betingelser, inden for hvilke salmesang bliver til. I fokus er ikke så meget salmerne som tekstlige eller musikalske genrer, men i højere grad den gensidige afhængighed, som opstår mellem ord og toner i salmesangen. Et centralt greb i dette essay er at betragte salmesang som resultatet af noget, man gør. Det er en handling, som bliver til et sangligt udtryk. Hvis ingen gør noget, er der ingen salmesang. Det er med andre ord ikke en ting, ikke noget man kan læse eller se på. Man kan lytte til det, men det kræver, at man selv eller andre synger. Essayet tager udgangspunkt i, at salmesang er et praktisk-musikalsk fænomen, som (oftest) foregår i et sangligt fællesskab. Det sanglige udtryk må derfor være betinget af fællesskabet og de normer, som man bevidst eller ubevidst er blevet enige om. Der kan være nogle af de deltagende, der ikke kender normerne eller bare ikke vil følge dem. Salmesang som et sangligt fænomen er derfor i sig selv defineret af den mangfoldighed, som den forsamling, der synger sammen, repræsenterer. For at underbygge denne idé forfølger essayet en forestilling om, at salmer opstår som sangligt udtryk i en forhandling mellem det tekstlige og det musikalske.

"No, this is not advisable, rather very incorrect and pernicious."  In such a way Carl Ferdinand Wilhelm Walther responded to a Lutheran pastor's query regarding the usage of "Methodist Hymns in a Lutheran Sunday School."  Walther sensed the peril of bestowing Lutheran usage to Protestant hymns, and outlined the theological implications in his response.
Though Walther's polemical contentions against Methodism may be caricatured and relegated to his historical climate, this hymn study shows how his 1883 opinions bear pertinence to 21st-century Lutherans in America.  The didactic and confessional role of the Kernlieder eclipses all competitors in the Lutheran church, and their unique doctrinal content ensures that they are the optimal choice for Lutheran church and school.

Appendix to Singing the Church Year:  The Life and Hymnody of Anna Bernardine Dorothy Hoppe (1889-1941) by Elisabeth Joy Urtel.

Following its initial publication in the Northwestern Lutheran (Wisconsin Synod), Hoppe's complete cycle of Gospel and Epistle pericope hymns was published by Augustana Book Concern in 1928.  Per copyright expiration and expressed waive by the original author, this updated edition is in the public domain.

When Christians meet together, we sing. Music is essential to our experience of faith, and many of us will be able to tell of times where singing or being present to music has shaped our sense of vocation and calling. 1 Music not an ephemeral add-on to our worship: it is one of our most direct ways of accessing the divine. Liturgical music is vital to how we connect our worship to daily life because it invites us to inscribe the meaning of Christ's saving work on ourselves. Liturgical music gives us important resources for entering into participation in the mystery of God, and helps us to nurture and deepen our baptismal living. In this article we will explore liturgical music from two perspectives. The first is the ways in which music establishes ritual time, which will be discussed through three pieces of music. The second perspective is the role of cultural inheritance and social context in our experience of liturgical music. Music and Time: Marrkapmirr Music shapes our experience of time because it moves in a distinctive way. We often respond by shaping our physical movements to the rhythms of the music we hear. Liturgical music creates ritual time. This is a sense of time that has a more layered aspect, where actions in the present have continuity with events in the past, and the promise of fulfilment in the future. This is a richer and more complex experience than everyday linear time, and we are invited to shape our lives in response to the access to the divine established in liturgy. Here I am going to explore two examples of music that embody this idea of time.

Funeral Sermon for James Thiele, Church Musician for nearly 50 years at Bethlehem Lutheran Church, Adelaide. He was significant for the development of the Lutheran Hymnal in Australia, after the union of two different Lutheran traditions. I worked closely with James Thiele for nearly seven years, which was a great privilege. He taught me so much. He chose the text for the homily  which was John 1:1-14.

Daniel Krman Jr. entered history especially as an Evangelical priest and superintendent. In his travel journal, where he recorded his journey to king Charles XII of Sweden, he provided an enthnographic description of the countries which he travelled through. Less known is the fact that Krman was also a pioneer in musical field. Together with Václav Kleych he was the author of the Evangelical Hymnal (1717, 1722, 1728) and Krman's foreword to this hymnbook can be classified as the first Slovak scientific hymnological study. Kleych's hymnbook disclosed Krman's erudition and his excellent gasp of both the domestic sacred songs and foreign sources.

Shape-Note and Character Musical Notation and its Development and Use
by Churches of Christ in North America
D.J. Bulls
djbulls@mac.com

Abstract
Both the church and the music education classroom share a common practice.  Each has historically benefitted from the other in the development of systems that help and encourage musical learning.  This research looked at the historical significance and development of systems of character notation as well as how those systems developed into systems that were still in modern use.
The problems of this study were found in marking specific historical figures of importance in the development of the three-shape, four-shape, and seven-shape systems.  Several questions arose: (1) how did the three-shape system come about and where were its roots?  (2) How did the four-shape system develop and build on the three-shape system?  (3) How did the transformation from these systems into the seven-shape system effect the congregational singing practice of the Churches of Christ in North America?
It was observed that in modern practice, there were far fewer religious groups that still practiced and propagated the teaching, learning and use of these systems of character musical notation.  Future study could benefit from identifying a religious group who had never sung using character notation and conducting a study that taught a character notation system for learning and teaching congregational music for the purpose of measuring the speed at which the congregations learns music in both a standard notation system and a character notation system.

The first Australian Catholic liturgical handbook since Pope Benedict XVI’s re- forms was published in Melbourne in February 2016. Catholic Worship book II (CWBii) is the official liturgical music resource for the Catholic Church in Australia. About one quarter of its contents is Australian, here defined as by persons born or living in Australia. The majority of the Australian contributions come from population centres in New South Wales and Victoria; only the territories (Northern Territory and Australian Capital Territory) remain unrepresented. The scope and style breadth in texts and tunes represent largely mainstream Western church music traditions. Accessibility and pragmatism are key themes throughout.
Like its predecessor CWB (1986), it claims to present ideals of recent discourse from the Vatican, as well as those of conciliar and post-conciliar documents. Denis Hart, then Archbishop of Melbourne, states in the foreword that the music included is worthy and the texts are stylistically rich and theologically sound, providing liturgical responses that both speak to our age and that have stood the test of time. Congregational song is formative and provides the theologia prima; what is sung in Catholic churches in Australia informs, nurtures and shapes an Australian approach to liturgy and liturgical spirituality. In so doing, it might involve embodying sensuality, localisation, emotive imagery and incarnate ideals. The editorial boards appear to have been aware of the globalised, hybridised and ecumenical nature of recent hymnals. Selection processes happily included both theologians and musicians, and a balance between genders is evident, although female contributors are still a small minority. From a European perspective, there are few surprises (apart from the Australian content, which is largely unknown). D’Arcy Wood and others have already noted omissions, such as the lack of hymns by Brian Wren. I also comment on some content issues in the course of this article.
Two questions have formed this brief overview. Is there an Australian approach in this publication to bringing about the reign of God in the Catholic antipodes? And how does CWBii encapsulate trends in Catholic music and text formation related to more recent documents such as Liturgiam Authenticam (2001) and Sacramentum Caritatis (2006)?

Known as one of the earliest hymnals that used indigenous Chinese elements to develop a Chinese hymnody, Hymns of Universal Praise (HUP) published in 1937 symbolises the beginning of contextualisation of Chinese worship music in the early twentieth century, and the successful attempt of unifying the Church in China to produce a hymnal across denominations, regions and languages. Since then, HUP has been updated in 1977 and in 2006, with the addition of newer hymns in a variety of sources and the update of theology from ecumenical sources. This paper aims to explore the contextualised issues of Chinese hymnology in the last century, focusing on the evolution of HUP. To begin with, this presentation will briefly summarise the development of Chinese hymnology since the twentieth century, highlighting the urge of indigenising Christianity in China in the 1920s. The paper will investigate the contextualisation issues in HUP, including the use of languages, hymn tunes, and the theme of the hymns. Reflecting the flourishing of Chinese hymnals in the last century and the challenges of editing hymnals, for both HUP and the other hymnals from different denominations, the paper will conclude with a perspective from world Christianity.

Paul F. M. Zahl writes about “Formal-Liturgical Worship”, which he also calls Bible-based verticality. He defines the concept formal as “dignified service that is not governed by the spontaneity of the moment or the spontaneity of the officiant. It means service in a form, within a mold. It is not off the cuff or as mood would govern. Rather, it accepts the constraint of a consistent and predictable pattern.” And, liturgical means it is a “prescribed worship, service that is required for a given occasion.” He insists on the prominence of the Bible as the source for all kind of worship. It must be based on the Word. Theology has to precede the act of worship, he says.

The eleven books of poetry by Venantius Fortunatus include well-loved hymns, figure poems, epigrams on miracles, and elegies in the voices of abandoned or exiled women. The sixth-century poet began his career in northern Italy before moving to Gaul, where he wrote for the remainder of his life—praising kings and elites of the Merovingian dynasty and describing the natural scenery and society of his adopted homeland during the transition from late antiquity to the early Middle Ages. In his lively and inventive style, Fortunatus also addressed verses to religious figures such as his patron Gregory of Tours and to holy women such as Radegund, founder of the Convent of the Holy Cross in Poitiers, and Agnes, the Convent’s first abbess.

Fortunatus’s imaginative metaphors and wry, self-mocking humor ensure his place in the canon of Christian Latin poets. This volume presents for the first time in English translation all of his poetry, apart from a single long saint’s life in verse.

This paper develops an exhaustive analysis of the Japanese animation series «Elfen Lied» (2004) and its opening song, "Lilium", which is an exceptional case within its field of production because its lyrics are written in Latin. The purpose of my analysis is to determine if "Lilium" and its visual presentation really have something to do (thematically and stylistically) with the series it presents, or not. My hypothesis is that "Lilium", both in its musical level and in its visual presentation, fulfils all the formal characteristics of both a lied and an overture; and, given the latter, anticipates core thematic and stylistic elements of the work it precedes. Moreover, it even subtly anticipates the ideological content of the series, which consists of a critical reading of gender roles and feminism in contemporary Japanese and global society. To demonstrate these hypotheses, I made a detailed analysis of «Elfen Lied», paying special attention to its animated adaptation but not ignoring its original manga version; and then I analyzed "Lilium" in its three aspects: its visual presentation, its lyric and its musical score. I have analyzed and emphasized how the abundant intertextualities present in "Lilium" were productive for creating music and for transmitting the artistic and ideological content present in the series. The paper adopts an interdisciplinary perspective, and uses theoretical tools from the fields of semiotics, intertextuality, and reception theory.

17th Century Notated Editions of Cithara Sanctorum – a Description and Comparison of the Monuments
In the 17th century Juraj Tranovský’s Cithara Sanctorum enjoyed 12 printed editions, including all the notated editions of the monument (1636, 1653, 1674, 1684, 1696), printed in Brewer’s printing office in Levoča. Speaking about their content, repertory, and above all typography each of the notated editions possesses its own characteristics. Progressive features are observed in the notation, however, we should not generalize when speaking about modernization; despite new elements used in the notography there are also instances of regress found. Although the notated print was still feasible in our territory, no printed notated edition of Cithara Sanctorum appeared in the 18th century.

Title: The Wonderful Love
Author: Caleb Tong
Translator: Yanadi Tan Ivory, Singapore, 2019

Tune: Kᴀsɪʜ Yᴀɴɢ Aᴊᴀɪʙ
Composer: Caleb Tong

Theme: Gospel, Salvation, Grace, Evangelism, Mission, Love
Highest note: 4 (Fa) Recommended scale: B♭ Major
Time signature: 6/8 Metre: 12.14.12.9.12.9

Lyrics & Articulation:

The wonderful love, love that flows from Calvary.
The wonderful love descends from heav’n to cure malady.
Though, bonded by slavery, I was Your adversary,
Still You faithfully went after me.
  Never will I forget amazing love, Your love.
  I will now share Your fame from above.

The wonderful gift, grace that gives life through new birth.
The wonderful gift as sunbeam rises bright’ning the earth.
Though, ruled over by sin, I was astray and lost,
Yet Your Son saved me up on the cross.
  Now and forevermore Your great name will I praise.
  I will exalt Your wonderful grace.

His great gospel light is the true light of the world.
His great gospel light enlightens minds and quickens dead souls.
Though I was in the dark, He freely gave His light;
Light that’s from the cross, light that shines bright.
  I will now give my life as fragrant sacrifice
  To point the lost souls straight to the Christ.

-ysg

SDG

The Israelites celebrated the freedom to observe the Sabbath as a benefit of their escape from Egyptian enslavement. Exodus theology and the liberation of mid-19th c. American blacks have likewise been an oft-recurring theme in the AME church’s rich collection of hymns. Before the Emancipation Proclamation, Sundays represented a time and place when enslaved blacks might gather in a community less (directly) overseen by others. After 1863, hymns reflected social constraints that still made life hard. Social Gospel hymns appeared in the 1900s.

The object of study in this dissertation is the hymns on the Book of Revelation. It comprises of three chapters: the status quaestionis, the analysis of the hymns on the Book of Revelation and the theological reading of these hymns. The investigation begins with the survey of the authors, from the classic comments to the recent researches, which the subject approaches the theme. Next, it was evaluated the contributions of each point of view about the studied subject and proposed the hypothesis and the method to address the hymns. The second chapter presents the genre “hymn”, the criteria for choosing the texts, the sources and analyses each of the hymns of the Book of Revelation (4:8-11; 5:9-14; 7:10-12; 11:15-18; 12:10-12; 15:3-4; 16:5-7; 19:1-8) towards a theo-logy from these hymns. The last part collects the data presented in the analysis and sets out some considerations. In the literary aspect, the hymns are located in privileged moments of the narrative and assume a role of the doxological synthesis of the Book of Revelation drama. Then, it is exhibited some theological perspectives: the mystagogical character of hymns, the divine judgment as mercy, God as a mysterium tremendum et fascinans, the Lamb slain and the Holy Spirit. Finally, the last topic discusses the hermeneutics of these texts for the present time and the value of faith and witness to the author of the Book of Revelation and to us today.

Hillsong Music has swept across the global Christian landscape, with many of their songs entering the liturgies of charismatic megachurches and small mainline parishes alike. The theological content of these songs comes under scrutiny for a lack of doctrinal depth and hyperpersonalism. This paper argues that between 2007 and 2015 the theological content of Hillsong Music has become increasingly “generalist.” Notably, this theological shift, as expressed in the hymnody, is embedded in a larger shift in Hillsong Church’s vision: from the local church level to a self-replicating global community. As the scope of the church has widened, so, too, has the theological scope of the hymnody. Methodologically, this project is an exercise in comparative discourse analysis, examining song lyrics, official statements from Hillsong Church, officially sanctioned blogs of the church, and dialoging with liturgical and hymnological discourse.

Foredrag Ordo Crucis, Frogner kirkestue 25. sept. 2020.

"Her er Guds hus og himlens port" (Kirkesalmebog 1870 nr. 6, Norsk salmebok 2013 nr. 552)

Denne salmen er den første av Landstads egne salmer i hans Kirkesalmebog fra 1870. Den står i avdelingen "Til Indgang", og er nummer 6 i boka. Det er ikke bare dette som gjør den til en passende begynnelse på et foredrag om salmedikteren og salmebokredaktøren Landstad.

Den passer også som inngang til et foredrag om en Kirkesalmebok. Det er ikke uvesentlig. Landstad var seg svært bevisst at salmeboka skulle være til kirkelig bruk. Derfor er det ekstra passende å synge denne salmen ved inngangen til "Guds Hus og Himlens Port" om stigen til himmerike gjort av "Ord og Sakramenter".

European and American missionaries in Xiamen produced many different hymnals for the use of local Christians. These hymns followed the missionaries and the local Christians to churches that grew from the initial 19th century work. One of the places they went was to Taiwan. The paper asks whether they are still relevant in Taiwan today.

Rok 2016 bol poznamenaný niekoľkými, pre evanjelikov, vzácnymi jubileami – jedným z nich bolo aj 210. výročie narodenia a 150. výročie úmrtia superintendenta K. Kuzmányho, prvého podpredsedu Matice slovenskej, 470. výročie úmrtia M. Luthera.  Náš milostivý Boh nám doprial svätiť minulého roku [2016] aj ďalšie jubileum, 380-ročnú pamiatku prvého vydania našej drahej veľknihy, Cithary Sanctorum (Písně Duchovní) – zbierku starých a nových náboženských piesní.

Title: As a Deer Longs for Flowing Streams (Psalm 42)
Author: Billy Kristanto, 2003
Translator: Yanadi Tan Ivory, Singapore, 2019

Tune: Aᴅᴀɢɪᴏ ᴜɴ ᴘᴏᴄᴏ ᴍᴏssᴏ (Eᴍᴘᴇʀᴏʀ), Piano Concerto number 5
Composer: Ludwig van Beethoven, Vienna, 1809

Theme: Psalm, Suffering
Highest note: 1 (Do) or 4 (Fa) Recommended scale: D Major or A Major
Time signature: 4/4 Metre: 6.7.10.6.8.8

Lyrics & Articulation:

As a deer at noon longs
For delight from flowing streams.
So does at this time
My soul long for You,
God, source of my delight.
My soul’s dry and I thirst for You.
For You, O God, the living One.

[Yes,] This I will remember
As I pour my troubled heart:
How I walked with crowd
To the house of God
Leading the thronging mass,
Altogether with shouts of joy
And songs of praise from thankful hearts.

[O,] Why, soul, are you downcast?
Why are you in such turmoil?
Look not to yourself,
Put your hope in God,
For I will still praise Him.
He’s my Savior and Comforter;
He’s my God, where you’ll find your rest.

-ysg

SDG

The Middle Ages greatly valued originality and creativity, although these qualities were not only linked in the long chain of imagination (as we usually do today), but they were also framed in the field of memory. Therefore, the usual assumption that memory is an exclusive resource of an oral society does not seem to be entirely satisfactory: in the Middle Ages the memory was equally present in the more cultured and literary social strata. In fact, during the medieval period, the influence of an inherited pedagogy (from Classical rhetorical roots) meant that the cultivated memory (and the affective appropiation of preexistent material) remained fundamental to medieval literary culture because it was understood as essential not only to reading and composition, but also to the formation of character. This paper suggest some thoughts and sacred and profane examples on this issue.

The monograph is an integrated study of the cohesion patterns in the structural elements of the literary-artistic unity of the mine cycle cannon in Kievan Rus in the XI-XIII centuries. In the Introduction it is mentioned that in the medieval literature mine cycle cannon has a structure of multilayer formation and its elements’ cohesion can be traced on three levels: 1) paradigmatic (within one theme which unites 9 songs and is/is not retained by acrostic); 2) integral (within 9 separate local themes that are integrated into irmos and tropars); 3) imagery (within the glorified image which consists of one/several semiotic cores with/without semiotic periphery).