Reading Notes for Singing with Understanding

Reading Notes for Congregational Song

1/20/03

-“Prospective leaders need to understand the changing attitudes toward the use of congregational song as church history unfolded.”

-“Firsthand experience with the hymns themselves will prove of greatest value in this study. Read each aloud to gain an appreciation of its literary significance as a religious and poetic expression. Sing the tune to gain an awareness of its musical characteristics and emotional impact. Doing both will give effective practice in good tempos and phrasing and will furnish a means of realizing the full spirit of the hymn.”

-“Hymns are simple in form, but they may be studied in many ways: as poetry; as music; as theology; as vehicles for worship, evangelism, religious education, ministry, and fellowship; and as historical and cultural artifacts.”

-Hymn parts:

Verse–single line of poetry, beginning traditionally w/a capital letter
Stanza–group of verses
Refrain–a line or group of lines that is repeated with each stanza and that usually summarizes the thought or message of the stanzas
Chorus–similar to a refrain except that it is detachable and often bears little relationship to the stanzas
Burden–special type of refrain which appears at the beginning of the hymn and again at the end of each stanza (like “Life High the Cross”)

-Rhyme schemes:

AABB–lines one & two rhyme, as do lines three & four; generally reserved for hymns with many syllables per line, such as “How firm a foundation”
ABCB–lines two and four rhyme; usually found with hymns having shorter lines (“I love thy kingdom, Lord”)
ABAB–cross rhyme; similar to ABCB (“All people that on earth do dwell”)
False rhyme–sounds that are similar but not identical (“silent”/”island”)
Eye rhyme–syllables that look like they should rhyme but don’t (“good”/”food”)
Internal rhyme–occurs when there is a correspondence of sounds within a single line (“Fair and glorious, all victorious”)

-Poetic meter:

Iambic meter–unstressed syllable followed by an accented syllable (u-/)
Trochaic meter–accented syllable followed by an unaccented one (/-u)
Dactylic meter–accented syllable followed by two unaccented ones (/-u-u)
Anapestic meter–two unaccented syllables followed by an accented on (u-u-/)
Spondaic meter–all stressed syllables; rare for a whole song, but a single spondee is occasionally found to emphasize certain words (e.g., “Lord God” in stanza one of “Holy, Holy, Holy”)
Poetic foot–one unit of poetic meter

-Hymnic meter:

Common meter–8.6.8.6. (CM; “Amazing grace! How sweet the sound”)
Long meter–8.8.8.8. (LM; “All people that on earth do dwell”)
Short meter–6.6.8.6. (SM; “I love thy kingdom, Lord”)
Irregular–the number of syllables per line varies from stanza to stanza

-Poetic devices:

Alliteration–identical consonant sounds at the beginning of words
Anadiplosis–significant words or ideas that end one stanza at the beginning of the next
Anaphora–repeating a word at the beginning of successive lines
Antithesis–setting sharply contrasting ideas in balance
Apostrophe–addressing inanimate objects
Chiasmus–the crossing of lines or phrases
Climax–Arranging ideas in order of intensity
Epanadiplosis–Beginning and ending a line with the same word
Epizeuxis–immediate repetition of a word or phrase within a single line
Hyperbole–using exaggeration to make a point
Itemization–Making a list; differs from climax in that all items in the list are treated as if they are on the same level
Metaphor–using a word or phrase in place of another to suggest a likeness between them
Paradox–linking two opposite ideas in a single statement; differs from antithesis in that the opposites are not merely balanced but are combined in some way
Personification–treating an abstraction as though it has human qualities
Simile–comparing unlike objects in one aspect; usually differentiated from metaphor by the use of the words “like” or “as”
Synechdoche–using part of an object to stand for the whole object
Tautaology–repeating the same thing in other words

-“Hymns most often begin as poems and can be (and often are) read strictly as poetry. However, since hymns are lyric poetry they are essentially incomplete until they are sung.”

-Common tune–a tune used with various hymn texts

-Proper tune–a tune used with only one hymn text

2/24/03

-“The Old Testament Book of Psalms is though to have been compiled during and after the Babylonian exile. On the basis of internal evidence, some of the psalms seem to indicate that they were used for public worship, some for private devotion, and some for the celebration of specific events.”

-Components of Psalms that suggest they were meant for antiphonal or respeonsorial singign

Parallel structures
Synonymous parallelism–second phrase says the same thing as the first but in other words (Ps. 1:5)
Antithetical parallelism–second phrase contrasts the first (Ps. 1:6)
Complementary parallelism–subsequent phrases extend the thought of the first (Ps. 1:1)
Refrains
Other examples: Psalm 136; 42:5, 11; 43:5)
Other devices

-O.T. Canticles–passages which, by their poetic structure and context within the scriptural narrative, served as antecedents of the songs of faith of later eras

Song of Moses 1 (Ex. 15:1-18)
Song of Moses 2 (Deut. 32:1-43)
Song of Hannah (1 Samuel 2:1-10)
Song of Isaiah (Is. 26:9-21)
Song of Jonah (Jon. 2:2-9)
Song of Habakkuk (Hab. 3:2-19)

-N.T. Hymns–well-documented in Scripture

Jesus & His disciples at the Last Supper
Paul & Silas singing hymns to God in jail (Acts 16:25)
Paul encouraged believers to sing “psalms, hymns and spiritual songs” (Eph. 5:19, Col. 3:16)
Manner of performance–1 Cor. 14:15, Jas. 5:13

-N.T. Canticles

Magnificat–The Song of Mary (Luke 1:46-56); perhaps modeled on the Song of Hannah
Benedicturs–The Song of Zacharias (Luke 1:67-79)
Gloria in excelsis Deo–The Song of the Angels (Luke 2:14)
Nunc dimittis–The Song of Simeon (Luke 2:29-32)
Other picturesque language that may have been hymnic
“Wake up, O sleeper” (Eph. 5:14)
“He appeared in a body” (1 Tim. 3:16)
“If we died with him, we will also live with him” (2 Tim. 2:11-13)

-Early Christian Hymnody

Destruction of the Temple in A.D. 70
Jewish nationalism again crushed by Rome in A.D. 132
In the first 3 centuries, because of persecution, Christians often met in secret, and probably made limited use of singing (not completely silent, as indicated by Pliny the Younger to Emperor Trajan in A.D. 112)
Early Christian writers, preachers, and apologists referred to singing, mentioning the jubilus and alleluia
Hellenistic Influences
Heretical doctrines were being developed
Syncretism of Gnosticism
Arianism
Codification of orthodox Christian theology
Nicene Creed
Syrian Hymnody–“The Odes of Solomon” (earliest Christian hymnbook)

-Byzantine Hymnody

Constantine moves throne of the Roman Empire to Byzantine in A.D. 330 (changed its name to Constantinople)
Byzantine hymnody was the greatest contribution of the Easter Church to Christian Song
Troparion–the earliest type of Byzantine hymn
Appeared in the 4th and 5th centuries
A single-stanza prayer serving as a response to the psalms
Kontakion–a metrical sermon or commentary consisting of a short introduction followed by 18 to 30 troparia(Stanzas) of uniform poetic structure, ending with a refrain
Kanon–a longer, more complex form of Greek hymnody that developed in the 8th century; consisted of eight or (during Lent) nine odes, each based upon a biblical or apocryphal canticle and including from three to 20 or more stanzas
Hirmos–began each ode; a stanza that set the pattern of poetic accents for the troparion that followed, but this pattern typically varied from one ode to the next
Employed in the daily office known as orthros (corresponding to Lauds in the Western church)

3/3/03

-Development of Latin Hymnody

“Constantine’s division of the Roman Empire into eastern and western sections and the consequent departure of imperial authority from Rome, made possible the rise and spread of papal power.”
Ambrosian Hymnody–The practice of antiphonal singing in the Western church, apparently introduced in the fourth century by Ambrose (c. 340-397), Bishop of Milan. Wrote hymns:
As a means of keeping up the spirits of his followers during a period of persecution; also wrote hymns
To combat Arianism, an example that was taken up by his followers
Melodies were usually constructed with one note to each syllable of text
Office Hymn
Offices (or canonical hours)–services of prayer and praise for those who sought to separate themselves from the world
Nocturnal cursus
Vespers
Compline
Matins
Lauds
Diurnal cursus
Prime
Terce
Sext
None
Became the ultimate home for Ambrosian hymns
Other significant feathures
Psalm singing
Canticle singing
Antiphons (refrains)
Gloria Patri
Beginning of the Roman Mass
By the time of Pope Gregory I (c. 540-604), the Kyrie eleison (Lord, have mercy), Gloria in excelsis Deo,and Sanctus (Holy, holy, holy) were sung by the congregation.
Kyrie–appeared in the Easter church in the first century, and its Greek words were retained in the Latin Mass
Gloria–known as the “Greaater Doxology” because of its length; appeared in part in the second century in the Eastern church (translated into Latin in the 6th century)
Sanctus–of Hebrew origin; used in Jewish worship before the Christian era
Credo–based on the Nicene Creed; first used in the Eastern church in the 6th century and later in the Western church; introduced for congregational use to strengthen and confirm the faith of the people against the influence of Arianism
Agnus Dei (Lamb of God)–adobted in the 7th century. From this time the Ordinary of the Mass gradually became standardized; by the 10th century was sung almost exclusively by choirs, congregational participation having been gradually abandoned
Early Latin Hymnody
First significant hymn-writing successor to Ambrose was the Spaniard Aurelius Clemens Prudentius (348-418) who, at 57, retired from a successful legal career to devote himself to the writing of sacred verse. “Of the Father’s love begotten”
Venantius Honorius Clementianna Forunatus (c. 530-609–born in Italy but settled in Gaul (France) in 565; became Bishop of Poitiers around 600. “The royal banners forward go”
Theodulph or Orleans (c. 760-821)–poet and counselor in the court of Charlemagne; became Bishop of Orleans. Pioneer in education, establishing schools not only in monasteries and cathedrals for education of clergy, but also in towns & villages for poor children. “All glory, laud, and honor”
Rabanus Maurus–may have written “Come, Holy Ghost, our souls inspire”
Sequence
Began as an addition of words to the jubilus, the extension of the final syllable of the Alleluia
Began to take on scansion & rhyme around 1000 A.D., and replaced the unrhymed, nonmetrical style of Notkerian sequence by the 12th century
Stabat Mater
Latin Hymnody of the Late Middle Ages
Hymn-writing and singing continued to be largely the preserve of the monasteries
Important writers
Peter Abelard (1079-1142), “Alone thou goest forth, O Lord”
Bernard of Clairvaux (1091-1153), “Jesus the very though of thee;” “Jesus thou joy of loving hearts”
Bernard of Cluny (d. c. 1150), “Jerusalem, the golden”
Hildegard of Bingen (1098-1179), Symponia armonie celestium revelationum had material translaged by Jean W. Janzen to “O Holy Spirit, root of life”
Thomas Aquinas (c. 1227-1274), “Humbly I adre thee”
Laudi Spirituali–spiritual praises
Francis of Assisi (1182-1226), “Canticle of the Sun” contained “All creatures of our God and King”
Jacopone da Todi (1230-1306), “Come down, O love divine”

3/3/03

-Intro

Primary types of vernacular song to develop in Germany from 9th century to 1518:
German translations of Latin chant; favorite sources were Ambrosian hymns
Leisen–derived from “Kyrieleis,” the refrain that concluded the vernacular version of the sequence
German versions of cantiones–a non-liturgical song often associated with liturgical dramas for Christmas and Easter

-Significance of Martin Luther

Heretofore the congregation did not have opportunity to sing in the liturgy, although vernacular songs of faith were occasionally being sung prior to Luther
Luther’s Hymns
Considered the first evangelical hymn writer, as both poet and musician
Writing dated form 1523
According to Robert L. Marshall, wrote some 41 hymns
11 of which were translated form Latin sources
12 based on Leisen and other German sacred songs
7 psalm versifications
8 other scripture passages
3 from other sources
Luther often adapted existing melodies for his texts
Has been called “the Ambrose of German hymnody”; his Ein fest’ Burg ist unser Gott (“A mighty fortress is our God”) has been called the Marching Hymn of the Reformation
Sources of Early Texts & Tunes
Scripture
The liturgy, both Mss & office, of the medieval church
Pre-Reformation vernacular and macaronic hymns
Secular folk song
Cantiones
Works of original creativity
Musical Characteristics
Stately melodies
Barform (AAB)
Ionian mode–Luther’s use of this mode helpd him move beyond the traditional church modes and anticipated the development of major tonality
Rhythmic vitality
Early Lutheran Collections
Johann Walther of Thuringia (1496-1570) and Conrad Rupff–musicians whose services helped Luther lay the foundations for Lutheran hymnody
The first hymnals appeared in 1524
Etlich Christlich Lieder–known as the Achtliderbuch; contained 8 texts and 4 tunes
Erfurter Enchiridion–contained 26 texts & 16 melodies; the chorale melodies were unison & unaccompanied
Geistliches Gesangk Büchleyn, Johann Walther–the first collection of polyphonic settings of chorale tunes for choir use; provided 38 4- and 5-voice settings
Geistliche Lieder auff neue gebessert, Jeseph Klug (1529)–replaced Erfurter Enchiridion as the basic hymnal for congregational use; the first collection to include Ein fest’ Burg
Other hymnals by Rauscher (1531), Klug (1535 & 1543), Schumann (1539), Babst (1545), were largely reprints of Klug’s 1529 collection to which other hymns were added
Other Hymn Writers
Nicolaus Selnecker (1539-1592)
Martin Moller (1567-1606)
Philipp Nicolai (1556-1608)
“Wake, awake, for night is flying”
“O morning star, how fair and bright”

-Emergence of the KantionalStyle

Homophonic structures were starting to increase in prominence
Concurrent with the emergence of “Camerata” in Florence and before recitative style, Lukas Osiander published a hymnal, Fünfzig geistliche Lieder und Psalmen(Fifty Spiritual Songs and Psalms)–written in 4 parts w/melody in the soprano and simple harmonizations (Kantional style)

3/17/03

-Seventeenth-Century Developments

The Thirty-Years’ War affected the entire continent; began as a Catholic-Protestant conflict
Influence on Hymn Writing
The hymns written in the 17th century, both during and following the strife, reflect a changing emphasis from the predominantly objective emphasis of earlier hymns to a more subjective one
Paul Gerhardt (1607-1676)
Most significant hymn writer form this period in terms of his continuing influence upon congregational song; more subjective and personal expressions
Strongly influenced by the literary reforms introduced by Martin Opitz
Still well-represented in contemporary German hymnals; American collections frequently include hymns like:
“Jesus, thy boundless love to me”
“Give to the winds your fears”
“All my heart this night rejoices”
“O sacred head, now wounded”
Other important writers
Matthaus von Lowenstern
Martin Rinkart, “Now thank we all our God”
Johannes Olearius, “Comfort, comfort ye my people”
Georg Neumark, “If you will only let God guid you,” NEUMARK
Johann Heermann, “Ah, holy Jesus”
Publications
Johann Crüger’s Neues vollkomliches Gesangbuch–chorale tunes presented as melody w/figured bass rather than 4-part harmonizations
Crüger’s Praxis Pietatis Melica (The Practice of Piety through Music, 1644)–influenced by the music of the French psalters, encounterd through the influence of the Calvinistic movement in Berlin

-Late 17th- and 18th-Century Developments

Pietism
Began w/Jakob Spener, founder of the Collegium Pietatis in Halle in 1670
Encourages purer and more strict Christian living & personal devotion
Movement beginnings often dated form 1675 w/Spener’s Pia desideria
Writers
Johann Jakob Schütz, “Sing Praise to God who reighs above”
Adam Drese, SEELENBRÄUTIGAM
Joachim Neander, “Praise to the Lord, the almighty,” NEANDER
Close friend of Spener and Schütz
Active supporter of Pietism
Foremost hymn wirter of the German Reformed (Calvinist) Church
Has been called the “Paul Gerhardt of the Calvinists”
Most influential hymnals of this period, both by J.A. Freylinghasen; provided an extensive repertoire of both texts and tunes
Geistreiches Gesangbuch (1704)
Neues Geistreiches Gesangbuch (1714)
Other Lutheran Developments
Benjamin Schmolck (1672-1737)–popular hymn writer of the early 18th century; not a follower of the Pietistic group; wrote “My Jesus, as thou wilt” and “Open now the gates of beauty”
Matthias Claudius (1740-1815), “We plow the fields and scatter” (included in several recent American hymnals, largely due to its inclusion in the musical Godspell)
Erdmann Neumeister (1671-1756), “Sinners Jesus will receive;” became and ardent champion of the older, conservative Lutheranism
Johann Sebastian Bach
Most prominent name associated w/musical development of the chorale in the 18th century
During his time congregational singing in traditional Lutheran churches did not seem to be a matter of great importance in worship
Famous for his chorale settings of hymns such as:
“Break forth, O beauteous heavenly light”
“Christ Jesus lay in death’s strong bands”
“O morning star, how fair and bright”
“Wake, awake, for night is flying”
The Decline of the Chorale
Pietism faded rapidly in the latter half of the 18th century; replaced by Rationalism, the pursuit of truth for its own sake
During this period, often referred to as the Enlightenment, many of the older choral texts were either revisited extensively or removed altogether

-The Nineteenth Century

The Lutheran Confessional Revival in Germany, beginning early in the 19th century, attempted to re-establish the core traditions & values of the 16th-century Reformation
Original versions of Lutheran chorales hat been “strraightjacketed” into 4/4 by Bach; many sought to return the hymnody to original settings
Karl von Winterfield
Philipp Wackernagel
Friedrich Layritz
Johannes Zahn
Contributing collections that reflected their new research
Berliner Gesangbuch(1829)
Sammlung Geistlich Lieder (1831)
Deutsches Evangelische Kirchen-Gesangbuch(1852)
Most important developments were related to scholarship, but new hymns of consequence were produced
Karl Johann Philipp Spitta–singinficant as both a hymn writer and compiler
Jonathan Friedrich Bahnmaier–Lutheran preacher and university professor at Tübingen; wrote “Spread, O spread, thou mighty word”
Perhaps the most important new musical contributions were the chorale tune harmonizations derived form the choral works of Felix Mendelssohn
NUN DANKET (“Now thank we all our God”)
MUNICH (“O Word of God incarnate”)
MENDELSSOHN (“Hark! The herald angels sing”)

-Scandinavian Hymnody