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Journal articles on the topic 'Hymn to the Nile'

Author: Grafiati

Published: 28 July 2024

Last updated: 30 July 2024

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1

Pöhlmann, Egert. "The Hymn of Mesomedes on Antinous (Inscription of Courion, Mitford No. 104)." Greek and Roman Musical Studies 7, no. 1 (March 21, 2019): 128–39. http://dx.doi.org/10.1163/22129758-12341337.

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Abstract The citharode Mesomedes of Crete was one of the poets at the court of Hadrian. In late antiquity a selection of his poetry was assembled, and this corpus survived in transmission until medieval times, partly with musical notation. But of course the oeuvre of Mesomedes was much greater, as we see from two poems transmitted by the Greek Anthology and a lost encomium on Antinous, Hadrian’s paidika, as the Suda informs us. In his publication of the inscriptions of Courion (10 km west of Limassol) Mitford recognized clearly that the Antinous in Courion no. 104 must be the paidika of the Emperor Hadrian, and that the hymn in the inscription must be an encomium to Antinous, who drowned in the waters of the Nile in 130 AD. By comparing the metrics and the style of the encomium with the preserved poetry of Mesomedes, I shall argue that the hymn on Antinous is the encomium attested by the Suda for Mesomedes.

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2

Hagen, Fredrik. "An Eighteenth Dynasty Writing Board (Ashmolean 1948.91) and The Hymn to the Nile." Journal of the American Research Center in Egypt 49, no. 1 (January 2013): 73–91. http://dx.doi.org/10.5913/0065-9991-49-1-73.

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3

Bulmer, April. "Hymn 10 Hymn 11 Hymn 20 Hymn 23 Hymn 25." Journal of Feminist Studies in Religion 24, no. 2 (October 2008): 135–39. http://dx.doi.org/10.2979/fsr.2008.24.2.135.

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4

Parkes, Nii Ayikwei. "Hymn." World Literature Today 85, no. 2 (2011): 28. http://dx.doi.org/10.1353/wlt.2011.0120.

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5

Bishop, Marion. "Hymn." Dialogue: A Journal of Mormon Thought 30, no. 3 (October 1, 1997): 83–85. http://dx.doi.org/10.2307/45226352.

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6

Roach, Caitlin. "Morning hymn." Iowa Review 46, no. 1 (March 2016): 22. http://dx.doi.org/10.17077/0021-065x.7681.

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7

Elton, John F. "Chesterton's Hymn." Chesterton Review 16, no. 2 (1990): 61–69. http://dx.doi.org/10.5840/chesterton19901629.

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8

Dox, Thurston J., and John Beckwith. "Hymn Tunes." American Music 5, no. 3 (1987): 345. http://dx.doi.org/10.2307/3051751.

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9

Himes, Doug, and Jay Griffith. "Hymn #49." Dialogue: A Journal of Mormon Thought 52, no. 4 (December 1, 2019): 140–44. http://dx.doi.org/10.5406/dialjmormthou.52.4.0140.

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10

Gannes, Nehassaiu de. "Bessie's Hymn." Callaloo 30, no. 4 (2008): 1012–13. http://dx.doi.org/10.1353/cal.2008.0076.

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11

Wagner, Shari. "Amish Hymn." Christianity & Literature 57, no. 4 (September 2008): 594. http://dx.doi.org/10.1177/014833310805700407.

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12

McKinney, George Patterson. "Emancipation Hymn." Black Sacred Music 1, no. 2 (September 1, 1987): 38–39. http://dx.doi.org/10.1215/10439455-1.2.38.

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13

Robison, Lee. "Sacrament Hymn." Dialogue: A Journal of Mormon Thought 30, no. 4 (December 1, 1997): 70. http://dx.doi.org/10.2307/45226388.

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14

Michalek, Arthur M. "Evolutionary Hymn." Journal of Cancer Education 30, no. 4 (October 10, 2015): 614–15. http://dx.doi.org/10.1007/s13187-015-0926-9.

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15

Little, David N. "The Hymn." JAMA: The Journal of the American Medical Association 270, no. 20 (November 24, 1993): 2408. http://dx.doi.org/10.1001/jama.1993.03510200010003.

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16

Allen, D. "Decomposition Hymn." Arnoldia 79, no. 1 (2022): 41. http://dx.doi.org/10.5962/p.364845.

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17

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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18

Ibude, Isaac Osakpamwan. "The Praise of God’s People: A Hymnological and Theological Analysis of ‘Praise to the Lord the Almighty’." East African Journal of Traditions, Culture and Religion 5, no. 1 (November 15, 2022): 98–103. http://dx.doi.org/10.37284/eajtcr.5.1.960.

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Congregational hymn singing in the praise of God has been a major aspect of liturgy among mission churches in Nigeria since the early nineteenth century. Over time there has been a consistent decline and or neglect in congregational hymn singing among Christian denominations. This paper is a hymnological as well as a theological interpretation and analysis of the hymn ‘Praise to the Lord the Almighty’ which aims at eliciting understanding and fostering congregational hymn singing in Faith Baptist Church Port Harcourt, Rivers State. A historical survey of the life of the author, hymn background, poetic and hymn tune analysis were carried out on the song to achieve an in-depth interpretation of the author’s ideology about praise to God. Findings reveal that there were three incommunicable aspects of the nature of God, nine reasons for the praise, and a call to praise God leading to a better understanding of the hymn and a commitment by the congregation to live daily a life of praise to God

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19

Shiell, William. "Singing to “Lord Jesus Christ”: A Prose Hymn and Its Philippian Recipients." Religions 14, no. 10 (September 25, 2023): 1228. http://dx.doi.org/10.3390/rel14101228.

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Religious audiences frequently hear prose hymns as a part of their ceremonies. The “Lord Jesus Christ” hymn in Philippians 2.6–11 is one such example. The Philippian hymn fits an audience’s performance expectations compared to other Greek and Jewish prose hymns and performances. A slave lector likely recited or sang the hymn when delivering the epistle and directly addressed at least four named recipients. This article examines the narrative links between the hymn and the address in 4:1–3. Utilizing performance-critical methods, we explore how this hymn likely functioned for the ancient audience. The reading of the “Lord Jesus Christ” hymn localized the worship of Jesus in Philippi, encouraged financial giving to Paul and Timothy, taught moral lessons, and prepared the audience to address their conflict “in the Lord”.

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20

Hölderlin, Friedrich, and David Farrell Krell. "Hymn to Serenity." Graduate Faculty Philosophy Journal 11, no. 1 (1986): 3–15. http://dx.doi.org/10.5840/gfpj198611112.

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21

Enson. "Hymn to Her." Journal of Feminist Studies in Religion 30, no. 2 (2014): 136. http://dx.doi.org/10.2979/jfemistudreli.30.2.136.

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22

Meszka, Mariusz, Joanna Nowak, Zdenek Ryjácek, and B. Zelinka. "Hymn teorii grafów." Discussiones Mathematicae Graph Theory 16, no. 2 (1996): 219. http://dx.doi.org/10.7151/dmgt.1036.

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23

Martin, David. "Hymn, Song, Society." Journal of Contemporary Religion 32, no. 2 (April 11, 2017): 352–53. http://dx.doi.org/10.1080/13537903.2017.1298924.

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24

Pluth, Kathleen. "On Hymn Translation." Usus Antiquior 3, no. 1 (January 2012): 67–73. http://dx.doi.org/10.1179/175789412x13184935045869.

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25

ARNOLD, CRAIG. "HYMN TO PERSEPHONE." Yale Review 94, no. 2 (April 2006): 124–30. http://dx.doi.org/10.1111/j.1467-9736.2006.00124.x.

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26

Małaczyński, Franciszek. "Hymn Państwa Watykańskiego." Ruch Biblijny i Liturgiczny 50, no. 1 (March 31, 1997): 48. http://dx.doi.org/10.21906/rbl.772.

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27

Gillie, Esther. "Online Hymn Resources." Notes 60, no. 2 (2003): 510–14. http://dx.doi.org/10.1353/not.2003.0151.

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28

Goltsov, V. "Hymn to hydrogen." International Journal of Hydrogen Energy 27, no. 7-8 (August 2002): 717. http://dx.doi.org/10.1016/s0360-3199(01)00121-5.

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29

Deady, Brian. "A Christmas hymn." CJEM 6, no. 01 (January 2004): 55–56. http://dx.doi.org/10.1017/s1481803500008952.

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30

Le Guin, Ursula K. "Hymn to Aphrodite." Prairie Schooner 88, no. 4 (2014): 44. http://dx.doi.org/10.1353/psg.2014.0098.

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31

SEITER, ELAINE. "NURSESʼ BATTLE HYMN." Nursing 18, no. 9 (September 1988): 6–9. http://dx.doi.org/10.1097/00152193-198809000-00004.

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32

Burlin, Natalie Curtis. "Hymn of Freedom." Black Sacred Music 1, no. 2 (September 1, 1987): 42–43. http://dx.doi.org/10.1215/10439455-1.2.42.

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33

McKinney, George Patterson, and Josephine Straughn. "73 Emancipation Hymn." Black Sacred Music 4, no. 1 (March 1, 1990): 126–28. http://dx.doi.org/10.1215/10439455-4.1.126.

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34

Shea, Kathleen. "Ovid's River Hymn." Classical World 112, no. 4 (2019): 309–33. http://dx.doi.org/10.1353/clw.2019.0043.

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35

Wells, Sarah. "Hymn of Skin." JAMA 303, no. 9 (March 3, 2010): 818. http://dx.doi.org/10.1001/jama.2010.170.

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36

Munday, Nathan. "The Welsh Hymn." MHRA Working Papers in the Humanities 13 (December 20, 2018): 21–30. http://dx.doi.org/10.59860/wph.a7c1c31.

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37

FAIN, G. L. "CALLIMACHUS' HYMN TO ARTEMIS AND THE TRADITION OF RHAPSODIC HYMN." Bulletin of the Institute of Classical Studies 47, no. 1 (December 1, 2004): 45–56. http://dx.doi.org/10.1111/j.2041-5370.2004.tb00240.x.

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Abstract Callimachus' Hymns were written in the tradition of the rhapsodic Homeric Hymns and make constant, though usually oblique and often amusing, reference to these archaic poems. This allusion is particularly extensive in the Hymn to Artemis, the only Callimachus Hymn to proceed like most longer Homeric Hymns, with brief introduction and prolonged narration. Then, just as the poem seems to end, it begins anew, not once but over and over again. The middle of the poem is clearly based on the Homeric Hymn to Apollo, which also begins anew at the Delian/Pythian transition. The correspondences are so great that Callimachus must have had this poem in much the form we do. The choice of the Apollo Hymn as model reflects the theme of sibling rivalry that pervades the Artemis Hymn: even in her own poem, Artemis can't escape the influence of her brother.

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38

Sema, Daniel. "MODUS DORIAN: SEBUAH ALTERNATIF BAGI PENCIPTAAN HYMN." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 48–62. http://dx.doi.org/10.37368/tonika.v2i1.42.

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In today's Indonesian churches there are two types of music in worship, namely: hymnal songs or hymn (which are still used in mainstream Protestant churches) and contemporary Christian songs (used in Pentecostal and Charismatic churches). Nevertheless, contemporary Christian singing began to be accepted by some Protestant Christians and its existence increasingly dominated and urged the hymn. In order for the hymn to not be easily abandoned and felt contemporary, the author offers a new alternative to the creation of the hymn that has based itself on the major-minor mode for centuries. The alternative is the use of church mode, namely the Dorian mode as the basis for the creation or arrangement of a hymn. For this reason, the author tries to present a hymn arrangement for the song "Holy, Holy, Holy" by Reginald Heber in the SATB format in Dorian mode.

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39

Ciocani, Vichi Eugenia. "Searching for a Foil to Charicleia." Mnemosyne 71, no. 1 (January 23, 2018): 58–74. http://dx.doi.org/10.1163/1568525x-12342235.

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AbstractSet at a narratologically crucial moment of Heliodorus’ novel, the hymn to Thetis precedes and foreshadows the appearance of the protagonists, Theagenes and Charicleia, within the religious festival at Delphi. While the parallel between Neoptolemus and Theagenes is rather clear and explicit, the hymn honours Thetis in a distinctive way which does not correspond symmetrically to the depiction of Charicleia. The paper will argue that this hymn alludes to theHomeric Hymn to Demeterand contrasts the various figures of Thetis, Demeter and Persephone to Heliodorus’ heroine. This interpretation explains the meaning of the hymn to Thetis both in its immediate context and within the larger ideology of the novel.

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40

Parto, Parto, Yulianto Bambang, and Kisyani Kisyani. "Analysis of Discourse Structure in Higher Education Hymns (Studies at State Universities in East Java)." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 4 (December 11, 2020): 2097–105. http://dx.doi.org/10.33258/birle.v3i4.1471.

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The purpose of this research is to describe and find the discourse structure of college hymns through macro structure, superstructure, and micro structure. This research was conducted using a qualitative descriptive approach. Source of hymn data for seven state universities in East Java. The selection of seven state universities in East Java was based on the reason that the ways in which higher education hymns were created were similar so that the results of this study could become a reference in the meaning of university hymns in general. Based on the results of data analysis, it can be concluded that (1) the hymn of state universities in East Java has similarities in its macro structure, namely the theme of praise or worship, (2) the superstructure or schematic structure of the hymn in public universities in East Java begins with the naming or title of the hymn which is similar, namely beginning with the word hymn and followed by the name of the institution; In general, the form of a hymn is made in stanzas like a song or poetry (3) semantically a college hymn generally leads the audience to an opinion that the university is praiseworthy and proud, (4) based on the cohesion of the hymn of state universities in East Java generally the hymn descriptions are related to the title, either the overall description or the description of the sections or the comparisons, even each line in the hymn of public universities in East Java refers to or is directed at the institution whose name is mentioned in the title; active and passive sentences, (5) diction in the hymn text of state universities in East Java, like songs in general, are very concerned with the harmony of the sound of language or emphasizing rhyme and poetry, especially diction at the end of the line (6) hymns of public universities in East Java tends to use simple language, but from the analysis results it is found that several styles of language.

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41

Holm, Jette. "Salmen at sige Verden ret Farvel - belyst ved Grundtvigs samtidige prædikener." Grundtvig-Studier 48, no. 1 (January 1, 1997): 148–84. http://dx.doi.org/10.7146/grs.v48i1.16249.

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The Hymn To Say the World a Right Farewell - in the Light of Grundtvig 's Contemporary SermonsBy Jette HolmGrundtvig wrote the hymn At sige verden ret farvel (To Say the World a Right Farewell) for himself.The first 5 stanzas and the final stanza were composed in Easter 1843 (2 drafts). Stanzas 6-8 were added around Advent 1844.In Easter 1843 Grundtvig felt immensely moved by the sound of His voice saying: I am the resurrection and the life: he that believeth in me, though he were dead, yet shall he live; And whosoeverr liveth and believeth in me shall never die (John 11). The sermon on Easter morning ends by quoting 2 stanzas and the final stanza of the hymn To say the World a Right Farewell. The version of these three stanzas varies slightly compared with Grundtvig’s hymn manuscript and has not previously been known to Grundtvig scholars.It is argued that Grundtvig probably composes the two new stanzas in connection with his sermons for Easter Sunday and Easter Monday, and these sermons help to throw light on the content of the hymn.In the spring of 1843 Grundtvig is preparing a hymn book supplement: Psalm-Leaves for Church-Use (or Unprinted Psalm Leaves) in reply to Mynster’s A Proposal for a Supplement to the Evangelical-Christian Hymn Book, 1843. The issue of the hymns takes a new turn when the Clerical Conference of Copenhagen sets up a committee in February-March 1844 with Grundtvig as a member. The task of the committee is to attempt to put together a new hymn book to replace the Evangelical-Christian Hymn Book. In the spring of 1844 Grundtvig is ill and in a deep crisis; but in the autumn of 1844 he begins work in the committee. When Mynster criticizes the work on a complete hymn book, Grundtvig decides to edit his Unprinted Psalm Leaves. The first two sheets of Printed Psalm Leaves have left the printers in November 1844, but the Hymn Committee persuades Grundtvig to have the supplement published as a specimen copy: Church Hymns Published on Trial by the Hymn Committee of the Clerical Conference of Copenhagen, January 1845.In the specimen copy the hymn To say the World a Right Farewell has 3 stanzas added to it. These stanzas reflect Grundtvig’s crisis in the spring of 1844. The content of the new or altered stanzas of the hymn is discussed and elucidated through Grundtvig’s contemporary sermons.In the autumn of 1844 Grundtvig often preaches about faith, hope and charity. As Christianity is always and everywhere three-fold, embracing faith, hope and charity, so is Grundtvig’s own hymn, too. With a certain caution it may be said that the three stages in the development of the hymn correspond to faith, hope and charity: the two first drafts corresponding to faith and hope, and the third in 1844 to charity.

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42

Pirbari, Dimitri V., and Nodar Z. Mossaki. "The Hymn of P’īr Dāwid (Qawlē P’īr Dāwid)." Письменные памятники Востока 17, no. 3 (October 26, 2020): 115–26. http://dx.doi.org/10.17816/wmo46774.

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The article publishes and analyzes a Yezidi sacred hymn The Hymn of Pīr Dāwid (Qawlē Pīr Dāwid) in Kurmanji with a translation into Russian, which was carried out for the first time. Pīr Dāwid is one of the companions of the main Yezidi saint Sheikh ˈAdī. The authors verify their version of the hymn (Qawl) with previously published in Kurmanji and English, correct existing errors and clarify the terminology. They also point out the historical data found in this religious hymn.

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43

Frangulian, Lilia R. "«ANGELIC HYMN» AS AN EXAMPLE OF COPTIC HYMNOGRAPHY." Journal of the Institute of Oriental Studies RAS, no. 3 (21) (2022): 43–53. http://dx.doi.org/10.31696/2618-7302-2022-3-043-053.

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The article is devoted to the philological analysis of poetic passage from the apocrypha «The Investiture of Archangel Michael», which wasto be read on the feast day in honour of the Archistratigus. Coptic hymnography, although derived from Greek, has become distinctive; several collections of ancient hymns are known. The peculiarity of the so-called «angelic hymn» is the fact that it is not included in any collection, but is included in a literary text. The article provides the first Russian translation of this hymn. It differs in style from the entire narrative of «The Investiture». It is sung by Michael himself with the angels. The hymn is framed by references to the righteous and consists of eight stanzas. It, like the text itself, is preserved in three versions, two in Sahidic dialect (manuscripts of the 9th century) and one in Fayymic (manuscripts of the 9th-11th centuries). Anaphora, lexical repetition and parallelism are used in hymn. The three versions identify the following themes: feast, meal and mercy. Analyzing the structure of the hymn, one can conclude that it was preserved in all three versions. However, a study of the themes and literary devices involved shows that in each version of hymn the accents are set in an original way. The inner link between the parts of the hymn can be traced. The passage itself is also logically integrated into the overall narrative. The main distinguishing feature of all the hymns is that some phrases are so brief that the listener is left with a great deal of room for interpretation and conjecture. For a more accurate understanding it is necessary either to know other versions of the hymn, or to refer to the stories in «The Investiture». The apocrypha also stresses the importance of hymn singing. It suggests that the congregation participated in the singing of the hymn during the reading of the text on the feast day.

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44

Perlman, Paula J. "Invocatio and Imprecatio: the Hymn to the Greatest Kouros from Palaikastro and the oath in ancient Crete." Journal of Hellenic Studies 115 (November 1995): 161–67. http://dx.doi.org/10.2307/631654.

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The hymn to the Greatest Kouros from Palaikastro, Crete, has occasioned considerable debate among students of choral lyric and ancient Greek religion since its discovery in 1904. The god invoked as the greatest kouros has been identified with Zeus Diktaios in whose sanctuary at Palaikastro the hymn was discovered. The hymn as we have it is a second or third century AD copy of a late fourth or third century BC composition. As is so often the case in Cretan studies, Minoan antecedents for the cult of Zeus Diktaios at Palaikastro and for the hymn have been suggested and explored.

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45

Vachninas, Benediktas. "Politics and Theology in the Homeric Hymn to Hermes." Literatūra 64, no. 3 (December 14, 2022): 8–19. http://dx.doi.org/10.15388/litera.2022.64.3.1.

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The Homeric Hymn to Hermes depicts integration of newborn Hermes to Olympus and is devoted to his worship. However the glorifying character of the hymn conflicts with shameful acts of Hermes – the theft of Apollo’s cattles and the deception of Apollo and Zeus. That implies complexity of hymn’s glorified object. The article suggests to analyse the figure of Hermes in Hymn to Hermes by asking how it unrolls and what relation establishes with Apollo. This angle will not only locate connection between Hymn to Hermes and Hesiod’s Theogony, but also it will let unfold interaction amid Apollo and Hermes as relation of politics and theology in the order of Zeus.

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46

Høirup, Henning. "Nekrolog over Uffe Hansen." Grundtvig-Studier 46, no. 1 (January 1, 1995): 18–25. http://dx.doi.org/10.7146/grs.v46i1.16174.

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Uffe Hansen 14.12. 1894 - 11.9. 1994By Henning HøirupThe obituary begins with a description of Uffe Hansen’s background as an Independent Congregation clergyman (from 1925) to the Grundtvigian Independent Congregation (Danish valgmenighed, i.e. a congregation within the National Church, claiming the right to employ their own minister) of Ubberup, where the prominent clergymen V.J.Hoff and Carl Koch were his predecessors. Carl Koch’s extensive writings, theologically erudite, but .popular. in their language, and thus accessible to the layman, were to become the model for Uffe Hansen’s studies in Grundtvig’s hymnwriting. Through his membership of the Hymn Book Commission of the free Grundtvigian congregations (HYMNS. Independent Congregations and Free Church Congregations, 1935), Uffe Hansen was motivated to realize his plan of a complete account of the whole of Grundtvig’s hymn writing in the book Grundtvig’s Hymn Writing. Its History and Content I. 1810-1837, published in 1937. In the following years Uffe Hansen was absorbed in organizational work (Grundtvigian Convent, the »No More War« organization) and by his membership of the Grundtvigian Hymn Book Committee (The Danish Hymn Book. A Grundtvigian Proposal, 1944). In the 1940s efforts were made to unite the hymn tradition of the re-united Southern Jutland with the traditions of the Kingdom, i.e. the old Danish treasury of hymns and the Grundtvigian hymns. Uffe Hansen became a member of the Hymn Book Commission which published the proposal The Danish Hymn Book in 1951. More than anybody else, Uffe Hansen is responsible for the large number of Grundtvig hymns in this proposal, often with verses from the original versions of the hymns added to them. In spite of vehement criticism on this point The Danish Hymn Book was authorized in 1953. Grundtvig remained the predominant contributor, even though significant Grundtvig hymns, expressing his church view, were omitted, much to Uffe Hansen’s regret. The Hymn Book includes Uffe Hansen’s own translation of the Latin antiphone Oh, Grant Us Peace, Our Lord. While this debate was going on, the continuation of Uffe Hansen’s work, Grundtvig9s Hymn Writing II. 1837-1850 appeared in 1951, an important contribution to a comprehensive interpretation of Grundtvig’s work to renew the Danish hymnody. However, Uffe Hansen’s main achievement as a hymn researcher was his work as a co-editor of Grundtvig’s Song-Work I-VI, 1944-1964. This new edition was worked out on scientific principles, and the hymns were brought in chronological order, as far as it was possible. The edition included a critical variant apparatus, compiled by Uffe Hansen. Concurrently with this work, Uffe Hansen participated in the compilation of a Register of Grundtvig’s Posthumous Papers 1-IXXX, 1956-1964, and, while engaged on this, found several hitherto unknown hymns, which were included in the new edition of the Song-Work.Here Uffe Hansen’s abilities as a researcher and scholar were amply demonstrated. Then, in 1966, came his finalwork, Grundtvig’s Hymn Writing III. 1851-1872, which, like the other volumes, testify to Uffe Hansen’s talent for combining erudition with easy comprehensibility. In his last years Uffe Hansen lived in Holland; he was laid to rest from the Independent Congregation Church of Ubberup.

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Harbach, Barbara, Frank Ferko, Mauricio Kagel, Toru Takemitsu, and Ellen Taaffe Zwilich. "Hymn Preludes; For Organ." Notes 44, no. 2 (December 1987): 361. http://dx.doi.org/10.2307/941595.

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Cock, Douglas J. "More about Chesterton's Hymn." Chesterton Review 16, no. 3 (1990): 419–20. http://dx.doi.org/10.5840/chesterton1990163/4132.

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Fish, Cray. "Hymn to Pan Polymorph." UnderCurrents: Journal of Critical Environmental Studies 6 (May 1, 1994): 40–42. http://dx.doi.org/10.25071/2292-4736/37706.

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Schmiel, Robert, N. Hopkinson, and Callimachus. "Callimachus: Hymn to Demeter." Phoenix 40, no. 1 (1986): 94. http://dx.doi.org/10.2307/1088968.

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