Journal articles: 'The Baptist hymn book'

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Gray, Judith. "Benjamin Lloyd’s Hymn Book: A Primitive Baptist Song Tradition." Journal of American Folklore 116, no. 459 (January 1, 2003): 117–18. http://dx.doi.org/10.2307/4137946.

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Gray, Judith. "Benjamin Lloyd's Hymn Book: A Primitive Baptist Song Tradition (review)." Journal of American Folklore 116, no. 459 (2003): 117–18. http://dx.doi.org/10.1353/jaf.2003.0009.

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Guenther, Alan M. "Ghazals, Bhajans and Hymns: Hindustani Christian Music in Nineteenth-Century North India." Studies in World Christianity 25, no. 2 (August 2019): 145–65. http://dx.doi.org/10.3366/swc.2019.0254.

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When American missionaries from the Methodist Episcopal Church arrived in India in the middle of the nineteenth century, they very soon published hymn-books to aid the Christian church in worship. But these publications were not solely the product of American Methodists nor simply the collection of foreign songs and music translated into Urdu. Rather, successive editions demonstrate the increasing participation of both foreigners and Indians, of missionaries from various denominations, of both men and women, and of even those not yet baptised as Christians. The tunes and poetry included were in both European and Indian forms. This hybrid nature is particularly apparent by the end of the century when the Methodist press published a hymn-book containing ghazals and bhajans in addition to hymns and Sunday school songs. The inclusion of a separate section of ghazals was evidence of the influence of the Muslim culture on the worship of Christians in North India. This mixing of cultures was an essential characteristic of the hymnody produced by the emerging church in the region and was used in both evangelism and worship. Indian and foreign evangelists relied on indigenous music to draw hearers and to communicate the Christian gospel.

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Thodberg, Christian. "Grundtvig og Gammel Testamente - den danske Bibel eller Septuaginta." Grundtvig-Studier 49, no. 1 (January 1, 1998): 61–80. http://dx.doi.org/10.7146/grs.v49i1.16268.

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Grundtvig and the Old Testament - the Danish Bible or the SeptuagintBy Christian ThodbergThe article begins with an account of Grundtvig’s attitude to the Old Testament (OT). Gmndtvig does not have to presuppose the New Testament when dealing with OT, but can read it freely: it is the same God that acts in both books of the Bible, though in different ways, according to how he leads and maintains his people. The same freedom finds expression in Gmndtvig’s sermons where he moves about effortlessly in the whole of the Biblical universe.Some of these sermons are dominated by a solemn, Old Testament tone, especially those that follow a triadic stmcture: first the Old Testament prophecy is mentioned, in the middle its fulfilment in and with the coming of Christ is described, and finally follows the most important part, the fulfilment of the prophecy in the present, Grundtvig not failing to place his activity in the centre - but as a stage, naturally, in the course of the history of salvation.In Grundtvig’s hymns, too, this structure recurs, as in Blomstre som en Rosengaard, in which the triadic structure is connected with the so-called Vstructure, the right side of the »V« of the hymn describing the fulfilment of the prophecy. By means of the V-structure Thodberg shows how baptism is the focus of the hymn, and also that in his interpretation of Isaiah 35 as a prediction of baptism Grundtvig leans on the Septuagint rather than the contemporary Danish Bible translation. In the Danish Hymn Book, Blomstre som en Rosengaard is only a torso - baptism is not the essential thing here.The article mentions a number of other examples of influence from the Septuagint on Grundtvig’s hymns and sermons. Among these the hymn Hyggelig, rolig stands out since it contains a large number of phrases that refer to the Septuagint. This applies to stanza 4 in which Grundtvig shows how even the person most troubled by doubts and most deeply bereaved will have a foretaste of the Kingdom of God when approaching Heaven in his or her heart on the tone ladder of songs of praise. This is a rendering of Psalm 84 in the Septuagint. The article concludes that from the 1830s Grundtvig makes extensive use of the Septuagint when quoting from OT. The background is that Grundtvig regarded the Septuagint as more poetical than the Danish translation from 1736, and - more importantly - that in preferring the Septuagint Grundtvig follows Irenaeus by relying on the Bible of the New Testament and the Old Church.

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Haque, Amber. "Unveiling Islam." American Journal of Islam and Society 20, no. 3-4 (October 1, 2003): 213–15. http://dx.doi.org/10.35632/ajis.v20i3-4.1846.

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Many books have been written on Muslims and Islam since 9/1 I. Amajority of them have tried to show Islam's negative side in an attempt toprove that Islam teaches violence and that Muslims love to engage injihad to become martyrs. Such contentions are generally made by antiMusliminterest groups, certain religious organizations, and politiciansunder the influence of such extremists. These people stir up anti-Muslimsentiments to influence public opinion and bend government policies infavor of such groups. This book is a similar attempt to gain popularity forthe authors and arouse anti-Muslim sentiment at a time that is trying formost Americans. The authors, Ergun Caner and Emir Caner, are brothers.The senior author is professor of theology at Criswell College, Dallas,Texas, and the second author teaches at the Baptist Seminary in WakeForest, North Carolina.The book contains a preface and introduction, I 6 chapters on variousaspects of Islam, and four appendices, including an index to the Qur'anand a glossary of Arabic terms. The preface is a story of the clash ofculturesbetween the authors' Muslim (Turkish) father and Swedish mother,which resulted in a divorce when the Caner brothers were still veryyoung. The father had visitation rights and would take Ergun and Emir tothe Islamic Center in Columbus, Ohio, on weekends "to do the prayers,celebrate Ramadhan and read the Qur'an." This was the children's onlyexposure to Islam, until Ergun was I 5 and visited a church after his bestfriend invited him to do so. Ergun found the people at church warm and"didn't mock when he stumbled through the hymns." He joined thegospel ministry in 1982 and has since been preaching (against Islam) inorder "to bring salvation for 1.2 billion Muslims." Thus the title of thebook is itself deceiving, as it conveys that a practicing Muslim became aChristian, when, in fact, the authors actually became Christians in theirearly teens and had almost no education in Islam.It is appalling that the introductory chapter opens with a threat from"Shaikh" Osama bin Laden to the Americans and blessings for those whogave their lives to k.ill the 9/1 I victims. The authors portray bin Laden asa typical Muslim who is out to get all people who refuse to accept Islam ...

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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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Purnomo, Agus Dody, Agustinus Nur Arief Hapsoro, Angel Brielle Yap, and Chelsea Angelica Kahagi. "Himne sebagai Inspirasi Konsep Redesain Gereja Baptis Efrata di Bandung." Journal of Architecture and Human Experience 1, no. 2 (December 26, 2023): 175–84. http://dx.doi.org/10.59810/archimane.v1i2.23.

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The Efrata Baptist Church in Bandung was established in 1967 planning renovations to increase the congregation's capacity. Building renovations put more emphasis on optimizing the existing buildings. For this reason, it is necessary to redesign, among others: seating capacity, interior atmosphere, baptismal pool, and building facades. The design objective is to prepare a church design that is functional and has a narrative of Christian values. The method uses a design method with a semiotic approach. The design stage starts from data collection, data analysis stage, synthesis stage to the application of the design concept. The redesign concept was inspired by the lyrics of the Cwm Rhondda hymn. This is because music and church cannot be separated. And one genre of church music that is familiar with the Baptist church is hymns. The lyrics of the Cwm Rhondda hymn are applied through the architectural elements of the church.

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8

Hall, Catherine. "A Jamaica of the Mind: Gender, Colonialism, and the Missionary Venture." Studies in Church History 34 (1998): 361–90. http://dx.doi.org/10.1017/s0424208400013759.

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Mary Ann Middleditch, a young woman of twenty in 1833, living in Wellingborough in Northamptonshire and working in a school, confided in her letters her passionate feelings about Jamaica and the emancipation of slaves. The daughter of a Baptist minister, she had grown up in the culture of dissent and antislavery and felt deeply identified with the slaves whose stories had become part of the books she read, the sermons she heard, the hymns she sang, the poems she quoted, and the missionary meetings she attended. In 1833, at the height of the antislavery agitation, Mary Ann followed the progress of William Knibb in Northamptonshire. Knibb, who was born in nearby Kettering, had gone to Jamaica as a Baptist missionary in 1824 and been radicalized by his encounter with slavery. In the aftermath of the slave rebellion of 1831, widely known as the Baptist War because of the associations between some of the slave leaders and the Baptist churches, the planters had organized against the missionaries, burnt their chapels and mission stations, persecuted and threatened those whom they saw as responsible. Faced with the realization that their mission could not coexist with slavery the Baptist missionaries in Jamaica sent William Knibb, their most eloquent spokesman, to England to present their case. Abandoning the established orthodoxy that missionaries must keep out of politics, Knibb openly declared his commitment to abolition. The effect was electric and his speeches, up and down the country, were vital to the effective organization of a powerful antislavery campaign which resulted in the Emancipation Act of 1833.

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Davison, Jeff. "The Lost Hymn Book." Expository Times 96, no. 12 (August 1985): 364. http://dx.doi.org/10.1177/001452468509601206.

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Harting-Corrêa, Alice L. "Make a Merry Noise! A Ninth-century Teacher Looks at Hymns." Studies in Church History 28 (1992): 79–86. http://dx.doi.org/10.1017/s0424208400012389.

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Forty years after Charlemagne’s imperial coronation, Walahfrid Strabo, thirty-three-year-old abbot of the monastery of Reichenau, wrote a history of mid-ninth-century Frankish liturgy: Libellas de exordiis et incrementis quarundam in observationibus ecclesiasticis rerum—A Little Book about the Origins and Development of Certain Aspects of the Liturgy. It was the first account of liturgical development, and the topics ranged widely over thirty-two chapters, from bells to baptism, language to litany. Most of the subjects were in a state of change or expansion. Where there was controversy—for example, should a priest celebrate the Eucharist more than once a day—the history of a practice would help to underline the essential elements and to demonstrate the Christian constants as opposed to cultural diversity. Where there was development, such as the increasing number of hymns available for the Liturgy of the Hours, the history of that practice was appropriate and timely.

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Davie, Donald. "Baroque in the Hymn-book." Studies in Church History 28 (1992): 329–42. http://dx.doi.org/10.1017/s0424208400012535.

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‘Baroque’ is a word that has never yet been thoroughly acclimatized among us. To most English-speakers, I think, the word still smacks of something pretentious and affected—if not, indeed, of special pleading. At best it denotes a category that we may learn about and agree to trust so long as we are dutiful tourists in Italy or perhaps Poland, which we can thankfully discard when we get back to native soil.

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12

Dunstan, Alan. "Book Review: The English Hymn." Theology 101, no. 800 (March 1998): 151–52. http://dx.doi.org/10.1177/0040571x9810100234.

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Burns, Robert. "Book Reviews : John the Baptist." Expository Times 115, no. 3 (December 2003): 105–6. http://dx.doi.org/10.1177/001452460311500334.

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Houlden, Leslie. "Book Review: John the Baptist." Theology 101, no. 800 (March 1998): 144–45. http://dx.doi.org/10.1177/0040571x9810100227.

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Briggs, John. "Book Review: Radical Baptist Theology?" Expository Times 121, no. 9 (May 7, 2010): 475–76. http://dx.doi.org/10.1177/00145246101210090710.

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Triškaitė, Birutė. "Jono Berento giesmyno Is naujo perweizdėtos ir pagerintos Giesmu-Knygos ir maldyno Maldu-Knygelos antrasis leidimas (1735): nežinotas egzempliorius Prahoje." Archivum Lithuanicum, no. 22 (December 3, 2020): 33–82. http://dx.doi.org/10.33918/26692449-22002.

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T he second edition of J ohann B ehrendt ’ s hymn book ISZ naujo pérweizd ėtos ir pagérintos Giesm û-Knygos AND PRAYER BOOK Maldû-Knygélos (1735): an unknown copy in Prague The article presents a 1735 Lithuanian publication from Königsberg (Lith. Karaliaučius) which was believed to not have survived—the hymn book for Prussian Lithuania’s Evangelical Lutherans Iß naujo pérweizdėtos ir pagérintos Giesmû-Knygos (Reviewed and Improved Hymn-book) and the prayer book Maldû-Knygélos (Prayer-book). The only known copy of the second edition of the hymn book and the prayer book was discovered in the National Library of the Czech Republic (Czech Národní knihovna České republiky; NK ČR: 33 K 139) in Prague. It has not been registered in Lithuanian bibliographies. Just as the first 1732 edition, the second edition appeared thanks to the initiative of the theology professor of the University of Königsberg and the chief court preacher, Johann Jacob Quandt (Lith. Jonas Jokūbas Kvantas, 1686–1772), while the archpresbyter of Insterburg (Lith. Įsrutis), Johann Behrendt (Lith. Jonas Berentas, 1667–1737), led the editing team. Aiming to reveal the differences of the second edition from the first, and to highlight the editing tendencies of the hymn and prayer books, this article not only discusses the main features of the copy, but also analyzes the structure of the 1735 edition including the repertoire of new hymns and linguistic particularities of the texts of hymns and prayers written in Lithuanian. Provenance research revealed that the copy belonged to the Lithuanian Dovydas Blindinaitis or Bl(i)undinaitis before reaching this library, and this is supported by handwritten inscriptions on the front and back flyleaves. He acquired the book in 1736 for 33 groschen and must have been its first owner. The imprint “REGIÆ BIBLIOTH: ACAD: PRAGEN:” (“Royal Library of the Academy of Prague”) which is seen on the title page of the hymn book could only appear after 1777 when the Public Imperial-Royal University Library (Czech Veřejná císařsko-královská univerzitní knihovna) in Prague had been established. From the perspective of structure, the 1735 Lithuanian publication is a convolute which consists of two alligates: (1) hymn book and (2) prayer book. The hymn book comprises: (a) two introductions—one written by Quandt in German and one written by Behrendt in Lithuanian, (b) the main section of the hymn book and its appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”), (c) two indexes—the index for the Lithuanian hymns “Prirodijimas Wiſſû Gieſmû, ant kurro Laißko jos ßoſa Knygoſa randamos yra” (“A listing of all hymns which page they are found on in this book”) and the index of German original hymns called a “Regiſter” (“Register”). The prayer book comprises prayers, collects, the story of Christ’s suffering, and a list of thematic groups of these texts marked “Prirodijimas Wiſſû Maldû” (“A listing of all prayers”). The second (1735) edition of the hymn book differs remarkably from the first (1732) in its structure and scope: (1) All of the hymns that had been previously included in the 1732 edition’s “Appendix arba Kittos naujos Gieſmes ßwėey pridėtos” (“Appendix or other new recently added hymns”) (a total of 34) were integrated into the main section of the hymn book of the 1735 edition comprising 334 hymns; their thematic groupings and subgroupings remained the same; (2) The 1735 edition does not include one of the hymns published in 1732: Peter Gottlieb Mielcke’s (Lith. Petras Gotlybas Milkus, 1695–1753) translation “MIeli Krikßćionis dʒaukimės” (“Dear Christians let us rejoice”) (← Martin Luther, “Nun freut euch lieben Chriſten”); (3) The 1735 edition was supplemented with 26 hymns, that is to say, the second edition comprises 360 hymns. The new hymns are published in the appendix “Kittos naujos Gieſmes ßwėey pridėtos” (“Other new recently added hymns”). Cryptonyms attached to these hymns attest to the fact that their translators were two priests of Prussian Lithuania. For the first time, 18 hymns of the priest of Didlacken (Lith. Didlaukiai), Fabian Ulrich Glaser (Lith. Fabijonas Ulrichas Glazeris, 1688–1747), were included in this hymn book. The priest of Popelken (Lith. Papelkiai), Adam Friedrich Schimmelpfennig (Lith. Adomas Frydrichas Šimelpenigis, 1699–1763), translated 8 new hymns (while 15 of his hymns that had been already published in the 1732 edition were presented in the main section of the hymn book of the 1735 edition). The new repertoire of the Lithuanian hymn book was compiled from the translations of the following German hymn creators of the 16th–18th centuries: Johann Georg Albinus (1624–1679), Martin Behm (1557–1622), Kaspar Bienemann (Melissander, 1540–1591), Simon Dach (1605–1659), Johann Burchard Freystein (1671–1718), Paul Gerhardt (1607–1676), Johannes Gigas (Heune, 1514–1581), Ludwig Andreas Gotter (1661–1735), Johann Heermann (1585–1647), Heinrich Held (1620–1659), Martin Moller (1547–1606), Johann Rist (1607–1667), Samuel Rodigast (1649–1708), Johann Röling (1634–1679), Gottfried Wilhelm Sacer (1635–1699), Arnold Heinrich Sahme (1676–1734), Benjamin Schmolck (1672–1737). In contrast to the hymn book, the structure of the 1735 prayer book published concurrently were not changed; the thematic groups of prayers remained essentially the same as they were in the first edition of 1732. Texts of both the hymn book and the prayer book were edited. The editing tendencies in both are similar and encompass all linguistic levels (phonetics, morphology, lexicon, syntax), as well as orthography and punctuation, but the intensity of editing was different. The orthographic corrections prevail and the most consistent of them are: [i·] <ĳ> → <y> (characteristic only of the hymn book), [č’] <ć> → <cʒ> (together with refusing the marker indicating consonant palatalization <i>), [·] <e> → <ė>, [ž] ir [ž’] <Ʒ> → <>, marking accent placement with an acute accent < ’ >. The second edition reflects an important stage in the quantitative and qualitative development of Behrendt’s hymn book. In the second edition that appeared just three years later, we see the further consistent efforts of the editors to expand the repertoire of hymns and improve the texts in terms of language (i.e. they first of all sought to standardize the orthography of texts written in different centuries by many different translators). In contrast to the hymn book, the prayer book was improved along only one vector: the language of the texts was edited according to the same principles, while the number of prayers was not increased. The fact that the editors of the second edition devoted more attention to the hymn book than the prayer book probably stems from the important place that hymns hold in the Evangelical Lutheran liturgy.

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17

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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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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19

Kaye, Elaine. "Book Reviews : Baptist History Volume 4." Expository Times 112, no. 2 (November 2000): 64. http://dx.doi.org/10.1177/001452460011200226.

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Foster, Paul. "Book Review: Baptist Traditions and Q." Expository Times 117, no. 12 (September 2006): 525–26. http://dx.doi.org/10.1177/0014524606068984.

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Leonard, Bill J. "Book Review: The Southern Baptist Holy War." Review & Expositor 84, no. 3 (August 1987): 521–23. http://dx.doi.org/10.1177/003463738708400327.

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Morgan, Robert. "Book Reviews : Jesus and John the Baptist." Expository Times 109, no. 9 (June 1998): 277. http://dx.doi.org/10.1177/001452469810900908.

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Richardson, Paul A. "Book Review: The Hymn Texts of Fred Kaan." Review & Expositor 83, no. 4 (December 1986): 668–69. http://dx.doi.org/10.1177/003463738608300465.

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Kosek, Pavel. "Die Interpunktion im Gesangbuch Jesličky Staré nové písničky von Fridrich Bridelius." Studia z Filologii Polskiej i Słowiańskiej 47 (September 25, 2015): 193–222. http://dx.doi.org/10.11649/sfps.2012.010.

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The punctuation of the hymn-book Jesličky. Staré nové písničky by Fridrich BrideliusThe article is focused on analysis of the punctuation of the Early Modern Czech printed hymn-book Jesličky. Staré nové písničky (1658), which was collected by Fridrich Bridelius. The analysis is concerned both with the punctuation inventory in the hymn-book and with the rules that influence their distribution. The development of Czech punctuation, which has been yet analyzed superficially, is characterized by the competition of two principles: grammatical principle that connects punctuation with the syntactic and semantic structure of a sentence, 2. rhetorical principle that connects punctuation with the speaking form of a sentence, esp. with the pause. So the main goal of this article is to discover how is this conflict reflected in Jesličky. The article also analyzes how is the punctuation influenced by the musical matter of the printed hymns, which is a new moment in discovering history of Czech punctuation.

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Asamoah-Gyadu, J. Kwabena. "Singing of the Spirit: Wesleyan Hymnody, Methodist Pneumatology, and World Christianity." Wesley and Methodist Studies 16, no. 1 (January 2024): 1–28. http://dx.doi.org/10.5325/weslmethstud.16.1.0001.

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ABSTRACT ‘Methodism was born in song’, so says the opening sentence of the preface to the 1933 edition of the Methodist Hymn Book. That edition, inherited from the Wesleyan Missionary Society from the early nineteenth century, is still in use in many Methodist Churches of British descent in Africa. Using the West African country of Ghana as a case study, this article reflects on select ‘hymns of the Holy Spirit’ in the hymn book. Through these hymns of the Spirit, we capture some of the main theological underpinnings of Wesleyan pneumatology as understood within an African context in which Methodism remains a formidable denomination. The influence of Methodism on Christianity in Africa has been through its hymn-singing culture. The Wesleyan theology of the Holy Spirit as the source of regeneration, sanctification, and empowerment is evident in the pneumatological hymns in the collection.

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26

Guenther, Alan M. "The Globalization of Methodist Hymnody." Wesley and Methodist Studies 14, no. 2 (June 1, 2022): 117–45. http://dx.doi.org/10.5325/weslmethstud.14.2.0117.

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ABSTRACT The growth of Methodism into a global movement after the Wesleys’ lifetimes resulted in a greater global awareness and participation in the Protestant missionary movement beginning with the establishment of the Wesleyan Methodist Missionary Society in 1818. Correspondingly, the supplements and changes introduced to John Wesley’s 1780 hymn book and the production of new hymn books by seceding Wesleyan groups show an increase in songs devoted to the theme of missions. These hymn books demonstrate a shift in theology from a focus on intercession and millennial expectations to exhortations to use human agency and other means to accomplish the evangelization of the world.

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27

Leonard, Bill J. "Book Review: Principles and Practices for Baptist Churches." Review & Expositor 83, no. 4 (December 1986): 657–58. http://dx.doi.org/10.1177/003463738608300452.

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28

Leonard, Bill J. "Book Review: The Southern Baptist Mission in Japan." Review & Expositor 89, no. 2 (May 1992): 295–96. http://dx.doi.org/10.1177/003463739208900228.

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29

Lelli, Duccio. "Paippalādasaṃhitā 19.20.15–17. Against Wrinkles." Indo-Iranian Journal 61, no. 3 (September 12, 2018): 203–17. http://dx.doi.org/10.1163/15728536-06103004.

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Abstract This article presents a critical edition, translation and commentary of a tr̥ca found in book 19 of the Paippalādasaṃhitā of the Atharvaveda. The hymn, which consists in a spell against wrinkles, pronounced by a woman who tries to ward off the signs of aging with the help of the goddess Indrāṇī, is remarkable both in term of content and from a linguistic point of view: it is the only hymn directed against wrinkles in the Vedic corpus and the role of the goddess Indrāṇī in the ritual confirms and broadens her sphere of influence related to female charm. Besides providing the earliest attestation of the word for ‘wrinkle’ váli-, the hymn contains two hapaxes, previously unattested forms of the perfect subjunctive and features of women’s speech. The article also includes a stylistic analysis that aims at illuminating the structure and poetics of the hymn.

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30

Richardson, Paul A. "Book Review: Class and Idol in the English Hymn." Review & Expositor 87, no. 3 (August 1990): 532–33. http://dx.doi.org/10.1177/003463739008700360.

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31

Richardson, Paul A. "Book Review: Brethren Hymn Books and Hymnals, 1720–1884." Review & Expositor 87, no. 3 (August 1990): 533–34. http://dx.doi.org/10.1177/003463739008700361.

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32

Mareano, Marcus Aurélio Alves. "THE TIME FOR THE WEDDING OF THE LAMB HAS COME. THE RECAPITULATION OF DIVINE JUSTICE IN THE HYMNS ACCORDING TO REV 19:1-8." Perspectiva Teológica 54, no. 3 (December 28, 2022): 719. http://dx.doi.org/10.20911/21768757v54n3p719/2022.

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ABSTRACT: In the central part of the Book of Revelation (4:1−22:9), there is a group of hymns (4:8-11; 5:9-14; 7:10-12; 11:15-18; 12:10- 12; 15:3-4; 19:1-8) that synthetizes the theological drama of the book. The plot of this part presents a judgement in which God acts as a fair judge against the enemies. Thus, this paper presents a literary analysis of the narration conclusive hymn (19:1-8). The chosen text sings God’s salvation and invites everyone to praise (19:5), because of God’s reign (19:6) and the nuptials of the Lamb with his wife (19:7), the community of faith, dressed with the Saints’ righteousness (19:8). The following topics will be developed in this presentation: the list of the hymns on the Book of Revelation; the literary context and the delimitation of 19:1-8; and the text’s literary analysis. The last hymn constitutes an ending that recapitulates many themes present in other passages of Revelation, mainly in its hymns. KEYWORDS: Revelation. Justice. Hymn. Judgement. Lamb.

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33

Ashton, John. "The Transformation of Wisdom. A Study of the Prologue of John's Gospel." New Testament Studies 32, no. 2 (April 1986): 161–86. http://dx.doi.org/10.1017/s0028688500013047.

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There are two fundamental questions concerning the Prologue, one literary, the other historical. The literary question was raised by Bultmann in his seminal article for the Gunkel Festschrift of 1923:‘Wie weit ist von dem prāexistenten Logos die Rede, von wo ab von dem in der Geschichte auf-tretenden, d.h. von Jesus?’The commentators, remarks Bultmann, disxsxsagree on the answer to this question, and this disagreement has persisted. For Bultmann the main difficulty arises from the fact that although v. 14 offers the firstexplicitstatement of the Incarnation, the Christian reader cannot but take vv. 10 f. as an allusion to the life of Jesus, and consequently also v. 5 (which is parallel to it) and probably v. 4 also. Bultmann's solution was to see the Prologue as a pre-Christian Gnostic hymn, stemming from Baptist circles and subsequently taken over by the evangelist and adapted to form the opening of the Gospel. There have been many different answers since.

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34

Gouldbourne, Ruth. "Book Review: The European Baptist Federation, Crossing the Boundaries: A History of the European Baptist Federation." Expository Times 111, no. 3 (December 1999): 102. http://dx.doi.org/10.1177/001452469911100317.

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35

Weber, Timothy. "Book Review: III. Christian Life and Thought Studies: Baptist Successionism: A Crucial Question in Baptist History." Review & Expositor 92, no. 2 (May 1995): 248–49. http://dx.doi.org/10.1177/003463739509200219.

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36

Purba, Lola, and Winda Setiasari. "Translation Method of English Hymn Song into Indonesian Version in Kidung Jemaat." TRANSFORM : Journal of English Language Teaching and Learning 11, no. 4 (June 5, 2023): 219. http://dx.doi.org/10.24114/tj.v11i4.44040.

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This study aimed to find out what, how, and why the translation methods became the most dominant in translating English Hymn song in kidung jemaat. This study used a descriptive qualitative approach. The data of this study were 22 songs lyrics by E.L.Pohan. The source of the data was taken from kidung jemaat Hymn song book. The result of this study showed that there are three types of methods used in translating English Hymn song lyrics in to Indonesian language. The most dominant used by the translator is the Adaptation method (68,18%). The adaptation method is the most dominantly used by the translator because it retains the meaning contained in the SL, even though the words are substituted to fit the culture and rythmic calculation of each lyrics word, without altering the original meaning.

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37

Peucker, Paul. "The Songs of the Sifting. Understanding the Role of Bridal Mysticism in Moravian Piety during the late 1740s." Journal of Moravian History 3, no. 1 (2007): 51–87. http://dx.doi.org/10.2307/41179833.

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Abstract Moravian piety in the late 1740s was characterized by unusual religious language and practice. Moravians themselves soon called this period a time of "Sifting" and tried to eradicate most textual references to this era. A recently-discovered handwritten hymn book offers a source for the hymns sung by Moravians during the late 1740s. The author discusses the role of communal hymn singing in the common liturgical practice of 18th-century Moravians and places the songs in the context of the older religious tradition of bridal mysticism.

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38

Olson, Virgil A. "Book Review: A Missions People: The Southern Baptist Pilgrimage." Missiology: An International Review 19, no. 3 (July 1991): 350. http://dx.doi.org/10.1177/009182969101900309.

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39

Harmon, Steven R. "Book Review: Baptist Theology, written by Stephen R. Holmes." Ecclesiology 11, no. 1 (January 23, 2015): 123–26. http://dx.doi.org/10.1163/17455316-01101013.

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40

Běhalová, Štěpánka. "The Journey of the Spiritual Song Pozdvihni se duše z prachu [Raise, Thou Soul, Thyself from the Dust] from a Printed Broadside to a Hymn Book." Acta Musei Nationalis Pragae – Historia litterarum 62, no. 1-2 (2017): 58–64. http://dx.doi.org/10.1515/amnpsc-2017-0007.

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The article deals with the publication of the song for the Holy Mass with the incipit Pozdvihni se duše z prachu [Raise, Thou Soul, Thyself from the Dust] in the 19th century. The author of the text of this song is the Premonstratensian Eugen Karel Tupy, also known under the pseudonym Boleslav Jablonsky. This song for the Holy Mass is included in the current unified hymn book in the section of the Ordinary and common chants of the Mass as number 517. In the 19th century, the song was published in several types of printed media. Its earliest extant edition is a broadside from 1845, which was followed by similar editions from 1849 and 1850, 1854, 1855, 1859 and another two undated. In 1852, the author himself included it in the second edition of the prayer book Růže sionská [The Rose of Zion], although it is not part of the first edition from 1845. In the same year, the song was included in the hymn book Písně ke mši svaté pro školní mládež [Songs for the Holy Mass for School Children] and three years later in a hymn book from the same printing house Písně ke mši svaté, k úžitku osady Hostounské a Únětické [Songs for the Holy Mass to Be Used in the Settlements of Hostouň and Unětice] and in 1860 in the Zpěvník pro chrám, školu i dům [The Hymnal for Church, School and Home]. At that time, it also appeared in the contemporary Perla pravých křesťanů [A Pearl of True Christians], compiled by František Křenek and published in 1860, as well as in the prayer book Květinná malá zahrádka [A Small Flower Garden], published in the printing house of Alois Josef Landfras and his son in Jindřichův Hradec around 1860. The song was also included in Písně a modlitby pro studující katolickou mládež [Songs and Prayers for Young Catholic Students] by Blahorod Čap, who had the collection printed in Litomyšl in 1869. The penetration of the text of the song by a renowned poet and writer from broadsides to hymnals and prayer books provides interesting and rare evidence of the journey of an artificial song to the unified hymn book.

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41

Knowles, Tom. "Book Review: Hymn of Freedom: Celebrating and Living the Eucharist." Pacifica: Australasian Theological Studies 12, no. 2 (June 1999): 231–33. http://dx.doi.org/10.1177/1030570x9901200211.

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42

Richardson, Paul A. "Book Review: A Hymn Companion: Insight into 300 Christian Hymns." Review & Expositor 84, no. 2 (May 1987): 347. http://dx.doi.org/10.1177/003463738708400237.

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43

Richardson, Paul A. "Book Review: III. Ministry Studies: Hymn Notes for Church Bulletins." Review & Expositor 85, no. 3 (August 1988): 600–601. http://dx.doi.org/10.1177/003463738808500367.

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44

Verhoeven, Ursula. "Book Review: The Cannibal Hymn. A Cultural and Literary Study." Journal of Egyptian Archaeology 90, no. 1_suppl (December 2004): 17–20. http://dx.doi.org/10.1177/030751330409001s08.

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45

Smith, Andrew. "Word about Recent Book: II. Historical-Theological Studies: Towards Baptist Catholicity: Essays on Tradition and the Baptist Vision." Review & Expositor 104, no. 3 (August 2007): 677–78. http://dx.doi.org/10.1177/003463730710400318.

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46

Copeland, E. Luther. "Book Review: The Southern Baptist Mission in Japan, 1889–1989." Missiology: An International Review 20, no. 3 (July 1992): 410. http://dx.doi.org/10.1177/009182969202000324.

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47

Taber, Charles R. "Book Review: International Influences and Baptist Mission in West Cameroon." International Bulletin of Missionary Research 18, no. 3 (July 1994): 136–37. http://dx.doi.org/10.1177/239693939401800314.

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48

Sexton, Jason S. "Word about Recent Book: II. Historical-Theological Studies: Baptist Sacramentalism." Review & Expositor 106, no. 4 (December 2009): 642–46. http://dx.doi.org/10.1177/003463730910600415.

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49

Ginter, Kazimierz. "The Trisagion Riots (512) as an Example of Interaction between Politics and Liturgy." Studia Ceranea 7 (December 30, 2017): 41–57. http://dx.doi.org/10.18778/2084-140x.07.03.

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This article explores the political and cultural context of the riots provoked by changes in the Trisagion (512). Along with the advancing integration of the Byzantine Empire with Christianity, the state’s interest in theological problems increased; these problems were also reflected in the liturgy. Worship was used as a tool of imperial policy. This mutual interaction between politics and liturgy can be observed particularly clearly in the history of the Trisagion. This hymn, in its primitive form appearing in the book of Isaiah (as the familiar Sanctus Sanctus Sanctus), had two interpretations from the first centuries. According to the first one, the hymn referred to God, or – with the development of theology – to the whole Holy Trinity. According to the second interpretation (probably originating from Antioch), it referred to Christ. Already in the 4th century, the Trisagion entered the liturgy. In the middle of the 5th century, we encounter a new version of the Trisagion (known as SanctusDeus, Sanctus Fortis), which was an elaboration of the above-mentioned hymn. It also found use in the liturgy and originally had a Trinitarian sense. The Monophysites, in order to give the hymn an anti-Chalcedonian sense, added to it the expression who was crucified for us; this makes the hymn unambiguously Christological, but it may also suggest theopaschism (all of the Trinity was crucified). In Antioch, where the Trisagion first appeared in that form (and where the hymn had always been interpreted as referring to Christ), this addition did not provoke protests from the Chalcedonians. However, when the Monophysite emperor Anastasius decided to introduce this version to the liturgy in Constantinople, the inhabitants of the capital – accustomed to understanding the Trisagion in the Trinitarian sense – interpreted the change as an offence against the Trinity. This caused the outbreak of the Trisagion riots (512). Not long afterwards, restoring the anthem in the version without the addition became one of the postulates of military commander Vitalian’s rebellion against Anastasius. Thus, in the case under analysis, we see theology and liturgy blending with current politics; one and the same hymn could be understood as heretical in one city and as completely orthodox in another.

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50

Swaim, Kathleen M. "The Morning Hymn of Praise in Book 5 of Paradise Lost." Milton Quarterly 22, no. 1 (March 1988): 7–16. http://dx.doi.org/10.1111/j.1094-348x.1988.tb00398.x.

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Journal articles on the topic 'The Baptist hymn book'

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