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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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 ßwėey 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 ßwėey 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 ßwėey 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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Owoaje, Tolulope, and Tunde Adegbola. "Song Melody and Speech Tone Conflict in Translated Yorùbá Christian Hymns." Yoruba Studies Review 7, no. 1 (July 26, 2022): 1–18. http://dx.doi.org/10.32473/ysr.v7i1.131447.
Повний текст джерелаАнотація:
This article engages song melody and speech tone conflict in translated Yorùbá Christian hymns between the late 19th and early 20th century. In their effort to make early Yorùbá Christian converts sing Christian hymns in the church, European missionaries translated English hymns to Yoruba, and sang them to the original European hymn tunes. Yorùbá being a tone language, requires a significant level of correlation between song melody and speech tone, for the words to retain their original meaning when sung. The tripartite constraint of aligning melody, meter, as well as meaning, posed a major problem to the hymn translators. Having given priority to melody and metre, the translators therefore, tend to compromise on meaning, thereby producing Yorùbá hymns that will sound interesting melodically, and correlate metrically with the metre, but producing hardly meaningful words when sung. This study utilized samples from Iwe Orin Mimo, being the Yorùbá translation of a range of hymns in Hymnal Companion, Hymns Ancient and Modern, and some other hymn books popularly used by the Church Missionary Society (CMS). The work presents a graphical illustration of the disparity between the hymn tunes and the speech tone of the Yorùbá language. It also highlights the efforts of Indigenous composers in correcting the perceived error through re-composition of the first stanza of selected hymns, to which they wrote more stanzas that align with the theme of the first stanza. The inappropriately translated Yorùbá hymn books have remained strong institutions within the church and have therefore, continued to promote the use of the translated hymns in the Yoruba church.
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Masud, Noreen. "Sound Words: Hymns in Twentieth-Century Literature." Review of English Studies 70, no. 296 (April 21, 2019): 732–51. http://dx.doi.org/10.1093/res/hgy130.
Повний текст джерелаАнотація:
Abstract Why, in the twentieth century, do atheist or agnostic authors write so many hymns into their poems and novels? This essay contends that attending to the frequent but overlooked hymn episodes in early to mid-twentieth-century literature, and to their historical contexts, can complicate our understanding of literary postures of faith, and of everyday sounds as ‘filler’ in modernist literature. Focusing on Stevie Smith and D. H. Lawrence, with reference to a range of other writers, it draws on unpublished archival material to argue that hymn-history reveals an alternative narrative to that of religious writing as conservative, and literary writing as radical. Hymn-compilers often sought modernity, while poets and novelists tended to privilege older, more dated hymns. This ideological clash led to a literary approach which defiantly accommodated ‘bad old hymns’ through nostalgic reminiscence and extensive quotation. Used in this way, hymn oscillates between a status as textual padding and as focal point: an embarrassingly excessive and solid substance which nevertheless enables embarrassment to be discharged. Ultimately, the muffling, ostensibly authoritative substance of hymn, in twentieth-century literature, fills up gaps in which too much might resound or be revealed: it offers literary writing an opportunity to accommodate and neutralize awkwardness, failure and error.
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Proskurina, Anna. "On the Issue of Performativity of Hymns." southern semiotic review 2020 i (January 2021): 74–86. http://dx.doi.org/10.33234/ssr.13.5.
Повний текст джерелаАнотація:
The article indicates that the study of the semantic-communicative component of hymns makes it possible to identify performative frameworks - “pillows”, on which the foundation of speech activity rests. Thus, the obligatory semantic-communicative component of the hymns is informing the deity about his/her qualities, in other words, it is praising. The article reviewed three hymns written in Old English (“The Kentish Hymn”, “The Cædmon’s Hymn”) and Early Middle English (“The Godric’s Hymn”). The author focuses on paganism in Old English hymns. Thus, the work emphasizes that at the dawn of Christianity, for a smooth transition from paganism to Christianity, the image of Jesus Christ was presented as the image of a leader (Cyning - Leader), while believers were represented as His warriors. The cross as the main Christian symbol often appears made of wood and is identified with the cosmic world tree growing right into heaven.
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Wykes, David L. "From David’s Psalms to Watts’s Hymns: the Development of Hymnody among Dissenters following the Toleration Act." Studies in Church History 35 (1999): 227–39. http://dx.doi.org/10.1017/s0424208400014054.
Повний текст джерелаАнотація:
The introduction of hymns and hymn-singing has been described as one of the greatest contributions made by dissent to English worship. Yet, with the exception of specialist studies by hymnologists, church historians have largely ignored eighteenth-century hymns and hymn-singing, though it is clear they represented a powerful and popular source of contemporary religious expression. Hymns, that is compositions which depart too far from Scripture to be called paraphrases, have been one of the most effective mediums of religious thought and feeling, second only to the Bible in terms of their influence. The only recent academic studies have been in English Literature, where hymns have been examined as literary texts for their poetic value. As a consequence neither the historical context of the development of the hymn in the decades following the 1689 Toleration Act, nor the liturgical significance of their introduction to public worship, has been addressed.
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Bødker, Jakob Kjær. "Lad os alle synge!" Tidsskriftet SANG 4 (August 17, 2023): 1–22. http://dx.doi.org/10.7146/sang.v4i.140097.
Повний текст джерелаАнотація:
Let Us All Sing!An Investigation of Metareferentiality in Hymn Singing from an Intermedial Perspective A number of hymns in The Danish Hymnal thematize the act of singing hymns together, thus incorporating a metareferential dimension. This article examines the significance and impact of this metareferentiality on the analysis of such hymns and for the understanding of the social context and practices they are embedded in. The theoretical framework for examining metareferentiality within a musical context is based on Werner Wolf’s definition, which characterizes metareferentiality as a form of self-reference that implies a reflection on the work’s media per se. It is argued that when applied to hymns and songs, this definition must be complemented with Lea Wierød Borčak’s view of hymns as both an emergent intermedial fusion of text and music and as a social practice. Building on this theoretical point of departure, this article analyzes the metareferential hymn ”Guds Menighed, syng for vor Skaber i Løn” (1847) written by N. F. S. Grundtvig. The analysis investigates the influence of metareferentiality on both the internal meaningmaking of the hymn and the social practice by exploring the connection between the hymn and the folk song ”Harpens Kraft”, to which the text is set. I show that the metareferentiality is closely linked to the emergent intermedial and social character of the hymn, as the metareferences are only actualized through a concrete, situated act of singing. Finally, the article discusses the function of metareferentiality in a wider context, where it can be seen as compensatory for absence or social uncertainty. In a historical context, this may add interesting perspectives on N. F. S. Grundtvig’s ideas, where metareferential hymns may be viewed as concrete tools for strengthening communal singing. These insights open a discussion about the inclusive and exclusive effects of communal singing.
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Mohagheghi, Yashar. "Die Begriffsfeier." Volume 62 · 2021 62, no. 1 (October 1, 2021): 211–37. http://dx.doi.org/10.3790/ljb.62.1.211.
Повний текст джерелаАнотація:
The Celebration of Concepts. On the Homology of Festival and Hymn in Hölderlin and in the French Revolution The present contribution aims to show that Hölderlin’s Tübingen hymns from 1790 to 1794 are influenced by the festivals of the French Revolution and its hymns. The Revolutionary festivals are staged as epochal rites of passage seeking to enact the turn towards a new age. Hölderlin’s hymns follow the dramaturgy of the festivities and thus represent a festive poetics. The homology of festival and hymn, typical of the period, conditioned their convergence in the political movement of the eighteenth century. Self-expression through joy serves the bourgeois self-assertion; it is reflected both in a new, self-referential festival type and in the release of the movere principle in literature. Against this background, the solemnity inherent in the hymn becomes topical, and in the context of the republican emotional culture, hymnal enthusiasm serves as self-affirmation. The movement of language and emotion that has been inherent in the hymn since Klopstock thus gains political valence and makes it the ideal genre for staging the movement of awakening and departure. In the late, post-revolutionary hymns the festival is a commemorative ritual recurrently executing the temporal transition in the historical present.
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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.
Повний текст джерелаАнотація:
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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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.
Повний текст джерелаАнотація:
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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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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Päll, Janika. "Ancient World of the Poet and Performance in Translations by Ants Oras." Studia Metrica et Poetica 2, no. 2 (December 30, 2015): 73–101. http://dx.doi.org/10.12697/smp.2015.2.2.06.
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This paper studies the means by which Ants Oras, scholar and professor of English and world literature, literary critic and translator, recreates the poetic space of ancient Greek hymns in his translations. The paper analyses his use of deictics (local, personal and temporal) in his translations of three Homeric Hymns: the 1st part of Hymn No. 3, to Delian Apollo, the Hymn No. 19, to Pan, and especially Hymn No 5 to Aphrodite. The special focus is on the initial and final parts of the hymns, where the Greek text reflects performance context, whereas Oras presents the poems in a more general, hymnal setting, leaving out the references which reveal the function of these hymns as epic prooemium.The analysis of the deictics within the Hymn to Aphrodite reveals that Oras does not adhere strictly to the third person viewpoint of the narrator (as opposed to first person in direct speeches of the characters), but enlivens his narration by frequent deictics which refer to narrator’s viewpoint, the poet’s ‘I’, or ‘here’ and ‘now’. This can only be occasionally explained with metrical reasons (preference to use monosyllabic deictics). This pattern of enlivening is in accordance to other practices, used by Oras in these translations: frequent personification of impersonalia (flight, mind) and multiplication of actors (objects of action becoming subjects, passive constructions turned active, and so on).
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Jørgensen, Theodor. "En Grundtvig-salme teologisk fortolket." Grundtvig-Studier 58, no. 1 (January 1, 2007): 98–107. http://dx.doi.org/10.7146/grs.v58i1.16512.
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En Grundtvig-salme teologisk fortolket[A hymn by Grundtvig interpreted theologically]By Theodor JørgensenWithout a theological and dogmatic reading of Grundtvig’s hymns an interpretation of them would be incomplete. The point is demonstrated by a dogmatic reading of Grundtvig’s Christmas hymn “Welcome again God’s little angels” (“Velkommen igjen, Guds Engle smaa”).
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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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Blaza, Marek. "Hymn Chwała na wysokości Bogu (Gloria in excelsis Deo) – geneza, tekst oraz zastosowanie w liturgii." Studia Bobolanum 34, no. 2 (June 20, 2023): 45–74. http://dx.doi.org/10.5604/01.3001.0053.7044.
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Celem niniejszego artykułu jest przybliżenie i przeanalizowanie historii powstania hymnu Gloria, także w kontekście sporów trynitarnych pierwszych wieków chrześcijaństwa. Następnie zostanie dokonane porównanie treści tego hymnu w wersji bizantyjskiej i rzymskiej, a na końcu zostanie przedstawione zastosowanie tego hymnu w liturgii obydwu tych tradycji.W niniejszym artykule dokonano analizy wersji tego hymnu zapisanego w Księdze Pieśni w Septuagincie oraz w Konstytucjach Apostolskich. Porównano także grecką i łacińską wersję tego hymnu. W tradycji bizantyjskiej hymn Gloria związany jest przede wszystkim z celebracją jutrzni, ale jest także nieodzownym elementem każdej komplety (powieczerza).W tradycji rzymskiej hymn Gloria od czasów starożytnych związany jest z celebracją mszy. Pierwotnie intonowali go wyłącznie biskupi w wielkie święta kościelne. Zachowano jego uroczysty i radosny charakter, tak że jest on pomijany w liturgiach w okresie adwentu, wielkiego postu oraz w mszach za zmarłych.
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Thyssen, Peter. "Grundtvig, Laub og kirkesangen." Grundtvig-Studier 45, no. 1 (January 1, 1994): 229–55. http://dx.doi.org/10.7146/grs.v45i1.16148.
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Grundtvig, Laub and Church Singing.By Peter ThyssenThe article deals with the importance that Grundtvig’s hymn writing acquired for the development of church music in Denmark through the 19. and 20. centuries. At first, the lack of tunes for the hymns written by Grundtvig for his own metres, resulted in the appearance of a great number of romantic hymn tunes which became widely used in church singing all over the country through the 19. century. Compared with these new lively and romantic tunes, however, the old chorales, isorhytmical at that time, were bound to seem more and more »stiff« and »dead« when used in the church service. Inspired by the reform movements in church music, which had developed in Germany since the 1840s, Thomas Laub (1852-1927), the organist and composer, advocated a restoration of the old chorale tunes in accordance with their original melodics, rhythmics, and tempo (in his book Om kirke-sangen (On Church Singing) from 1887). After his work on the restoration of the old church tunes in the years 1888-1910, Thomas Laub embarked in earnest on the task of composing new tunes for Grundtvig’s hymns (thus, out of 100 original hymn tunes by Laub, 68 were composed for hymns by Grundtvig). Laub’s hymn tunes were written with .the old church tone. as a source of inspiration, but are equally influenced by the late romantic tone of his own age.The point then is that Laub’s work on the historical and modem mode of expression of church music can be understood as a parallel to Grundtvig’s hymns, viz. as a »renewal on the foundation of the old church« - a programme that Laub himself explains in the book Musik og kirke (Music and Church) from 1920. Owing to this »Grundtvigian programme«, Laub’s tunes have not only achieved a unique congeniality with Grundtvig’s hymns; among Danish church composers Thomas Laub is also the one who has created the largest number of original hymn tunes still in use in church services in Denmark today. Thus, modem Danish church singing has been decisively influenced by the two »learned artists«, N.F.S. Grundtvig and Thomas Laub.
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Hall, Nancy E. "Singing our way to justice: A conversation with Dan Damon—hymn writer, composer, and pastor." Review & Expositor 114, no. 3 (August 2017): 403–13. http://dx.doi.org/10.1177/0034637317721984.
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Hymnody has long reflected both the theology and the changing concerns of the Christian church. Dan Damon, a leading practitioner with more than a hundred published hymns, has conducted large-scale research into the representation of social justice issues in contemporary hymnals. Damon is interviewed about his creative process as hymn text writer and as composer (a process deeply intertwined with his work as pastor of a United Methodist church), shedding additional light on the questions that motivate his research: “What are we already singing about justice?” and “What justice issues have our hymn writers not yet addressed?” Several hymn texts illustrate Damon’s responses to the omissions implied by the latter question. Reflections on the role of this new hymnody, both in the congregation’s spiritual formation and as call to action, suggest the vitality to be gained by including hymn texts on social justice in our worship.
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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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Bering Solten, Therese. "Når troen får øjne. En studie i Grundtvigs salmer." Grundtvig-Studier 65, no. 1 (May 29, 2015): 177–200. http://dx.doi.org/10.7146/grs.v65i1.20952.
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Når troen får øjne. En studie i Grundtvigs salmerTherese Bering SoltenWhen Faith Gets Eyes – a Study in Grundtvig’s HymnsThis article summarizes main points from Therese Bering Solten’s PhD thesis about how, through the use of hermeneutics and genre criticism, Grundtvig’s hymns can be read as poetic theology. The hymns work thematicallythrough the relationship between the visible and the invisible, conceptions residing in a continuum stretching between the concrete, sensory images and abstract, intelligible concepts. How hymns operate is determined by how faith is depicted in images and ideas. As part of an effort to understand faith cognition or vision, Solten interprets the hymns as descriptions of what or how the eyes of faith see. The author assumes that this effort is not exclusive to the content of hymns; it is a matter of how hymns affect readers (singers) and therefore how hymns can be described as texts. To establish a methodological basis, Solten refers to recent genre theory and literary theory and Paul Ricoeur’s philosophical hermeneutics. Poetic theology provides a lens for seeing that even though the hymn text’s matter and form are two separate aspects of the text, the hymn exists as an indivisible whole. Solten provides a series of analytical examples from the thesis to illustrate further how hymns function and how they should not be translated only to discover their embedded theology. The overall aim of hymn interpretation, however, is to demonstrate the ways in which the reading of these texts as poetry can provide theological insights.
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Bernabé, Alberto. "Un himno órfico fragmentario." Fortunatae. Revista Canaria de Filología, Cultura y Humanidades Clásicas, no. 32 (2020): 41–50. http://dx.doi.org/10.25145/j.fortunat.2020.32.03.
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Clement of Alexandria quotes in Stromateis 5.14.116.1 and 25.1 two hymnical passages attributed to Orpheus. One, more extensive, was part of a hymn to Zeus very similar in form and content to those of the late collection of Orphic Hymns. The other, a single verse, seems to be the beginning of a Hymn to Kronos, influenced by a myth of the Orphic theogonies. The purpose of the article is to translate and comment on both fragments, and to examine both their formal aspects, and the religious ideology they convey, as samples of a type of literary work characteristic of late Orphism. It also discusses the possibility that they belong to the same hymn.
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Grzywaczewski, Józef. "Okoliczności kompozycji hymnu Akatyst ku czci Najświętszej Maryi Panny." Vox Patrum 69 (December 16, 2018): 195–218. http://dx.doi.org/10.31743/vp.3259.
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The author of this article tries to situate the famous Greek Hymn Akathistos in its large context. He presents the Old Testament tradition, especially the Psalms, and the New Testament tradition: Christological hymns and the person of Mary in the Gospel. The Christians of the first centuries used to sing hymns during their meetings of prayer. The old Hellenic tradition in poetry and music could also have influence on the Christian poetry and music, especially on the formal aspect of such compositions. It seems to be obvious that the Akathistos was inspired by the theological considerations on Mary as Christ’s Mother. This hymn is a great praise of Mary as Theotokos; this title was accepted officially in the Church by the Council of Ephesus (431). The exact date of the composition of the hymn is not known; it is only known that this hymn was sung in 626 in Constantinople as thanksgiving to Mary for the expelling of the aggressors (a regiment of the Persian army). The question of authorship of Akathistos is still discussed; most scholars attribute it to Romanos Melodus, but such an opinion is considered as probable. The aim of this article is to introduce the lector into the study on the theology of the Akathistos (Christology and Mariology). Surely, such a study can be precious for the Christian spirituality.
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Boynton, Susan. "Orality, Literacy, and the Early Notation of the Office Hymns." Journal of the American Musicological Society 56, no. 1 (2003): 99–168. http://dx.doi.org/10.1525/jams.2003.56.1.99.
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Abstract This article takes the early notation of the Office hymns as the framework for a new investigation of orality and literacy in musical notation. Of all chant genres, hymns remained an oral tradition the longest, and the notation of entire hymn repertories was apparently rare before 1100. As a repertory of melodies hardly written down before the eleventh century, the hymns offer an opportunity to study the initial recording of an oral tradition at a time when other chant genres were increasingly notated. The variety of approaches to notating both entire hymn repertories and individual hymns in the sources up to the early twelfth century signals the increasing reliance on writing, as well as the dynamic interaction between orality and literacy, that characterizes monastic textual production in the eleventh century. The article places the notation of hymns in the context of their important role in monastic education and proposes an analogy between hymnaries and monastic customaries.
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Tucker, Karen B. Westerfield. "Congregational Song as Liturgical Ordo and Proper: The Case of English-Language Hymns and Hymnals." Studia Liturgica 28, no. 1 (March 1998): 102–20. http://dx.doi.org/10.1177/003932079802800106.
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Hymns are for us Dissenters what the liturgy is for the Anglican. They are the framework, the setting, the conventional, the traditional part of divine service as we use it. They are, to adopt the language of the liturgiologists, the Dissenting Use. That is why we understand and love them as no one else does. You have only to attend Anglican services to discover that the Anglican, though he can write a hymn, cannot use it. It does not fit the Prayer Book service. 1 1 Bernard Lord Manning, The Hymns of Wesley and Watts (London: Epworth Press 1942) 133-4. It is therefore surprising to find the statement that hymns are “particularly associated with [the] Anglican church” under the entry “Hymn” in Michael Kennedy, The Oxford Dictionary of Music, 2nd edn, Oxford and New York: Oxford University Press 1994
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Park, Monica. "Textualization and Archive in Callimachus’ Hymn to Delos." Classical Antiquity 40, no. 2 (October 1, 2021): 283–315. http://dx.doi.org/10.1525/ca.2021.40.2.283.
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This article argues for a new way of reading Hellenistic “literary” hymns, one that situates them in contemporary religious and cultural discourse through the notions of “textualization” and the “cultural archive.” I apply this framework to Callimachus’ Hymn to Delos and show how this hymn became an important part of the articulation of Ptolemaic religion in the context of ritual politics in the third-century Aegean, as well as how it had a lasting impact on the way that the ritual geography of the Cyclades was imagined. Specifically, the analysis spotlights how the hymn successfully links historical and contemporary theoric choral activity with the etymologization of the Cyclades; how it textualizes the island of Kos within the ritual nexus of Delos; and, finally, how it becomes an important part of Greek cultural memory about Delos.
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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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Gabbay, Uri, and Odette Boivin. "A Hymn of Ayadaragalama, King of the First Sealand Dynasty, to the Gods of Nippur: The Fate of Nippur and Its Cult during the First Sealand Dynasty." Zeitschrift für Assyriologie und vorderasiatische Archäologie 108, no. 1 (July 16, 2018): 22–42. http://dx.doi.org/10.1515/za-2018-0003.
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Abstract The article presents a philological edition of a tablet stemming from the Sealand dynasty that ruled southern Babylonia during the late Old Babylonian and the early Kassite period. It contains a bilingual Sumero-Akkadian hymn to the gods of Nippur for the sake of the Sealand king Ayadaragalama. The article examines the hymn in its literary context, especially in relation to earlier Old Babylonian royal hymns, and in its historical context, focusing especially on the situation in Nippur during the period of the First Sealand dynasty.
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Hansen, Jakob Ulrik. "Åndens hermeneutik. En læsning af I al sin Glands nu straaler Solen." Grundtvig-Studier 62, no. 1 (January 1, 2011): 112–23. http://dx.doi.org/10.7146/grs.v62i1.16582.
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Åndens hermeneutik. En læsning af “I al sin Glands nu straaler Solen ”[The hermeneutics of the Spirit. A reading of “I al sin Glands nu straaler Solen ”]By Jakob Ulrik HansenThis article takes as its point of departure the question of how Grundtvig in his hymns seems to amalgamate the seasons, the biblical world, legendary material and historical events without reflecting on time. Through a reading of “I al sin Glands nu straaler Solen” (In all its Splendour now the Sun shines), the article discusses what enables this particular form of poetic hermeneutics.The blending of early-summer sun with divine light “Glands” (splendor or doxa) in the beginning of the hymn generates a vision of the world in two levels, which becomes constitutive of the entire hymn. In the following stanza, summer becomes an image of the recovered connection with Paradise through the Pentecostal spirit, e.g. in the breeze through the leaves and the rippling water in the creek. This divine affiliation of the natural phenomena is indicated by various allusions to their provenance in Paradise. The centre of the hymn, stanza 4, relates how the spirit descends and speaks in the world. The spirit, however, does not speak by itself, but as part of the Trinity. Stanza 5 narrates the awakening of the congregation and its assembly for worship, and in stanza 6 all languages merge into a united “Hallelujah”, a word generally reserved for angels. The hymn ends with the description of the glory of God's kingdom.The article concludes that Grundtvig’s amalgamation of events, times and opposites in this hymn presupposes a particular conceptualisation of the spirit, and it leaves as an open question that awaits further study whether this conceptualisation of the spirit and hermeneutics is a central feature in many of Grundtvig’s other hymns.
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Simatupang, Jhonnedy Kolang Nauli. "Eksistensi Pujian Himne “Mengikut Yesus Keputusanku” dan Perkembangan Musik Kontemporer pada Liturgi Ibadah Masa Kini." Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik 3, no. 1 (April 30, 2023): 25–32. http://dx.doi.org/10.30872/mebang.v3i1.57.
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The purpose of this research is to see and provide an understanding of the existence of a hymn in the liturgy of Christian worship today, both hymns and contemporary hymns, and the meaning of the hymn "Mengikut Yesus Keputusanku." A qualitative research method is used through a literature review in writing this scientific work. The results of this research are as follows. First, as church music grows in the liturgy of worship, it can be noted that whether or not the hymns of hymns are a little less, added several church denominations are coming to comfortable with the use of contemporary praise in the liturgy of worship, second, the "Mengikut Yesus Keputusanku." Praise is one of the great testimonies of those who sing this praise, regardless of this praise, it is a form of faith that one believes in God to this day, even this praise continues to grow with various translations and insights. Third, the presence of contemporary music and the praise of hymns should be combined into God.
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Love, Rosalind C. "Frithegod of Canterbury's Maundy Thursday hymn." Anglo-Saxon England 34 (December 2005): 219–36. http://dx.doi.org/10.1017/s0263675105000104.
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In his Catalogus of British writers, John Bale's account of the tenth-century scholar, Frithegod, includes incipits for two hymns, of which the first, on Mary Magdalen (‘Dum pietas multimoda’), was long thought lost. In fact it is not lost, but has simply become uncoupled from its author's name, and is transmitted anonymously in three manuscripts of French origin, and in some Spanish liturgical books, whence it was first printed in 1897. Frithegod's authorship is suggested by Patrick Young's seventeenth-century catalogue of Salisbury Cathedral manuscripts. Young noticed two ‘carmina Frethogodi’ at the end of what is now Dublin, Trinity College 174 (a late eleventh- or early twelfth-century Salisbury legendary), giving the incipit of the first as 'Dum pietas multimoda’. After Young had catalogued TCD 174, the page with the hymns must have become detached, and cannot now be traced. Frithegod may have composed the hymn while still at Canterbury, and then perhaps took a copy back to his native Auvergne, given that it ended up in an English manuscript but also circulated in France. Although the circumstances of composition are beyond recovery, I suggest that the hymn was originally intended not for the cult of Mary Magdalen (it was used thus in France), but rather to accompany the penitential rituals of Maundy Thursday. The article includes a text and translation of the hymn.
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Kruger, Daleen. "“Mein Gmut ist mir verwirret”: contrafactum-practice in the Liedboek van die Kerk (“Afrikaans Hymn book of the Church”)." Koers - Bulletin for Christian Scholarship 81, no. 2 (October 31, 2016): 61–79. http://dx.doi.org/10.19108/koers.81.2.2252.
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The contrafactum-practice which utilises secular melodies and/or texts as sources in the creation of sacred hymns, is an age-old tradition. This practice generated amongst others a few Protestant hymns (particularly in the German Reformed context), which are viewed today as important hymns in the hymn corpus. One example would be the hymn for lent, “Herzlich tut mich verlangen”. In several historic sources the use of secular melodies in church hymns is motivated: the fact that the melodies are already well-known amongst the congregation would make it easy to learn the new texts. Sources also confirm that this practice makes the songs more accessible for the youth. This article explores the development of selected hymns from the Liedboek van die Kerk (2001) (“Afrikaans Hymn book of the Church”) to determine their secular roots and describe how they developed into sacred hymns. It is pointed out that the utilisation of the melodies as settings for different sacred texts, illustrates their quality and flexibility and is instrumental in their acceptance as hymn tunes. It is also argued that historic distance between the secular source and the church hymn contributes to the weakening of the original secular association. The ongoing debate on the secular versus the sacred is also touched upon, and finally the renewed interest in contrafacta in the late 20th and early 21st century is discussed. Die kontrafaktuurpraktyk, waar sekulêre melodieë en/of tekste as bronne gebruik word in die skep van geestelike tekste en/of melodieë, kom al eeue lank in kerkliedere voor. Hierdie werkswyse het onder andere ʼn aantal Protestantse liedere opgelewer (veral in Duitse Reformatoriese verband), wat deesdae as groot liedere van die kerkliedskat geag word. Een voorbeeld is die lydenslied “Herzlich tut mich verlangen”. In verskeie historiese bronne word die gebruik van sekulêre melodieë by kerkliedtekste gemotiveer: die melodieë was reeds bekend en daarom kon die nuwe liedtekste makliker aangeleer word. Die toeganklikheid vir die jeug staan ook voorop. Hierdie artikel ondersoek enkele liedere in die Liedboek van die Kerk (2001) ten einde vas te stel wat die sekulêre wortels daarvan was. Voorts word aangetoon hoe die liedere as geestelike liedere ontwikkel het. Daar word verwys na die hergebruik van sekere melodieë by ʼn verskeidenheid tekste, wat dui op die aanpasbaarheid van die kontrafakmelodieë en die mate waarin dit inslag gevind het as kerkliedmelodieë. Verder word daar geredeneer dat historiese afstand tussen die sekulêre bron en die kontrafak daartoe bygedra het dat so ʼn lied sy sekulêre assosiasies mettertyd verloor het. In hierdie artikel kom die voortdurende debat waarin die geestelike teenoor die sekulêre musiek staan ten opsigte van gebruik in die erediens ook ter sprake. Die hernude belangstelling in en skepping van kontrafakte vanaf die laaste dekades van die 20ste eeu word ook ten slotte onder die soeklig geplaas.
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Dufka, Vlastimil. "The Hymn Gloria and Its Place in the Celebration of the Eucharist." Religions 15, no. 1 (January 11, 2024): 95. http://dx.doi.org/10.3390/rel15010095.
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Music is an essential part of human life, but it is also integral to the experience of faith. From its beginnings, music has been associated with religious expression and worship. One of the oldest Christian hymns is the hymn “Gloria in excelsis Deo”-“Glory to God in the highest”, which was originally a component of morning and evening prayer. Later, it became part of the Holy Mass and is still sung during the celebration of the Eucharist on Sundays and feast days. The aim of this study is to provide a comprehensive view of this precious hymn in terms of its historical use. The study pays special attention to the sources of the text of this ancient hymn. A theological analysis of the text is also an indispensable prerequisite for a deeper understanding. Finally, the study offers up-to-date guidelines for the hymn’s use today.
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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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Hartung, Blake. "The Authorship and Dating of the Syriac Corpus attributed to Ephrem of Nisibis: A Reassessment." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 22, no. 2 (September 3, 2018): 296–321. http://dx.doi.org/10.1515/zac-2018-0033.
Повний текст джерелаАнотація:
Abstract A large portion of the Syriac works attributed to Ephrem of Nisibis survives in the form of collected poetic anthologies. This paper argues that previous attempts to assign authorship and date of composition to Ephrem’s hymn cycles mistakenly treat these works as if they were treatises written by Ephrem. Scholars have tended to treat the hymn cycles as units and to judge the authenticity of each cycle as a whole. By contrast, this paper contends that the cycles postdate Ephrem and were assembled and supplemented by later editors. It further proposes that the heterogeneous origin of most of the hymn cycles makes it impossible to date them to a particular time in Ephrem’s career. To hypothesize a date of composition is to assume that Ephrem composed the hymns in that cycle at a particular time and collected them as a unit. Likewise, this paper contends that scholars must be frank about the general lack of historical evidence, which severely challenges our ability to contextualize fourth-century Syriac poetry. The paper concludes by proposing a new approach to questions related to authorship and date of composition, one focused on smaller metrical sub-units (meter-melodies) that comprise the large hymn cycles.
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Katsion, John. "The Hymn Amazing Grace." Journal of Communication and Religion 36, no. 2 (2013): 134–50. http://dx.doi.org/10.5840/jcr201336213.
Повний текст джерелаАнотація:
This paper offers a rhetorical criticism of the hymn “Amazing Grace” by John Newton. Specifically it seeks to answer the question of why a song created for religious audiences has such wide appeal beyond the confines of the church. To explore this question, the methodology of Barry Brummett and Kenneth Burke are applied to the hymn’s lyrics, and the theoretical approach of Deanna and Timothy Sellnow are applied to the hymns music. In the end, it is found that “Amazing Grace” offers equipment for living with life’s trials through the homology of the grace anecdote.
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Balslev-Clausen, Peter. "Verdenssyn og menneskesyn i Grundtvigs salmedigtning." Grundtvig-Studier 41, no. 1 (January 1, 1989): 46–65. http://dx.doi.org/10.7146/grs.v41i1.16018.
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The World Picture and the View of Man in Grundtvig’s Hymns.By Peter Balslev-ClausenThis lecture for the Degree in Divinity at the Faculty of Theology in Copenhagen is a summary of the writer’s studies in the hymns, written by Grundtvig over the years from 1810 to 1872, with a view to determining the overall view of human life and Christianity that constitutes their background. The lecture discusses central concepts in these hymns, taking the point of departure in the word, i.e., speech as expressing the fact that man was created in God’s image. Hymn-singing is seen as man’s reply to God’s address, partly in the church service, partly in the daily prayers, as it is evidenced by the hymn "Congregation of God, Sing Secret Songs of Praise to Our Creator" (Guds menighed, syng for vor skaber i l.n (1847)). This hymn was composed during Grundtvig’s work on a collection of popular ballads, and is modelled on the ballad about hr. Villemand, who, by playing his harp, forces the merman of the river to give his bride back to him.The lecture concentrates on the Mosaic-Christian view of the world and of man, considered, consciously, by Grundtvig to be the contrast to the scientific picture of the world and idea of man of his own age. It is claimed that the new world-picture as Grundtvig saw it, made impossible any notion of a connection between God and man, heaven and earth, creation and consummation, and that without this connection man would lose his identity and his companionship with others. Grundtvig, accordingly, retained the Biblical calendar.Especially after meeting his second wife, Marie Toft, in 1845, and the breakthrough for congregational singing of his hymns in Vartov Church on Christmas Day the same year, Grundtvig came to think of the woman and the human heart as the essence of human nature, in contrast to the rationalistic concept of man, which Grundtvig regarded as a product of Antichrist.Grundtvig was aware that his picture of the world and his view of man was not acceptable to the majority, at least not in the academic world. But he considered it necessary to maintain it, both for the sake of the Mosaic-Christian way of thinking and the Christian faith.The first five years after the meeting with Marie Toft were a turbulent time of regeneration in Grundtvig’s personal life, as it is reflected for example in the hymn "The Clouds Are Turning Grey, and the Leaves Are Falling" (Skyerne gråner og løvet falder). The crisis resolved itself in a new sense of wholeness in life, which is expressed in the series of adaptations of older hymns which did not acquire their final form until the 1850s, such as "O, Christian Faith" (O Kristelighed), "The Sun Now Shines in All its Splendour" (I al sin glans nu stråler solen) and "The Lord Has Visited His People" (Herren, han har besøgt sit folk).Since even today Grundtvig’s hymns are used as existential expressions of the lives of the congregation, the question arises whether they can still be used when his presuppositions no longer apply. Precisely by his strangeness, Grundtvig insists that his reader and participant in the hymn-singing is entirely responsible for acquiring an existential experience of a hymn, on the basis of the assumptions that belong to each individual and are determined by the time he or she lives in.
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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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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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Parker, Robert. "The Hymn to Demeter and the Homeric Hymns." Greece and Rome 38, no. 1 (April 1991): 1–17. http://dx.doi.org/10.1017/s0017383500022932.
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In any history of Greek mythological writing, the longer Homeric Hymns deserve a place of honour. They are the almost unique vehicle of a distinctive and important form of narrative about the divine world. As a prooimion to a discussion of the Hymn to Demeter, it may be worth sketching some general characteristics of the genre, to bring out its special interest for the historian of religion, and indeed for anyone who cares for the imaginative world of the Greeks.
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Krumhansl, Carol L., Jukka Louhivuori, Petri Toiviainen, Topi Järvinen, and Tuomas Eerola. "Melodic Expectation in Finnish Spiritual Folk Hymns: Convergence of Statistical, Behavioral, and Computational Approaches." Music Perception 17, no. 2 (1999): 151–95. http://dx.doi.org/10.2307/40285890.
Повний текст джерелаАнотація:
This study of Finnish spiritual folk hymns combined three approaches to understanding melodic expectation. The first approach was a statistical style analysis of a representative corpus of 18 hymns, which determined the relative frequencies of tone onsets and two- and three-tone transitions. The second approach was a behavioral experiment in which listeners, either familiar (experts) or unfamiliar (nonexperts) with the hymns, made judgments about melodic continuations. The third approach simulated melodic expectation with neural network models of the self-organizing map (SOM) type (Kohonen, 1997). One model was trained on a corpus of Finnish folk songs and Lutheran hymns (Finnish SOM), while another was trained with the hymn contexts used in the experiment with the correct continuation tone (Hymn SOM). The three approaches converged on the following conclusions: (1) Listeners appear to be sensitive to the distributions of tones and tone transitions in music, (2) The nonexperts' responses more strongly reflected the general distribution of tones, whereas the experts' responses more strongly reflected the tone transitions and the correct continuations, (3) The SOMs produced results similar to listeners and also appeared sensitive to the distributions of tones and tone transitions, (4) The Hymn SOM correlated more strongly with the experts' judgments than the Finnish SOM, and (5) the principles of the implication-realization model (Narmour, 1990) were weighted similarly by the behavioral data and the Hymn SOM. /// Tässä suomalaisia hengellisiä kansansävelmiä käsittelevässä tutkimuksessa pyrittiin selvittämään melodisia odotuksia kolmen tutkimusmenetelmän avulla. Ensimmäinen menetelmä oli kyseistä tyyliä edustavien 18 sävelmän tilastollinen analyysi, jossa määritelteltiin sävelkorkeuksien sekä kahden ja kolmen sävelen siirtymien tilastolliset jakaumat. Toinen menetelmä oli behavioraalinen koe, jossa kuulijat arvioivat sävelmien jatkoja. Kuulijat jakaantuivat kahteen ryhmään: sävelmät tunteviin (asiantuntijoihin) ja sävelmiä tuntemattomiin (ei-asiantuntijoihin). Kolmannessa menetelmässä simuloitiin melodisia odotuksia itsejärjestäytyvään karttaan (Kohonen, 1997) perustuvalla keinotekoisella hermoverkkomallilla. Ensimmäiselle mallille opetettiin joukko suomalaisia kansanlauluja ja luterilaisia virsiä (suomalainen verkko), toiselle kokeessa käytettyjä hengellisiä kansansävelmiä (hengellinen verkko). Käytetyt menetelmät tuottivat yhteneviä tuloksia ja antoivat aihetta seuraaviin johtopäätöksiin: (1) kuulijat näyttävät olevan vastaanottavaisia musiikin säveljakaumille ja sävelsiirtymille, (2) ei-asiantuntijoiden vastaukset noudattivat enemmän sävelten yleistä jakaumaa, kun taas asiantuntijoiden vastaukset heijastivat enemmän sävelsiirtymiä ja sävelmien oikeita jatkoja, (3) hermoverkot tuottivat tuloksia, jotka olivat samankaltaisia kuulijoiden arvioiden kanssa ja jotka noudattivat sävelten ja sävelsiirtymien jakaumia, (4) hengellisen verkon tulokset korreloivat suomalaisen verkon tuloksia voimakkaammin asiantuntijoiden arvioiden kanssa, ja (5) behavioraaliset tulokset ja hengellinen verkko painottavat implikaatio-realisaatio-mallin (Narmour, 1990) periaatteita samalla tavalla.
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Fomicheva, Sofia. "The Jewish literature of the second temple as a possible source of Ephrem the Syrian’s doctrine about the teacher as a scribe, inspired by God (in the 6th hymn "De Crucifixione")." St. Tikhons' University Review. Series III. Philology 73 (December 30, 2022): 103–18. http://dx.doi.org/10.15382/sturiii202273.103-118.
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In his 6th Hymn De crucifixione that is consecrated to the interpretation of three days problem of Jesus’ resurrection, the Syriac poet-theologian Ephrem the Syrian (4th c.) functions as a teacher of astronomical and calendric lore. The article focuses on the probable sources of the construction of Ephrem’s authority as a teacher in this hymn. The author demonstrates that the astronomical discourse in the Syriac hymn is constructed with the specific structural devices, e.g., the first-person discourse, the term “calculation” and metaphorically expressed with the image of the scribe. These elements have obvious parallels within the Jewish Aramaic texts of the Second Temple, e.g., “the Aramaic Astronomical Book” and “the Document of Levi”. Like in Ephrem’s Hymn De crucifixione, in these texts are used the astronomical and other arithmetical calculations. The Jewish scribes who composed these works, transformed the old Babylonian mathematical lore into new narrative forms. In the course of this, these real scribes used fictive authority of the biblical figures associated with writing, e.g., Moses, David, Enoch, Noah and others. The author gives heed to the similar use of these biblical figures in Ephrem’s hymns and draws a conclusion about the self-definition by Ephrem as the scribe who is inspired by God and obtain a capability to interpretate God’s “secrets”. As a result, Ephrem “blends” the Christological typological interpretation of the “secret” or “symbol” with ancient Jewish and Mesopotamian connotations. Hence, in his sixth Hymn De crucifixione, the Syrian poet functions not as a theologian but as a teacher with quasi-prophetic status who is aligned with Moses and David and imitates their writing and interpretative activities. In the opinion of the author, these conclusions could shed light not only on the origins of Ephrem’s works, but on the origins of the Syriac Christianity as a whole.
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Janus, Katarzyna. "O anonimowym XVII-wiecznym hymnie do Matki Bożej i jego przekładzie. Inspiracje, loci theologici, poetyka, funkcja przekazu." Polonia Sacra 26, no. 4 (December 30, 2022): 125–52. http://dx.doi.org/10.15633/ps.26406.
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Artykuł prezentuje nieznany hymn maryjny, stworzony w XVII wieku. Utwór został najpewniej napisany po łacinie i przetłumaczony na język polski. W tekście przeprowadzono filologiczną eksplikację utworu, w której zostały uwzględnione konteksty teologiczne i kulturowe. Zwrócono uwagę na świadomy zabieg średniowiecznej stylizacji hymnu. Skoncentrowano się także na wyjaśnieniu funkcji środków obrazowania poetyckiego służących opisaniu postaci Maryi i Jej roli w historii zbawienia. Wskazano inspiracje autora, jego dialog z tradycją i intertekstualne odniesienia hymnu.
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Raath, Andries Gerhardus. "TUSSEN DIE AARDSE JERIGO EN DIE HEMELSE JERUSALEM. RUTGER SCHUTTE (1708-1784) EN DIE PELGRIMSMOTIEF IN SUSANNA SMIT (1799-1863) SE GODSDIENSTIGE DAGBOEKE." Studia Historiae Ecclesiasticae 42, no. 3 (January 23, 2017): 85–101. http://dx.doi.org/10.25159/2412-4265/1820.
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Rutger Schutte (1708-1784), the pietistic author of popular hymnbooks, composed his spiritual verses at a time the religious culture of Pietism was approaching its zenith in the Netherlands and other European countries. In addition to his contribution to Een Nieuw Bundeltje Uitgeknipte Geestelyke Gezangen [A new collection of suitable spiritual songs] (third edition, 1721), he composed three collections of Stichtelijke Gezangen [Edifying hymns] from the early 1760s. In addition to the extensive prefaces in these collections, Schutte added long annotations, thereby creating the impression of academic depth – a style which elicited much criticism. However, Schutte’s hymns introduced a new popular culture of hymn-singing. At the time of his death his hymns had found staunch adherents in many spheres of life. This essay identifies several themes central to Schutte’s hymns: the quest for practical piety; the tension between the heavenly Jerusalem and the earthly Jericho; and the spiritual marriage bond between Jesus and the believer. These themes also surface prominently in the spiritual diaries of the Voortrekker woman Susanna Smit. The entries in her diaries from the early 1840s reflect extracts from Schutte’s hymn “The voyage to Jerusalem” in particular. Her descriptions of and reflection on the metaphor of the Christian pilgrim’s voyage to the eternal Jerusalem served as an important point of reference in her spiritual exercises.
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La Bua, Giuseppe. "Laus deorum e strutture inniche nei Panegirici latini di etá imperiale." Rhetorica 27, no. 2 (2009): 142–58. http://dx.doi.org/10.1525/rh.2009.27.2.142.
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Abstract Latin prose Panegyrics are a fourth-century product of Gallic rhetorical schools; they celebrate the emperor's virtues by widely employing structures and topoi commonly associated with epideictic theory and practice. This paper explores the presence of hymnic features within the corpus of the Latin Panegyrics. The following passages are investigated: 1) the celebration of Diocletian and Maximian as Iovius and Herculius in Panegyrics 10(2).1–6 and 11(3).3; 2) the praise of the Tiber and the hymn to the supreme God in the Panegyric dedicated to Constantine 12(9).18; 26; 3) the hymn to Greece in the Panegyric to Julian 3(11).8. The analysis shows how the panegyrists re-worked the laudatory material by adapting the style and topoi of hymns to gods to praise of the emperor.
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Sjaastad, Egil. "Eskatologien i Landstads salmer." Theofilos 12, no. 2-3 (February 26, 2021): 212–31. http://dx.doi.org/10.48032/theo/12/2/3.
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In a Christian burial, the pastor reads from Scripture about the Resurrection. After the burial, Christians often say: “Now he / she has reached the heavenly glory.” Is that a contradiction? In 2020, we celebrated one of the most significant hymn books in The Church of Norway, published in 1870. The editor, Magnus Brostrup Landstad, wrote many of the hymns himself. This article is a study of the eschatology in these hymns, with an emphasis on how Landstad combined the two motives.
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Arentzen, Thomas. "Livnende stoff, elementers lengsel." Tidsskriftet SANG 2, no. 1-2 (June 7, 2021): 57–67. http://dx.doi.org/10.7146/sang.v2i1-2.137222.
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Musing Matter, Longing Elements: A New-Materialist Approach to Elias Blix’ Baptismal Hymn (145)
As the father of Lutheran hymns in the Norwegian Nynorsk language, Elias Blix (1836-1902) looms in the Scandinavian country’s song culture, and his compositions remain popular, both inside and outside the church. Blix lent significant space to the more-than-human in his poetry, expressing the Christian gospel in the changing of seasons or the budding of plants. This article explores a baptismal hymn from a new-materialist perspective. It demonstrates how the poet cast the initiation rite as a dynamic, erotic dance between the two elements of water and spirit/breath/air. With what one might call an ecocentric sensibility, Blix adumbrated a Christian understanding that decenters the human, as baptismal transformation unfolds with the agency of the elements.
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رشوان, هاني. ""النار العاتية التي ذاقت من طعم وهج اللهيب:"". Al Abhath 68, № 1 (30 грудня 2020): 106–81. http://dx.doi.org/10.1163/2589997x-06801006.
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This article offers the first Arabic translation of a praise hymn dedicated to Ramsess II (d. 1213 B.C.E.), with philological and poetic commentaries. The text was carved on the facade of Abū Simbel temple twice because of its exceptional literary nature, as this study demonstrates. I discuss why Euro- American scholars were unable to separate the literary dimensions of the praise hymns from its political framework, and also tackle the pictorial nature of ancient Egyptian writing, providing the Arabic reader with the necessary instruments for understanding the several visual features that were creatively deployed by the writer to enhance the reading process of this particular praise hymn. I then trace the early foundations of premodern Arabic khiṭāba and its close relation to constructing oral/aural arguments in comparison with balāgha that deals with the literary devices of the Qur’ānic text. This study breaks new ground in the discipline of comparative literature by establishing a collation between the two praise hymns of Ramsess II (d. 1213 B.C.E.) and Senwosret III (d. 1839 B.C.E.). This collation makes it possible to rediscover the way each eulogist built unique or similar images to describe the praised king. The article discusses several problematic questions of loanwords to pave the way for further research on ancient Egyptian words that were incorporated inside the classical Arabic dictionary, and the analysis ends with an ancient Egyptian-Arabic lexicon of the hymn under study. It is hoped that this may encourage the new generation of Egyptian Egyptologists to generate a comprehensive dictionary of the ancient Egyptian language based on direct engagement with ancient Egyptian literary texts.