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The Hymnology
Annual
An International Forum on the Hymn and Worship
Volume One Back
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Theme ICongregational
Singing Today
Chapter
One Back
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"If they don't sing it, they don't believe it." Singing
in the Worship Service. Expression of Faith or Unreasonable Liturgical
Demand?
by Philipp Harnoncourt
Philipp Harnoncourt's foundational essay on
congregational singing moves the reader away from mere matters
regarding a narrow choice of hymns or their performance practice
to the fundamental question as to why we should sing at all as
a church. Further, a number of pertinent theological, physiological
and social considerations lead toward a valid basis for a vital
expression of our faith through singing in the congregation today.
Chapter Two
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Theological Dimensions of Mission Hymnody:
The Counterpoint of Cult and Culture
by Robin A. Leaver
The following five articles address various
aspects of hymnody in non-Western situations and the hymnological
process of moving away from a colonialistic view of hymnody to
a contextualization of the Gospel. Robin A. Leaver's essay helps
us onto an appropriate theological and cultural basis in which
a global approach to worship and hymnody can occur.
Chapter Three
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Hymnody in the Context of World Mission
by Mary K. Oyer
Mary Oyer employs examples from Sub-Saharan
Africa to lead the reader into purposeful ways of understanding
the music and hymnody of another culture.
Chapter Four
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Words and Music in Cross-Cultural Hymnody, an Aspect and a New
Song
by Gerhard M. Cartford
Gerhard M. Cartford provides insight into
a number of aspects of the inter-cultural experience in reference
to hymnody in Latin America.
Chapter Five
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Report from Latin America
by Gerhard M. Cartford
Further access into current congregational
singing practice in South America if offered here by Gerhard
M. Cartford.
Chapter Six
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Toward Contextualization of Church Music in Asia
by I-to Loh
I-to Loh deals with developing the principle
of contextualization in hymnody by means of the form and statement
of certain published hymns from the Orient over a period of time.
Chapter Seven
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Criteria for the Usability of New Hymns in Hymnals
by Heinrich Riehm
Pastor Heinrich Riehm presents just one "chapter"
in the exacting process for planning the new German Protestant
hymnal, a process which has been in operation since publication
of the previous hymnal (1950). That particular procedure deals
with new hymns. Although the demands in formulating any hymnal
anywhere are unique, at least some principles here should be
helpful to others facing a similar challenge.
Chapter Eight
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Theological Considerations for Poetic Texts Used by the Assembly
by Thomas A. Troeger
Theological and linguistic challenges for
the contemporary hymntext poet come to light in the following
article by Thomas H. Troeger, whose hymntexts are found in countless
new English-language hymnals. The rigorous demands upon the poet
as artist and servant are considerable and the responsibility
quite exacting.
Chapter Nine
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Poet in the Congregation
by Brian Wren
The definition of the hymn for the contemporary
context is articulated by the poet-theologian, Brian Wren. His
process for arriving at a valid hymnic statement currently is
presented as a test for anyone writing or using a hymn.
Theme IILiturgical
Renewal
Chapter One
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Music in the Service of Reconciliation
by Walter J. Hollenweger
The first of two contributions from Great
Britain regarding the liturgical renewal was written by the Swiss
theologian, Walter J. Hollenweger. His article, which admonishes
the church to employ music in a caring manner that includes people
in various sectors of society and at different levels of musical
proficiency, is finding broad acceptance also in its [Swiss]
German version. (See Musik und Gottesdient, XLIV/1 [1990], 5-15.)
Chapter Two
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New Hymns for New Liturgies
by Thomas Baker
The second entry from Britain regarding the
renewal comes from the pen of the Dean of Worcester, the Very
Reverend Thomas Baker. He helps us see the potential role of
new hymns within new liturgies. For all persons outside Britain,
it is important to realize that the British hymn "explosion"
had already been in process for a number of years at the time
this article was written. Especially in the American situation,
where the "explosion" began years later, the principles
articulated here should be an aid to insight and understanding.
Chapter Three
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Theological Problems of Church Music
by Cardinal Joseph Ratzinger
The following article by the prolific theological
author, Cardinal Joseph Ratzinger, is a statement on the role
of church music in the liturgical renewal as seen from within
the central European context.
Chapter Four
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Do we Need a New Concept for Church Music Today?
by Oskar Söhngen
In Oskar Söhngen's treatment of basic
theological and musical aspects of the church music situation
in Germany from the 1930's through the 70's, the church musician's
work is seen as having a strong artistic dimension - and a convincing
case is made for the purposeful church concert - while the worship
service and the life in faith are at the heart of the entire
endeavor.
Chapter Five
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Elite - Thoughts to a Trendy, Abusive Word
by Andreas Marti
The following terse entry by Andreas Marti,
a musician, teacher, hymnologist and writer from within the Swiss
Reformed Church, potentially speaks to and for countless church
musicians, clergy, church leaders and members of congregations
almost everywhere. To receive maximum benefit from the article
some of the precise terms and situations may need adjusting.
The noble expression "elite," or perhaps "expert,"
can be seen as something negative expressed by a congregation
that feels left out by the church musician whose work is on a
level where the congregation has difficulty finding its identity.
The author reverses the application of the term "elite"
from an abusive principle to a compliment that should eagerly
be picked up by church musicians and challenge them to apply
the indeed necessary elite training in a appropriate manner in
their work within the church. Not everyone can be such a "called"
person, and the church must certainly guard against misinterpreting
"the priesthood of all believers."
Chapter Six
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Church Music in the USA: Steps Toward Renewal of the Worship
Service
by Vernon Wicker
The closing article in this section on liturgical
renewal approaches the theme from the point of reference of an
important re-discovery of several "roots" (initially
for the American, but also potentially in various ways for others).
These are culture, church life and church music. The categorization
of basic views of liturgy in the USA, the vital place of liturgy
in the life of the individual and congregation, and a many-sided
approach to any worship experience lays the groundwork for dealing
with typical problems and their sources. Finally, steps toward
a successful renewal create the basis for examining the "fruit"
of such a renewal: the production of the so-called religious
affections which are closely related to the fruit of theSpirit
(Galatians 5:22-23).
Theme IIIHymns
Chapter One
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Carols of the British Isles
by Alan Luff
The following overview of British carols by
Alan Luff not only aids toward an understanding of that specific
genre, but demonstrates an important example of folkmusic in
hymnody.
Chapter Two
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"Komm, Heiliger Geist, Herre Gott" ("Come, Holy
Ghost, Lord and God").
Regarding the History of a Tune
by Konrad Ameln
Konrad Ameln's article is introduced here
by means of the English summary by Alan Luff and Ada Kadelbach
provided at the close of the original article in the Jahrbuch
für Liturgik und Hymnologie.
Chapter Three
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"Herzliebster Jesu, was hast du verbrochen?" ("Ah,
Holy Jesus, how has thou offended?") and its Sources
by Elke Axmacher
Elke Axmacher brings us to the renown Protestant
Passion-hymn "Herliebster Jesu, was hast du verbochen?"
("Ah, Jesus, how has thou offended?"), presenting an
exacting literary analysis and an informative theological perpective
of the Passion-theological process relating to this text as it
evolved from St. Augustine, to Martin Moller and further to Johann
Heermann. Although the hymn in its fullest form is a spiritual
treasure for the contemporary church, two of its fifteen stanzas
are missing in the present German Protestant hymnal [EKG] and
merely four are even typically included in most American hymnals.
Regarding the English translation following the German text below,
familiarity was considered before literal accuracy, therefore
the opening stanzas are rendered in the well-known Bridges rendition
used in many English-language hymnals and for most of the remaining
strophes in Catherine Winkworth's version.
Chapter Four
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"Kann uns doch kein Tod nicht töten" ("Now
there is no death to harm us").
Paul Gerhardt's Final Words
by Christian Bunners
For many, Christian Bunners' article will
be the introduction to one of Paul Gerhardt's most influential
hymn stanzas, although the hymn, including its eighth strophe,
is not to be found in any mainline American hymnal. (A problem
which could be corrected!) The hymn clearly represents a strong
unity of theology and personal piety. Last, but not least, Bach
used it in his motet, "Fürchte dich nicht" ("Fear
not") (BWV 228).
The Hymnology
Annual
An International Forum on the Hymn and Worship
Volume Two Back
to top
Theme ICongregational
Singing Today, Part II
Chapter One
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Sacred Sound and Meaning:
Theological Reflections on Music and Word in Christian Worship
by Richard Viladesau
Richard Viladesau constructively considers
some of the historical and theological tensions between the established
church and use of music in its worship of God. Coming from a
Roman Catholic point of view, the author offers universally valid
and valuable ways to perceive worship music.
Chapter Two
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The Use and Performance of Hymnody, Spirituals, and Gospels
in the Black Church
by Portia K. Maultsby
Portia Maultsby traces the historical and
practical development of singing and music making in Black churches
in the United States and thereby not only provides a basis for
understanding that tradition, but also reveals some elements
which have influenced and are influencing many forms of music
in the contemporary non-Black church in various denominations.
Chapter Three
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What is a Good Hymn?
by Gerhard Aeschbacher
Gerhard Aeschbacher's printed lecture offers
a thought-provoking, honest process toward establishing valid
criteria for evaluating hymnody or any other pieces we might
sing within a worship service. Clear discernment is needed, not
only pertaining to the theological content of a text, but regarding
the affective statement of any accompanying music.
Chapter Four
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Art and Kitsch as a Problem of Hymnology
by Andreas Marti
Andreas Marti convincingly discusses the controversy
between that which has aesthetic quality and that which is trivial,especially
when viewing contemporary hymns and Christian songs. At the root
of the problem lies the question of genuine communication and
the value of that which is being communicated.
Theme IIThe
Psalms
Chapter One
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The Psalms as Prayer
by Walter Brueggemann
Walter Brueggemann establishes a theologically
sound basis for understanding and creatively using the Psalms
as prayer. The exacting thought process demanded here leads us,
the church, into a more profound interaction with God and thus
accomplish a more effective ministry in the world.
Chapter Two
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What Do We Do, When We Sing the Psalms?
by Alan Luff
Alan Luff candidly and constructively addresses
some problems associated with various primary Psalm genres, such
as metrical Psalms and chanted psalmody, as well as makes helpful
suggestions for some of their solutions.
Chapter Three
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The Huguenot Psalter
by Édith Weber
The following four articles by Édith
Weber, Klaus Bäumlin and Emily Brink present historical
background of the metrical Psalm as it evolved during John Calvin's
movement, describe some of its unique musical, literary and theological
qualities, and finally show some of its relevance in the worship
context at present in Switzerland, France and America. The sequence
begins with Édith Weber's brief encyclopedia entry on
the Huguenot Psalter.
Chapter Four
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The Melodies of the Huguenot Psalter from Their Origin to the
Present
by Édith Weber
Édith Weber continues her deliberations
on the metrical Psalm in her article on the historic development
of the tunes from the Huguenot Psalter. Especially for French-speaking
Protestants and many Reformed Christians everywhere, the metrical
Psalm represents a strong symbol of unification.
Chapter Five
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The Unreasonable Demand of the Genevan Psalms-
Remarks on a Forgotten Reformed Heritage
by Klaus Bäumlin
Klaus Bäumlin examines the roots of Genevan
metrical Psalm singing and the musical, literary and strong theological
demands they make especially upon the Reformed believer. Numerous
examples illustrate the various aspects. The author further demonstrates
the singability and relevance of these Psalms for the contemporary
worshipper.
Chapter Six
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Metrical Psalmody: ATale of the Traditions
by Emily Brink
Emily Brink tells the insightful story of
metrical Psalm and hymn singing as she experienced it, growing
up in the Christian Reformed tradition in North America. From
the origination of the metrical Psalm tradition in English, there
have been those pieces originally written in English and those
translated into English from original Genevan versions. These
two legacies have contrasting metrical beginnings, approaches
to Psalm texts, and melodic traditions. And metrical Psalm singing
is not only alive at present, but even increasing in its vitality
and wide-spread use.
Chapter Seven
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On Rhyming David in the North
by Arve Brunvoll
Arve Brunvoll briefly surveys metrical Psalms
as they have been included in Norwegian Luheran hymnals, gives
a practical example of psalmody as proposed for their new hymnal,
and appraises the appropriate role of Psalms and metrical Psalms
in Norwegian Lutheran worship.
Chapter Eight
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Congregational Psalmody According to the Lutheran Tradition:
Spiritually, Musically, Liturgically
by Frieder Schulz
Frieder Schulz considers congregational psalmody
in the Lutheran tradition from a theological, musical and liturgical
perspective as it historically evolved in Europe. Current developments
in Europe are examined and finally discussed as they are found
in the Lutheran Book of Worship (Minneapolis, 1978).
Theme IIIHymns
Chapter One
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Paul Gerhardt's Advent Hymn, "WIESOLL ICH DICH EMPFANGEN"
["Ah, Lord! How shall I meet thee"].
The Hymn and its Roots in Lutheran Theology
by Elke Axmacher
Elke Axmacher analyzes Paul Gerhardt's Advent
hymn, "WIE SOLL ICH DICH EMPFANGEN" ("Ah, Lord,
how shall I meet thee"), not only showing the strong personal
piety and clear grounding in orthodox Lutheran theology, but
also a vital current relevance.
Chapter Two
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"...in heavenly peace...' Regarding the Christmas Carol
"Stille Nacht, Heilige Nacht"
by Hans Musch
Hans Musch helps redeem the famous Christmas
hymn, "STILLE NACHT, HEILIGE NACHT" ("Silent Night,
Holy Night"), from its wide-spread commercialistic treatment.
Not only is the origination of the piece clarified and the qualities
which made it universally popular, but also the significance
of the piece at present.
Chapter Three
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The Huron Carol "JESOUS AHATONHIA"
by Hugh D. McKellar
Hugh McKellar offers a brief evolution of
the Huron [native Canadian] carol, "JESOUS AHATONHIA"
["'Twas in the Moon of Wintertime"] and helps establish
how little of the original carol is, in fact, present in most
contemporary hymnals.
Chapter Four
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The Date of Coverdale's "Goostly psalmes"
by Robin A. Leaver
Robin Leaver provides insight into the dating
of a newly-discovered fragment of Miles Coverdale's Goostly psalmes
and its significance as source for the earliest printed version
of five famous Continental European Reformation hymntunes.
Chapter Five
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A Newly-discovered Fragment of Coverdale's "Goostly psalmes''
by Robin A. Leaver
Robin Leaver gives further information about
the important fragment of Miles Coverdale's Goostly psalmes,
a British document which plays a notable role in the history
of the Reformation hymn.
The Hymnology
Annual
An International Forum on the Hymn and Worship
Volume Three Back
to top
Theme ICongregational
Singing, Part III
Chapter One
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An Exploration of the Devotional Context
in which the Hymn and Worship-song Are Used
by Alan Luff
Alan Luff presents thought-provoking, constructive
ideas regarding the meaning of the hymn and worship-song to Christians
at various points along their pilgrimage, especially at stages
after any initial enthusiasm, that is, during the everyday
life in faith.
Chapter Two
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Beyond 'Alternative' and 'Traditional' Worship
by Paul Westermeyer
Paul Westermeyer challenges the church, regardless
of musical taste trends, to move with purpose to the venerated
objectives for the worship service. After posing some questions,
the author suggests seven characteristics upon which to concentrate,
rather than upon the debate between traditional and alternative
forms of worship.
Chapter Three
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Music and the Liturgy
by Raymond Warren
Appropriate use of music in liturgy is dealt
with by Raymond Warren. Not only an appropriate juxtaposition
of text and tune is thoughtfully considered, but also matters
relating to areas such as structure, flow, accent, climax, shape,
duration and affect.
Chapter Four
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The Language of Hymns: Some Contemporary Problems
by J. R. Watson
J. R. Watson deals with current trends and
views in the struggle and process toward appropriate, dynamic
language for hymns in English. Although the article was written
from a British perspective, the principles addressed here are
nearly universal at present. Excellent examples from numerous
sources well-document the author's thoughts. The list of acknowledgments
serves in part as a helpful list of publications and publishers
of new hymns.
Chapter Five
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Contemporary Issues in Inculturation, Arts and Liturgy: Music
by I-to Loh
Dr. I-to Loh addresses pertinent concerns
regarding the relevance and integrity of hymns and liturgy within
a given culture. As in his article in Volume I of the Hymnolgy
Annual , the author is attempting here to help Asian cultures
arrive at inculturated texts and musical forms in hymns, even
when translated from Western sources. Such hymns would then be
accessible and appropriate for them and ones with which they
could identify. Recordings and scores of the examples are available
from the Asian Insitute for Liturgy and Music, P. O. Box 3167,
1099 Manila, Philippines.
Chapter Six
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Spanish American Hymnody: A Global Perspective
by Pablo Sosa
Pablo Sosa presents a brief history of hymns
and hymn singing in Latin America, as it developed in Spain in
the early centuries of Christianity, came to the New World during
the 16th century, and experienced an essential rejuvenation under
the Second Vatican Council. The author then examines the meaning
of this singing in a theologically liberal interpretation of
the ecumenical as propagated by the World Council of Churches.
Chapter Seven
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Swedish Tradition in Swedish American Hymnals and Songbooks
by Gracia Grindal
A history of hymnals and songbooks, and therefore
the singing, of Swedish Lutherans, first in Sweden, then in the
United States, is thoughtfully presented by Gracia Grindal. There
is not only concern for tradition gained, but also for tradition
lost, along the way, from the Reformation to the present, in
particular in the tension between the mainline church (the Swedish
Augustana Synod) and Pietism.
Theme IIThe
Hymn and Composers
Chapter One
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Johann Sebastian Bach and the Protestant Hymn in His Time
by Walter Blankenburg
The following two entries belong together:
the article by the late Walter Blankenburg and a response to
that article by Robin A. Leaver. Dr. Blankenburg helps the reader
see parts of the context in which the hymn and the soloistic
aria were used in Bach's situation and works. Although these
deliberations are worthy, a necessary part of those considerations
was overlooked and therefore is presented here in the form of
a helpful response by Robin A. Leaver.
Chapter Three
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Bach, Handel and the Use of the Hymn in Their Vocal Works
by Vernon Wicker
In the minds of many, the role of the Reformation
hymn in the works of German baroque composers is not a question
but a given. But by comparing that role in the vocal works of
Bach and Handel, one is able to see more of the context necessary
for a broader understanding of reasons or criteria for the inclusion
or exclusion of the hymn in specific cases. At least some of
these cases have to do with the personal faith of the composer
writing the music. Vernon Wicker's deliberations also include
some rather unexpected examples from solo vocal music.
Chapter Four
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Hugo Distler and the Awakening of Church Music
by Gerhard Kappner
Gerhard Kappner discusses the little-known
giant of German Lutheran church music from the second quarter
of the Twentieth Century: Hugo Distler. His remarkable musicality,
liturgical sensitivity and spiritual insight are dealt with in
his process of relating to the rich tradition of congregational
and choral singing and music making. He created something new
and relevant, both challenging for the musically capable, as
well as accessible for the amateur. The important role of the
organ and organ building is a part of the process. Helpful information
regarding Distler's compostional models are given in quotes from
friends, teachers and his own writings. Hugo Distler made a significant
contribution to church music and the hymn in his time and represents
a worthy discovery in ours.
Chapter Five
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Hymntunes as Themes in Mendelssohn's Works
by Gerhard Schumacher
The role of the chorale in various themes
in works by Felix Mendelsssohn Bartholdy is considered by Gerhard
Schumacher. After a brief overview of more recent research of
the compositions and life of the great composer, along with some
pertinent quotes by Mendelssohn and various scholars over the
years, several well-known works, both sacred and secular, are
examined regarding inclusion or suspected inclusion of chorales.
There are some cases, of course, where the particular hymntune
cannot be accurately identified. The chorale-variation form is
measured against classic forms such as the sonata and the rondo.
Finally, the author especially challenges hymnologists to help
solve the open questions regarding identification of sources
of hymnological and church musical influences in Mendelssohn's
works.
Theme IIISpecific
Hymns and Genres
Chapter One
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Martin Luther's Hymn "Ein feste Burg ist unser Gott"
("A Mighty Fortress is our God") and Psalm 46
by Inge Mager
Inge Mager presents the reader with a thorough
historical and theological treatment of Martin Luther's famous
hymn: "Ein fest Burg ist unser Gott," showing its relationship
to Psalm 46.
Chapter Two
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"Wer nur den lieben Gott lässt walten" ("If
thou but suffer God to guide thee")
by Gottfried Gille
Gottfried Gille presents a way of connecting
a given hymn with the biography of the hymnwriter. In this case
he employs Georg Neumark's classic hymn of faith and courage
in the face of personal danger and difficulty as his model: "Wer
nur den lieben Gott lässt walten" ("If thou
but suffer God to guide thee"). The author's practical approach
comes to us by way of Christian education and confirmation materials
during the time of Socialist East Germany.
Chapter Three
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Gregorian Chant in Our Time
by Philipp Harnoncourt
Philipp Harnoncourt helps the reader understand
the purpose and significance of Gregorian chant during our present
period following the Second Vatican Council, in the Roman Catholic
Church and elsewhere; in the Latin original as well when its
principles are simply applied to a "Gregorian chant"
in non-Latin languages. The German examples referred to at various
places in the following article are also valid for other vernacular
contexts.
Chapter Four
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Biblical Text and Metaphor in Charles Wesley's Hymns
by J. R. Watson
J. R. Watson sheds light upon Charles Wesley's
honest struggle in his countless hymns to express the inexpressible
dimensions of his spiritual experience. Insight is accomplished
by way of examining Wesley's particular use of scripture and
the metaphor.
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