How Can I Keep from Singing?
Episode IX: Camp Meeting and Revival Gospel Hymns
Christian Revival movements in the 19th century, sometimes associated as the Second and Third Great Awakenings, cultivated a significant repertory of congregation song, fitted to the character of the movement. Often referred to as Camp Meeting or Tent Meeting hymns, these Revival hymns were constructed to appeal to the immediacy of the moment, and thus were often testimonial in nature around the saving power of Jesus and the cross. Images of baptism also abound as well as an encouragement to make spontaneous declarations (“Only Trust Him, Only Trust Him, Only Trust Him Now”). The musical qualities of such an initiative therefore reflected a simpler and more direct language and theology, catchy melodies and refrains that could be learned at first hearing, with simpler harmonies most frontier and rural musicians could easily learn and play.
The result was a particularly popular body of song that persevered well into the 20th century, and is preserved in many denominational hymnals to more or lesser degree pending their emphasis and worship styles. In the Methodist tradition, the Cokesbury hymnal became a popular and enduring hymnal used not only in Revivals but on Sunday evening “hymn sings.” For many, these songs are a core part of their “sacred memory” and are often associated with their own personal conversions or early childhood memories of the Church, family, or people that influenced them to Christ.
We’ll examine the following as representations during this episode:
UMH 156 “I Love to Tell the Story”
UMH 337 “Only Trust Him”
UMH 362 “Nothing But the Blood of Jesus”
Perhaps the finest of all this style of hymn writers is Fanny Crosby. Blind nearly since birth, Fanny never-the-less went on to compose over 8,000 hymns! We’ll discuss briefly “To God be the Glory” (UMH 98), “Pass Me Not, O Gentle Savior” (UMH 351), and end with her most famous and beloved, “Blessed Assurance” (369).
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