“When religious texts are sung well, greater devotion is inspired: souls are moved…and with warmer devotion kindled to piety than if they are not so sung.”– Augustine
“It could not be otherwise but that Christianity be a singing faith. The Founder sang. He learned to sing from His Father. Surely they have been singing together from all eternity… When He speaks, galaxies come into being. And when He sings for joy, more energy is released than exists in all the matter and motion of the universe. If He appointed song for us to release our heart’s delight in Him, is this not because He also knows the joy of releasing His own heart’s delight in song? We are a singing people because we are children of a singing God.”
Week 1: Why Do We Sing
Why do we sing? How many of us could imagine worship without a substantial measure of music? What is it about singing that seems to resonate so powerfully with both our individual and corporate expressions of faith? Today we dive into these questions and more, as we begin to learn the intrinsic nature of God’s gift of music to his people, and our return of that gift to him in the form of hymns and other congregational songs.
Week 2: Biblical Songs and Ancient Hymns
Week 3: Reformation Hymns
The Reformation arrives and congregational hymn singing bursts forth from a long hibernation. Not only did Martin Luther’s 95 thesis send shockwaves through the Catholic Church on doctrinal and theological matters, but eventually he and his followers ushered in some of the great hymns of the Church. Drawn from many musical sources, the Lutherans over time contributed such memorable hymns (or chorales as they called them) as: “A Mighty Fortress is Our God,” “Out of the Depths I Cry to You,” “Now Thank We All Our God,” “Praise to the Lord, the Almighty,” “O Sacred Head Now Wounded,” and many more.
Week 4: English Hymns (Pre-Watts and Watts)
Week 5: The Wesleys I
Hymn singing was critical to the movement’s success as Charles Wesley dwarfed Watt’s 600 hymns be ten-fold – at least 6,500 total if not including some 2,500 additional poems that might be suitable for singing.
John Wesley (1703-1791) was the principal organizer, leader, preacher, whose role in hymns was primarily as editor, compiler, and promoter.
Charles Wesley (1707-1788) also preached and organized, but became known as the greatest hymn writer of the movement, and arguably, ever.
We will look at two hymns in the first episode on Wesleyan hymnody:
Hark, How all the Welkin Rings
Charles Wesley, 1739
UMH 240, but significantly altered and reduced
Jesus, Lover of My Soul
Charles Wesley, 1740
UMH 479
Week 6: The Wesleys II
Week 7: Early American Hymns and Tunes
Though it might have seemed unlikely at the time, slave songs and spirituals would achieve a lasting mark in the development of not only Christian music, but the evolution of some of the most uniquely and quintessentially American musical art forms. Slaves from Africa brought with them a musical tradition and style which included: call and response, repetitive melodic and harmonic structures, significant improvisation and spontaneity within those same structures, intricately weaved and stacked rhythmic patterns along with syncopation, and a soulful singing style, mixed with shouts and other vocalizations.
Fused with Christianity, thus was born the spiritual. The slaves immediately gravitated toward the stories in the bible, particularly Old Testament stories from the Exodus, inspired by God’s freeing of the Hebrew slaves in Egypt. Overtime, the spirituals came to work on different planes of experience: 1) an authentic expression of faith and hope any Christian might recognize; 2) the specific hope and longing for freedom from slavery; 3) embedded code language that often sent immediate messages for a planned escape. We’ll explore a few representatives of the genre that are in the United Methodist hymnal such as Go Down Moses (UMH 448), Swing Low, Sweet Chariot (UMH 703), and Steal Away to Jesus (704).
In generations after the Civil War, Black preachers and other musicians further cultivated Gospel hymns and songs from the spiritual, such as Charles Albert Tindley’s Stand By Me (UMH 512) and Beams of Heaven as I Go (UMH 524). More generally, the influence of slave songs and spirituals would inspire entire new and uniquely American movements such as Ragtime, Blues, and Jazz, which in turn helped influence many of the popular music enjoyed today. Unlikely at the time, and unfortunate in the context of slavery, but this music undeniably altered the American musical landscape and profoundly continues to inspire people of faith even today.
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.
Week 11: Praise and Worship
Week 12: How Can I Keep from Singing?
Why do we sing? How many of us could imagine worship without a substantial measure of music? What is it about singing that seems to resonate so powerfully with both our individual and corporate expressions of faith? Today we dive into these questions and more, as we begin to learn the intrinsic nature of God’s gift of music to his people, and our return of that gift to him in the form of hymns and other congregational songs.
Week 2: Biblical Songs and Ancient Hymns
The people of God are a singing people, and the Bible is replete with songs in both the Old and New Testaments. The early Christians drew on the Judaic heritage of music and worship, and grafted onto it principles of music and notation developed by the Ancient Greeks and Romans, contributing to a new body of hymns for the early Church.
Week 3: Reformation Hymns
The Reformation arrives and congregational hymn singing bursts forth from a long hibernation. Not only did Martin Luther’s 95 thesis send shockwaves through the Catholic Church on doctrinal and theological matters, but eventually he and his followers ushered in some of the great hymns of the Church. Drawn from many musical sources, the Lutherans over time contributed such memorable hymns (or chorales as they called them) as: “A Mighty Fortress is Our God,” “Out of the Depths I Cry to You,” “Now Thank We All Our God,” “Praise to the Lord, the Almighty,” “O Sacred Head Now Wounded,” and many more.
On the heels of Martin Luther came John Calvin in Geneva, Switzerland, who took a more Augustinian approach and approved of singing in a more limited fashion, specifically the Psalms. Creating metrical paraphrases of the Psalms combined with newly written tunes, Calvin both renewed and revolutionized Psalm singing in the era of the Reformation. So influential were these new “psalters” that nearly every reformation movement translated and adapted Calvin’s and musical psalter. The most iconic tune that originated with Calvin’s musicians and later manifested in England as “The Old Hundredth.” Over time, many more break-away movements contributed to a growing and robust Protestant hymnody.
Week 4: English Hymns (Pre-Watts and Watts)
Emerging from their own Reformation saga, the Anglican Church initially focused on Psalms and developed their own Psalters, much in the spirit of Jean Calvin’s musical reforms. While there are a few examples of hymns from the 16th and 17th centuries in England, in the early 1700s Isaac Watts steps into the fore and contributes well over 600 hymns. Disgruntled with only the emphasis on Psalm singing of the times, Watts promoted hymn singing to such a degree that many have called him the “Father of English Hymnody.” Since Watts preached and served in a non-conforming Congregational Church at the time, he was more free to experiment with the concept of hymn singing.
Despite his initial reaction to Psalms, Watts never-the-less adapted many Psalms into hymns, such as “O God, Our Help in Ages Past,” based on Psalm 90. He was also known for “Christianizing” Psalms by including a more overt Christian perspective into particular Psalms, and often boldly cast his hymns into the present tense. When I survey the wondrous Cross for instance forces the singer into the presence of Jesus on the cross. Other Watts favorites still in common use include: “Joy to the World,” “I’ll Praise My Maker While I’ve Breath,” “From all that Dwells Below the Skies,” I Sing the Mighty Power of God,” Alas, and did my Savior Bleed,” Am I a Soldier of the Cross,” “Come We that Love the Lord,” and many more. Watts’ emphasis on hymn singing paves the way for the hymn explosion fostered by the Wesley brothers’ Methodist movement.
Week 5: The Wesleys I
While Isaacs Watts ushered in a new era of English hymn singing, the Wesley brothers, John and Charles, greatly expanded upon its usage in 18th Century England. While remaining Anglican priests all of their lives, their “Methodist” movement none-the-less had far ranging impacts on church and social reform, leading ultimately to a separate Methodist Church (in all its iterations).
Hymn singing was critical to the movement’s success as Charles Wesley dwarfed Watt’s 600 hymns be ten-fold – at least 6,500 total if not including some 2,500 additional poems that might be suitable for singing.
John Wesley (1703-1791) was the principal organizer, leader, preacher, whose role in hymns was primarily as editor, compiler, and promoter.
Charles Wesley (1707-1788) also preached and organized, but became known as the greatest hymn writer of the movement, and arguably, ever.
We will look at two hymns in the first episode on Wesleyan hymnody:
Hark, How all the Welkin Rings
Charles Wesley, 1739
UMH 240, but significantly altered and reduced
Jesus, Lover of My Soul
Charles Wesley, 1740
UMH 479
Week 6: The Wesleys II
Our journey through the hymnody of Charles Wesley continues with such well known and iconic hymns as:
- And Can it Be that I Should Gain (UMH 363)
- Depth of Mercy (UMH 355)
- O For a Thousand Tongues to Sing (UMH 57 and 58)
- Love Divine, All Loves Excelling (UMH 384)
Week 7: Early American Hymns and Tunes
As might be expected, early American immigrant groups brought over their particular worship song and style from the religious movements from whence they came. Early New world efforts focused initially on Psalm Singing and then continued the rich legacy of the Watts and Wesley hymns. However, in the late 18th century, around the Revolutionary War era, an emphasis on music education and “singing schools” helped improve the quality of singing in worship.
Fostered by William Billings and others, early American hymnody offered a rich body of tunes in the shape-note tradition as well as eventually a standard American format developed by Lowell Mason in the mid-1800s. Many of these tunes in common use now first appeared in this era, such as:
NETTLETON (Come Thou Fount of Every Blessing),
NEW BRITAIN (Amazing Grace),
HOLY MANNA (Brethren, We Have Met to Worship),
FOUNDATION (How Firm a Foundation),
LAND OF REST (O Lord Who Throughout these Forty Days), and many more.
The shape-note hymns often contain a rhythmic rustic character, while Mason’s were designed to be more singer friendly in a style supported by organ playing.
Mason’s contributions included:
ANTIOCH (Joy to the World),
AZMON (O For a Thousand Tongues to Sing),
HAMBURG (When I Survey the Wondrous Cross), among others.
Fostered by William Billings and others, early American hymnody offered a rich body of tunes in the shape-note tradition as well as eventually a standard American format developed by Lowell Mason in the mid-1800s. Many of these tunes in common use now first appeared in this era, such as:
NETTLETON (Come Thou Fount of Every Blessing),
NEW BRITAIN (Amazing Grace),
HOLY MANNA (Brethren, We Have Met to Worship),
FOUNDATION (How Firm a Foundation),
LAND OF REST (O Lord Who Throughout these Forty Days), and many more.
The shape-note hymns often contain a rhythmic rustic character, while Mason’s were designed to be more singer friendly in a style supported by organ playing.
Mason’s contributions included:
ANTIOCH (Joy to the World),
AZMON (O For a Thousand Tongues to Sing),
HAMBURG (When I Survey the Wondrous Cross), among others.
Though it might have seemed unlikely at the time, slave songs and spirituals would achieve a lasting mark in the development of not only Christian music, but the evolution of some of the most uniquely and quintessentially American musical art forms. Slaves from Africa brought with them a musical tradition and style which included: call and response, repetitive melodic and harmonic structures, significant improvisation and spontaneity within those same structures, intricately weaved and stacked rhythmic patterns along with syncopation, and a soulful singing style, mixed with shouts and other vocalizations.
Fused with Christianity, thus was born the spiritual. The slaves immediately gravitated toward the stories in the bible, particularly Old Testament stories from the Exodus, inspired by God’s freeing of the Hebrew slaves in Egypt. Overtime, the spirituals came to work on different planes of experience: 1) an authentic expression of faith and hope any Christian might recognize; 2) the specific hope and longing for freedom from slavery; 3) embedded code language that often sent immediate messages for a planned escape. We’ll explore a few representatives of the genre that are in the United Methodist hymnal such as Go Down Moses (UMH 448), Swing Low, Sweet Chariot (UMH 703), and Steal Away to Jesus (704).
In generations after the Civil War, Black preachers and other musicians further cultivated Gospel hymns and songs from the spiritual, such as Charles Albert Tindley’s Stand By Me (UMH 512) and Beams of Heaven as I Go (UMH 524). More generally, the influence of slave songs and spirituals would inspire entire new and uniquely American movements such as Ragtime, Blues, and Jazz, which in turn helped influence many of the popular music enjoyed today. Unlikely at the time, and unfortunate in the context of slavery, but this music undeniably altered the American musical landscape and profoundly continues to inspire people of faith even today.
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.
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).
Week 10: Modern Traditional Hymns & Tunes
Perhaps not surprisingly, the modern era is more pluralistic in its styles of hymns and other congregational songs, as Christianity has further expanded in terms of denominational and non-denominational movements, as well as cultural developments from other countries where Christianity has flourished.
Week 10: Modern Traditional Hymns & Tunes
Perhaps not surprisingly, the modern era is more pluralistic in its styles of hymns and other congregational songs, as Christianity has further expanded in terms of denominational and non-denominational movements, as well as cultural developments from other countries where Christianity has flourished.
In this episode, we’ll highlight the Oxford Movement of the 19th century, which generated a recapturing of ancient Greek and Latin hymns, and Reformation hymns. Many iconic poetic translations of hymns were accomplished during this movement, as well as the offering the first hymnal that interlined the music and words in the fashion that most modern hymns do (Hymns Ancient and Modern). Another impactful moment came with the publishing of the 1906 English hymnal, which marked one of the few times an accomplished composer (Ralph Vaughan Williams) took part in such an endeavor. The result was a wealth of new tunes and fresh part-writing and harmonization that set a new standard in the music of hymns. We’ll look briefly tunes such “For All the Saints” (UMH 711) and “At the Name of Jesus” (UMH 168). Vaughan Williams also contributed a number of folk songs and incorporated many Welsh tunes into mainstream hymnody (FOREST GREEN, KINGSFOLD, CWM RHONDA, HYFRYDOL for examples).
Lastly, modern hymn writers sought to bridge the evangelical flavor of 19th century hymns with social concerns of the 20th century. One prime example is Fred Pratt Green, who upon his retirement as a British Methodist pastor, took up hymn writing. Among many of his excellent contributions are “When the Church of Jesus” (UMH 592), "Rejoice in God’s Saints" (UMH 708), and “When in our Music God is Glorified” (UMH 68).
Week 11: Praise and Worship
The music of the church and culture have always had an interesting relationship, sometimes intentionally divergent and sometimes quite convergent. While the medieval church centered on the “otherness” of chant, Martin Luther eventually incorporated the popular style of the musical minstrels of his day with a more rhythmic and syncopated style of church singing. Mozart’s church masses sound much like his operas - the popular music of his day, though somewhat more reserved. Not surprising in our own era, there arose a more “contemporary” style of music, first emerging in youth campfire and retreat songs and later in full fledged services in the church, sometimes called “seeker services.” Over time, this movement forged its own path and particular character in the form of “praise and worship” songs, assisted in popularity through the rise of Christian radio stations.
To some degree, its identity resonates in its rhythmic character, pop-like melodies, and instrumentation (guitars, drums, keys, etc.). However, the lyrics have evolved from more ambiguous texts (Draw Me Close to You) to updating of traditional hymns, to songs emphasizing evangelical theology (2nd birth, conversion), and are often richly centered on Christ’s story and salvation acts. In many ways, both the musical and theological content of this style of music echo the revival hymn era of the 19th century: catchy melodies, a more informal musical style, and a straightforward textual theology centered on Jesus’s gift of salvation and our personal response and transformation. Additionally, the lyrics are often written in second person language, sometimes similar to the Psalms in this manner, creating a sense of direct communication between sinner and savior.
To some degree, its identity resonates in its rhythmic character, pop-like melodies, and instrumentation (guitars, drums, keys, etc.). However, the lyrics have evolved from more ambiguous texts (Draw Me Close to You) to updating of traditional hymns, to songs emphasizing evangelical theology (2nd birth, conversion), and are often richly centered on Christ’s story and salvation acts. In many ways, both the musical and theological content of this style of music echo the revival hymn era of the 19th century: catchy melodies, a more informal musical style, and a straightforward textual theology centered on Jesus’s gift of salvation and our personal response and transformation. Additionally, the lyrics are often written in second person language, sometimes similar to the Psalms in this manner, creating a sense of direct communication between sinner and savior.
Week 12: How Can I Keep from Singing?
We began this journey considering the ideas of singing and why this act is so consequential to our individual and corporate faith, and its integral nature to worship. In our final episode, what are our concluding thoughts and summations? What have we learned along the way? Any new favorite hymns or eras of hymns? What encouragements might we offer?
And, we’ll take a final look at our titular hymn, How Can I Keep from Singing!
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