David W. Music is a professor of church music at Baylor University. As a researcher in hymnology he wrote several articles and books related to music history and congregational song. Paul A. Richardson teaches voice and church music at Samford University. He was also the president of the Hymn Society in the United States and Canada. In this chapter, Music and Richardson point out specific historical characteristics that describe the development of the Sunday school song and the gospel song during the nineteenth and twentieth century in America. According to them, these two styles of congregational song are closely related, and they are significant components of Baptist congregational song (307). Therefore, the authors’ purpose is to illustrate …show more content…
First, they explain the influences of the camp meeting hymns and the revival movements in America during the early nineteenth century (307). According to them, the revival movement had a significant impact on congregational song since several collections of revival hymns were created, such as the Christian Lyre and Village Hymns (308). They also assert that the camping meeting hymns were based on folk hymns and secular folk songs. Moreover, the authors describe the origins and the purpose of the Sunday school that initially, was focused on children (310). They explain the development of the Sunday school song in the North and in the south of the United States and according to them, the Sunday school tune style emerged in the 1860’s. The Sunday school tunes could be described as simple melodies based on basic harmony, repetitive rhythms, and simple meters …show more content…
The authors accomplish their goals by illustrating and discussing a list of hymn collections and their compilers’ contribution to congregational song (322, 337-338). This list reinforces the authors’ thesis that the Sunday school song and the gospel song play an indispensable role in the current America Baptist hymnody. Moreover, the author’s sources of study are reliable and concrete since those hymnals and collections are fundamental resources that confirm the history and the uniqueness of the American Baptist hymnody. Although the authors consider the influence of the camp meeting hymns on the Sunday school song and the gospel song, they could also explore with more details the major aspects that motivated the camping meetings and its developments on congregational song (307-308). This, would clarify their studies, by enriching the discussion and adding more complete information to the work. Nonetheless, further research on the topic is necessary to strengthen the authors’
Houser Hamm, Marilyn. “Singing our salvation.” Vision (Winnipeg, Man.) 7, no. 1 (2007): 54-60. ATLA Religion Database with ATLASerials, EBSCOhost (accessed November 19, 2013).
The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, 20 vols. (London: Macmillan, 1980)9: 708-709
Even though there is only one scene in this novel that involves a church, hymn music is one of the most prominent themes in Cold Mountain. Even more surprisingly, Frazier’s usage of hymn music throughout the novel is very accurate. Hymn music during the Civil War was extremely important to the Christian churches as well as to society as a whole. Religious music was a wonderful representation of the values and culture of the times (Squire 237). It is through hymns during the Civil War that values and culture are passed down. The hymns of Monroe’s church caused Ada to grow...
the Landing of the Pilgrims to the Close of the Civil War, 1620-1865”Journal of the American Musicological Society, Vol. 18, No.2. (Accessed January 30, 2012).
At the onset of the twentieth century singing was still the fundamental activity in schools, and sc...
In Walter B. Shurden’s The Baptist Identity, he looks at four of the core elements, or freedoms, that shape and mold Baptist theology and their identity. The four core concepts he explores in his book are Bible freedom, soul freedom, church freedom, and religious freedom. While looking at these four values, he examines how they mold and shape the Baptist identity and how they came to be. The origin to each of these values in the Baptist tradition is addressed as well as their benefits and draw backs. He explains their purpose and necessity in the Baptist denomination and how it effects the denomination as a whole.
8. Waley, Arthur, and Joseph Roe. Allen. The Book of Songs. New York: Grove, 1996. Print.
Sadie, Stanley. New Grove Dictionary of Music and Musicians, The. Vol. II New York: The MacMillan Company, 1928
David W. Stowe, No Sympathy for the Devil: Christian Pop Music and the Transformation of American Evangelicalism (Chapel Hill, NC: University of North Carolina Press, 2011), p. 1
The Hinário Para o Culto Cristão (HCC) is one of the most well-known collection of sacred hymns adopted by several traditional Baptists churches in Brazil currently. One could affirm that church music is always in a process of development as observed in the history of the church. According to the history of church music, religious music always had the power to influence a local community, and among the Baptists in Brazil, it was not different. Researchers support the idea that the growth of the Pentecostalism in Brazil during the late eighties could be one of the reasons for the reformulation of the main Brazilian Baptist hymnal known as Cantor Cristão. The purpose of this essay is to demonstrate that the HCC worked as a tool
Combined Choirs. 1964. A History of First Baptist Church Lindale, Georgia. N.p.: n.p., n.d. 1-68. Print.
...hing “bad” happened they found a way to rejoice in the suffering. The Puritan believers were selfish with sharing their faith. A plantation missionary stated that sharing the gospel to slaves would “promote our own mortality and religion.” However the gospel and religion the masters shared with their slaves did not remain the same. The slaves were able to apply their faith to their lives, their work, and their future. The faith the slaves possessed was rich in emotion and free from preexisting regulations. In this class we focus on the many faces and interoperations of Christ that change with the seasons of history. The slave faith represented in Jupiter Hammon’s poem shows a high level of integrity and selfless, personal application of faith. The emotion and need for Christ the slaves had during this time created a new realm of relationship in the evangelical era.
In an age when culture continues to lower standards of intellect, Marva Dawn makes compelling observations and suggestions for the Church to rethink its’ strategy on impacting society. How do we evangelize without weakening the message of what we are communicating? The majority of her text focuses on the worship environment generally, but later she focuses on music, preaching, and liturgy specifically. According to Dawn, a gathering of believers should emphasize God as the subject and object of worship, challenge each individual to grow in godly character, and accentuate the community of believers (not only in the room, but throughout history as well). Through this grid, she encourages leaders and participants to evaluate each worship element. If these primary goals are accomplished, then worship will not be empty and simpleminded. Instead the worship atmosphere would be held to a higher standard and, she believes, both pleasing to God and attractive to those who do not know God.
There have been hundreds of articles written on Elvis Presley, as he was a prominent figure in the late 20th century; most people know Presley as the man who changed the music industry by introducing lewd or suggestive dance moves to the stage. This article, however, focuses on the southern spirituality of Presley. As mentioned in the seventy-fifth and seventy-sixth page of the journal, this is relatively unexplored territory. The article Just a Little Talk with Jesus by Charles Reagan Wilson derives its name from an old gospel song, also entitled “Just a Little Talk with Jesus.” This article begins with the retelling of the “Million Dollar Session” that occurred in December of 1956 at Sun Studios, the record studio for the now famous Presley. This session was given its name because of the worth of talent that attended; the group in attendance included Presley, Perkins, Jerry Lee Lewis, and Johnny Cash. The five musicians played many songs together, including southern religious songs known extremely well by these five men who all came from church backgrounds. Among these southern religious songs was “Just a Little Talk with Jesus” that expounds the gospel and redemption, talking of a person lost in sin that was taken in by Jesus. It is vital to note that Presley’s spirituality was inherited and correlates to regional patterns. His spirituality and music along with the manner in which he fused the two makes Presley an “emblematic figure in southern culture” (pg. 76). For the point of this article, “spirituality” is one’s religious views that are based in one’s religious exercises and practices. The spirituality found in the south in the mid-twentieth century was far more than attending church; it permeated every aspect of souther...
3) Sacred songs - Hungarian sacred folk hymns of a variety of origins also make up a wide repertoire of songs present in live folk tradition. The valuable and most significant part of church songs in folk tradition is ecumenical - ignoring the different type of denominations (that is Evangelic, Catholic, Reformational). We find songs with a) Gregorian origin (Psalmtones, Te Deum, Hymns - sometimes sung in Latin, even funeral parodies); b) songs evolved from medieval canticles; c) songs of the Reformation era; d) the psalms of Genf and other metric songs; d) 16th, 17th century Hungarian Chorals) songs of Counter-reformation f) sacred gongs set on peasant tunes.