Match (36 points)
I. Match (36 points)
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II. Match the author or source with the following song texts: (18 points)
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III.
List 8 significant hymnals or psalters from
the 16th and 17th centuries. Give the editor/compiler and the date of publication. (16 points)
1. Geistliche Lieder (1529) -- Joseph Klug
2. Geistliches Gesangk Büchleyn (1524) -- Johann Walther
3. Geistliche Lieder auf den Choral (1597) -- Johannes Eccard
4. Fünfzig geistliche Lieder und Psalmen (1586) -- Lukas Osiander
5. Praxis Pietatis Melica (1644) -- Johann Cruger
6. Gesangbuch (1704) -- Johann Freylinghausen
7. Ghostly Psalms and Spiritual Songs (1531) -- Myles Coverdale
8. Hymns & Songs of the Church (1623) -- George Wither
IV.Discuss the development of congregational
song during one of the following periods. Be specific as to significant characteristics, dates, country, authors, composers, hymns, hymnals, etc.
(20 points)
Greek Hymnody, Latin Hymnody, Lutheran Chorale, Psalmody
Psalmody is the singing in prose form of Hebrew song. It is native to Jewish and early Christian worship, but as we move through history the vernacular languages begin to take over.
Sung originally as chant, psalmody did not rhyme. There are several different types of chant: Gregorian chant, which is in Latin, quite modal and homophonic; and Anglican, or English chant, which is homophonic and not as modal.
As time passed, psalmody went through some changes. The metrical psalm began becoming popular, a pattern inherited from trouveres and troubadours. One of the catalysts for this change was Martin Bucer (1491-1551) who, as part of the Strasbourg Reformation, felt that only metrical versions of Scripture in German were fit for singing. This led to the creation of the Gesangbuch, completed in 1538 and published in 1541.
Bucer had contact with all the principal reformers of the sixteenth century, including Martin Luther, Ulrich Zwingli, Thomas Cranmer, and John Calvin. Calvin visited Strasbourg in 1538, and recognized the value of Christian song to nourish church piety and worship (since the people largely were illiterate). He realized its usefulness to disciple, train, and teach. Calvin was convicted that only Scripture in the vernacular be employed in the worship service, was against organs, choirs, and any composed by a person (especially with singing in worship). His philosophy of music was simplicity and modesty; his desire was to return to the practice of the primitive church.
There is no indication that Calvin was a poet, so to create a useable psalmbook he enlisted the efforts of several talented French poets. Clement Marot, a poet in the court of Francis I, had already done some versifications of the Psalms before even meeting Calvin. When Calvin fled to Geneva for sanctuary, he began drawing from the thirty metrical psalms Marot had already produced. Twelve of Marot's versifications appeared in the original psalter, but he died in 1544 having only completed 50 psalms.
A search for Marot's replacement led Calvin to Theodore de Beze, who began working with Calvin in 1548. By 1562 he had complete all 150 psalms for publication. Another contact was Louis Borugeois, cantor for St. Peter's Church in Geneva and noted composer, who may have been involved in the 1542 and 1543 books, but was certainly involved in the 1551 psalter, Pseaumes octante trois de David.
The final work, The Genevan Psalter (1562), was an entirely French psalter, including all 150 psalms. There were 125 tunes, most of which were proper (that is, they can only be sung with one text); and included 110 different meters, much more complex than in English psalm settings. They were almost entirely syllabic. In 1562 alone there are 25 editions (printings); over the next 100 years there would be almost 100 (until 1685). The Genevan Psalter moved throughout all Christendom and was translated into several different languages.
Incidentally, while many psalters contained all 150 psalms, some also included song forms of the Ten Commandments, the Lord's Prayer, and the Creed. Polyphonic settings were never used in worship, as they were too much like choral music. Calvin believed only in unison singing in public corporate worship, but permitted it within the home. Claude Goudimel (c. 1505-1572) and Claude LeJeune (1528-1600, a Hugenot) were two fine French musicians who applied the psalm tunes.
One significant character who would also have a great part in British hymnody was Myles Coverdale, who published Ghostly Psalms and Spiritual Songs in1531. His work was based somewhat on the Wittenberg writings of Luther; he even published his own translation of the Bible into English. Other important individuals were Thomas Sternhold, who experimented with making many metrical psalm settings until his death in 1549, and John Hopkins, who added a few of his own settings to form the Sternhold & Hopkins Psalter.
It looked for a while that the English church would follow the Lutheran church, but eventually the Reformation took place and clergy started looking toward Calvin and the other Reformers. Even as Queen Mary prohibited the psalter in 1546 and had them burned, many dissenters were moving to Geneva under the leadership of John Knox. Here they began to integrate Sternhold and Hopkins with Calvin's work and other new writings (most texts in common meter). This psalter now becomes the default Anglo-Genevan Psalter, or (after John Day's editorship) the Old Version. It would go through 78 different editions, with different names attached. While Queen Mary's successor, Elizabeth, ended the persecution of those exiled, she still frowned on the French tunes for the English psalms, calling them "Genevan gigues."
There are two other historically significant Psalters. Archbishop Parker's Psalter (1560) had nine tunes composed by Thomas Tallis, a world-class composer, who composed the Tallis Canon; and Estee's Psalter (1592). Here tunes were designated by specific names for the first time, and the first with four-part harmony on opposite pages in one book. Some of the included tunes were harmonized by John Dowland, John Farmer, and George Kirby.
The basic texts remained the same until The New Version of the Psalms of David, Fitted to the Tunes Used in the Churchs (or "New Version") by Nahum Tate and Nicholas Brady, published in 1696, originally with no tunes. It would never be as popular as the Old Version.
The Scots, also keen on psalmody because of John Knox, whose kirk (church) was Reformed, developed their own (and better) psalter. They used some of the English psalter, and the 1564 psalter had 105 tunes (melodies only). This rich heritage led to the creation of the Scottish psalter (1635).
V.List
10 specific methods for improving congregational singing in a typical Southern Baptist Church. (10 points)
Provide effective leadership:
1.Make sure you have a
pastor who enthusiastically sings out and supports congregational singing; preach sermons based on hymns
2.As a music minister,
have good personality, appearance, training and vision
3.Teach the choir and
accompanists to understand their roles as enthusiastic examples and teachers of unfamiliar hymns
Provide ongoing education:
4.Offer hymn-playing or
hymnology classes
5.Use a "hymn of the
month;" provide information about hymns to the congregation; have a "favorite hymn" survey
6.Encourage the
memorization of hymns and private ownership of hymnals
Offer musical activities:
7.Use a variety of singable
hymns (keeping record), singing them in a variety of meaningful ways; use keys, tempos, and accompaniments appropriate to the building and the
hymns
8.Have congregational
rehearsals, hymn festivals, informal hymn sings
9.Dramatize hymns
10.Use hymn anthems