Few Who Read or Sing This Hymm Realize

Religious vocal for the purpose of adoration or prayer to accost deity

A hymn is a type of song, unremarkably religious and partially coincident with devotional song, specifically written for the purpose of adoration or prayer, and typically addressed to a deity or deities, or to a prominent figure or personification. The give-and-take hymn derives from Greek ὕμνος (hymnos), which means "a song of praise". A author of hymns is known as a hymnist. The singing or composition of hymns is called hymnody. Collections of hymns are known equally hymnals or hymn books. Hymns may or may non include instrumental accompaniment.

Although most familiar to speakers of English in the context of Christianity, hymns are likewise a fixture of other world religions, peculiarly on the Indian subcontinent (stotras). Hymns also survive from antiquity, especially from Egyptian and Greek cultures. Some of the oldest surviving examples of notated music are hymns with Greek texts.

Origins [edit]

Aboriginal Eastern hymns include the Egyptian Great Hymn to the Aten, equanimous by Pharaoh Akhenaten; the Hurrian Hymn to Nikkal; the Rigveda, an Indian collection of Vedic hymns; hymns from the Classic of Poesy (Shijing), a collection of Chinese poems from 11th to seventh centuries BC; the Gathas—Avestan hymns believed to have been composed by Zoroaster; and the Biblical Book of Psalms.

The Western tradition of hymnody begins with the Homeric Hymns, a collection of aboriginal Greek hymns, the oldest of which were written in the 7th century BC, praising deities of the ancient Greek religions. Surviving from the 3rd century BC is a drove of six literary hymns ( Ὕμνοι ) by the Alexandrian poet Callimachus. The Orphic hymns are a collection of 87 brusque poems in Greek religion.

Patristic writers began applying the term ὕμνος , or hymnus in Latin, to Christian songs of praise, and ofttimes used the word as a synonym for "psalm".^[1]

Christian hymnody [edit]

Originally modeled on the Book of Psalms and other poetic passages (normally referred to equally "canticles") in the Scriptures, Christian hymns are generally directed as praise to the Christian God. Many refer to Jesus Christ either directly or indirectly.

Since the earliest times, Christians accept sung "psalms and hymns and spiritual songs", both in private devotions and in corporate worship.^[ii] ^{[ non-primary source needed ]} Non-scriptural hymns (i.east. not psalms or canticles) from the Early Church still sung today include 'Phos Hilaron', 'Sub tuum praesidium', and 'Te Deum'.

1 definition of a hymn is "...a lyric poem, reverently and devotionally conceived, which is designed to be sung and which expresses the worshipper's attitude toward God or God's purposes in human life. It should be simple and metrical in grade, genuinely emotional, poetic and literary in manner, spiritual in quality, and in its ideas so directly and and then immediately apparent every bit to unify a congregation while singing it."^[iii]

Christian hymns are oftentimes written with special or seasonal themes and these are used on holy days such every bit Christmas, Easter and the Feast of All Saints, or during particular seasons such as Advent and Lent. Others are used to encourage reverence for the Bible or to gloat Christian practices such as the eucharist or baptism. Some hymns praise or address private saints, particularly the Blest Virgin Mary; such hymns are particularly prevalent in Catholicism, Eastern Orthodoxy and to some extent Loftier Church Anglicanism.

A author of hymns is known as a hymnodist, and the practice of singing hymns is called hymnody; the aforementioned word is used for the collectivity of hymns belonging to a detail denomination or period (e.g. "nineteenth century Methodist hymnody" would mean the body of hymns written and/or used by Methodists in the 19th century). A drove of hymns is called a hymnal or hymnary. These may or may not include music; amidst the hymnals without printed music, some include names of hymn tunes suggested for employ with each text, in example readers already know the tunes or would like to find them elsewhere. A pupil of hymnody is called a hymnologist, and the scholarly study of hymns, hymnists and hymnody is hymnology. The music to which a hymn may be sung is a hymn tune.

In many Evangelical churches, traditional songs are classified as hymns while more than contemporary worship songs are non considered hymns. The reason for this stardom is unclear, merely according to some it is due to the radical shift of style and devotional thinking that began with the Jesus move and Jesus music. In recent years, Christian traditional hymns have seen a revival in some churches, ordinarily more than Reformed or Calvinistic in nature, as modernistic hymn writers such as Keith and Kristyn Getty^[4] and Sovereign Grace Music have reset old lyrics to new melodies, revised old hymns and republished them, or but written a song in a hymn-like fashion such as In Christ Alone.^[5]

Music and accompaniment [edit]

In aboriginal and medieval times, string instruments such as the harp, lyre and lute were used with psalms and hymns.

Since at that place is a lack of musical notation in early writings,^[six] the actual musical forms in the early church tin can only be surmised. During the Middle Ages a rich hymnody adult in the form of Gregorian chant or plainsong. This type was sung in unison, in one of eight church building modes, and most ofttimes past monastic choirs. While they were written originally in Latin, many take been translated; a familiar example is the quaternary century Of the Father'south Center Begotten sung to the 11th century plainsong Divinum Mysterium.

Western church building [edit]

Hymns are frequently accompanied by organ music

Later hymnody in the Western church introduced four-office song harmony as the norm, adopting major and minor keys, and came to exist led by organ and choir. Information technology shares many elements with classical music.

Today, except for choirs, more musically inclined congregations and a cappella congregations, hymns are typically sung in unison. In some cases complementary full settings for organ are also published, in others organists and other accompanists are expected to adapt the available setting, or extemporise one, on their instrument of choice.

To illustrate Protestant usage, in the traditional services and liturgies of the Methodist churches, which are based upon Anglican practice, hymns are sung (ofttimes accompanied by an organ) during the processional to the altar, during the receiving of communion, during the recessional, and sometimes at other points during the service. These hymns can exist plant in a mutual volume such every bit the United Methodist Hymnal. The Doxology is besides sung after the tithes and offerings are brought upward to the altar.

Contemporary Christian worship, as often establish in Evangelicalism and Pentecostalism, may include the use of contemporary worship music played with electrical guitars and the drum kit, sharing many elements with rock music.

Other groups of Christians accept historically excluded instrumental accompaniment, citing the absence of instruments in worship by the church in the first several centuries of its existence, and adhere to an unaccompanied a cappella congregational singing of hymns. These groups include the 'Brethren' (oftentimes both 'Open' and 'Exclusive'), the Churches of Christ, Mennonites, several Anabaptist-based denominations—such every bit the Apostolic Christian Church of America—Primitive Baptists, and certain Reformed churches, although during the last century or so, several of these, such every bit the Free Church of Scotland have abandoned this stance.

Eastern church [edit]

Eastern Christianity (the Eastern Orthodox, Oriental Orthodox and Eastern Catholic churches) has a variety of aboriginal hymnographical traditions. In the Byzantine Rite, chant is used for all forms of liturgical worship: if it is not sung a cappella, the only accompaniment is usually an ison , or drone. Organs and other instruments were excluded from church use, although they were employed in imperial ceremonies.^[seven] Nevertheless, instruments are mutual in some other Oriental traditions. The Coptic tradition makes utilise of the cymbals and the triangle but. The Indian Orthodox (Malankara Orthodox Syrian Church) use the organ. The Tewahedo Churches use drums, cymbals and other instruments on certain occasions.

Evolution of Christian hymnody [edit]

Thomas Aquinas, in the introduction to his commentary on the Psalms, divers the Christian hymn thus: "Hymnus est laus Dei cum cantico; canticum autem exultatio mentis de aeternis habita, prorumpens in vocem." ("A hymn is the praise of God with song; a song is the exultation of the heed dwelling on eternal things, bursting forth in the voice.")^[8]

The Protestant Reformation resulted in 2 conflicting attitudes towards hymns. Ane arroyo, the regulative principle of worship, favoured past many Zwinglians, Calvinists and some radical reformers, considered anything that was not directly authorised by the Bible to be a novel and Catholic introduction to worship, which was to be rejected. All hymns that were not direct quotations from the Bible brutal into this category. Such hymns were banned, along with whatsoever form of instrumental musical accessory, and organs were removed from churches. Instead of hymns, biblical psalms were chanted, virtually often without accompaniment, to very basic melodies. This was known as exclusive psalmody. Examples of this may withal be found in various places, including in some of the Presbyterian churches of western Scotland.

The other Reformation approach, the normative principle of worship, produced a burst of hymn writing and congregational singing. Martin Luther is notable not simply every bit a reformer, but as the author of hymns including "Ein feste Burg ist unser Gott" ("A Mighty Fortress Is Our God"), "Gelobet seist du, Jesu Christ" ("Praise be to Y'all, Jesus Christ"), and many others. Luther and his followers frequently used their hymns, or chorales, to teach tenets of the faith to worshipers. The showtime Protestant hymnal was published in Bohemia in 1532 by the Unitas Fratrum.

Count Zinzendorf, the Lutheran leader of the Moravian Church building in the 18th century wrote some two,000 hymns.

The earlier English language writers tended to paraphrase biblical texts, particularly Psalms; Isaac Watts followed this tradition, simply is also credited every bit having written the get-go English hymn which was not a direct paraphrase of Scripture.^[9] Watts (1674–1748), whose father was an Elder of a dissenter congregation, complained at historic period 16, that when immune just psalms to sing, the faithful could not fifty-fifty sing about their Lord, Christ Jesus. His male parent invited him to see what he could do most information technology; the result was Watts' first hymn, "Behold the glories of the Lamb".^[x] Plant in few hymnals today, the hymn has eight stanzas in common meter and is based on Revelation 5:6, 8, 9, 10, 12.^[11]

Relying heavily on Scripture, Watts wrote metered texts based on New Testament passages that brought the Christian faith into the songs of the church. Isaac Watts has been called "the father of English language hymnody", but Erik Routley sees him more as "the liberator of English hymnody", because his hymns, and hymns like them, moved worshipers across singing just Old Testament psalms, inspiring congregations and revitalizing worship.^[12]

Subsequently writers took fifty-fifty more than liberty, some even including allegory and metaphor in their texts.

Charles Wesley's hymns spread Methodist theology, non merely within Methodism, but in most Protestant churches. He adult a new focus: expressing one's personal feelings in the relationship with God as well as the simple worship seen in older hymns.

Wesley's contribution, forth with the Second Great Awakening in America led to a new style called gospel, and a new explosion of sacred music writing with Fanny Crosby, Lina Sandell, Philip Bliss, Ira D. Sankey, and others who produced testimonial music for revivals, camp meetings, and evangelistic crusades. The tune style or grade is technically designated "gospel songs" as distinct from hymns. Gospel songs generally include a refrain (or chorus) and ordinarily (though non always) a faster tempo than the hymns. As examples of the distinction, "Amazing Grace" is a hymn (no refrain), simply "How Groovy Thou Art" is a gospel song. During the 19th century, the gospel-song genre spread rapidly in Protestantism and to a lesser simply still definite extent, in Roman Catholicism; the gospel-song genre is unknown in the worship per se by Eastern Orthodox churches, which rely exclusively on traditional chants (a type of hymn).

The Methodist Revival of the 18th century created an explosion of hymn-writing in Welsh, which connected into the first half of the 19th century. The nearly prominent names among Welsh hymn-writers are William Williams Pantycelyn and Ann Griffiths. The second half of the 19th century witnessed an explosion of hymn tune composition and congregational four-function singing in Wales.^[13]

Along with the more classical sacred music of composers ranging from Charpentier to Mozart to Monteverdi, the Catholic Church continued to produce many popular hymns such every bit Atomic number 82, Kindly Light, Silent Night, O Sacrament Most Holy, and Faith of Our Fathers.

In some radical Protestant movements, their own sacred hymns completely replaced the written Bible. An example of this, the Volume of Life (Russian: "Zhivotnaya kniga") is the name of all oral hymns of the Doukhobors, the Russian denomination, similar to western Quakers. The Volume of Life of the Doukhobors (1909) is firstly printed hymnal containing songs, which to have been composed as an oral piece to be sung aloud.^[14]

Many churches today employ contemporary worship music which includes a range of styles oft influenced by pop music. This ofttimes leads to some disharmonize betwixt older and younger congregants (run into contemporary worship). This is non new; the Christian popular music style began in the belatedly 1960s and became very popular during the 1970s, as immature hymnists sought ways in which to make the music of their religion relevant for their generation.

This long tradition has resulted in a wide variety of hymns. Some modern churches include within hymnody the traditional hymn (usually describing God), contemporary worship music (often directed to God) and gospel music (expressions of one's personal experience of God). This stardom is not perfectly articulate; and purists remove the second two types from the classification as hymns. It is a matter of debate, even sometimes within a unmarried congregation, frequently between revivalist and traditionalist movements.

Swedish composer and musicologist Elisabet Wentz-Janacek mapped xx,000 melody variants for Swedish hymns and helped create the Swedish Choral Registrar, which displays the broad variety of hymns today.^[15]

In modern times, hymn use has not been limited to strictly religious settings, including secular occasions such as Remembrance Day, and this "secularization" also includes use as sources of musical amusement or fifty-fifty vehicles for mass emotion.^[16]

American developments [edit]

African-Americans adult a rich hymnody from spirituals during times of slavery to the modern, lively blackness gospel manner. The first influences of African American Culture into hymns came from Slave Songs of the The states a collection of slave hymns, compiled past William Francis Allen, who had difficulty pinning them down from the oral tradition, and though he succeeded, he points out the awe-inspiring event of the hymns when sung in past their originators.^[17]

Hymn writing, limerick, operation and the publishing of Christian hymnals were prolific in the 19th-century and were often linked to the abolitionist movement past many hymn writers. Surprisingly, Stephen Foster wrote a number of hymns that were used during church services during this era of publishing.

Thomas Symmes^{[ clarification needed ]} spread throughout churches a new idea of how to sing hymns, in which anyone could sing a hymn any style they felt led to; this idea was opposed past the views of Symmes' colleagues^{[ who? ]} who felt information technology was "like Five Hundred different Tunes roared out at the same time".^{[ citation needed ]} William Billings, a singing school instructor, created the first tune book with only American born compositions. Inside his books, Billings did non put every bit much accent on "common measure out"^{[ clarification needed ]} which was the typical way hymns were sung, but he attempted "to take a Sufficiency in each measure"^{[ clarification needed ]}. Boston's Handel and Haydn Lodge aimed at raising the level of church music in America, publishing their "Collection of Church Music".^{[ when? ]} In the late 19th century Ira D. Sankey and Dwight L. Moody developed the relatively new subcategory of gospel hymns.^[xviii]

Before in the 19th century, the use of musical notation, especially shape notes, exploded in America, and professional singing masters went from town to boondocks teaching the population how to sing from sight, instead of the more than common lining out that had been used before that. During this period hundreds of tune books were published, including B.F. White's Sacred Harp, and earlier works like the Missouri Harmony, Kentucky Harmony, Hesperian Harp, D.H. Mansfield's The American Vocaliser, The Social Harp, the Southern Harmony, William Walker'due south Christian Harmony, Jeremiah Ingalls' Christian Harmony, and literally many dozens of others. Shape notes were important in the spread of (then) more than modern singing styles, with tenor-led four-part harmony (based on older English Westward Gallery music), fuging sections, anthems and other more complex features. During this period, hymns were incredibly popular in the U.s., and 1 or more than of the above-mentioned tunebooks could be establish in about every household. It isn't uncommon to hear accounts of young people and teenagers gathering together to spend an afternoon singing hymns and anthems from tune books, which was considered slap-up fun, and in that location are surviving accounts of Abraham Lincoln and his sweetheart singing together from the Missouri Harmony during his youth.

Past the 1860s musical reformers like Lowell Mason (the and then-called "meliorate music boys") were actively campaigning for the introduction of more "refined" and modernistic singing styles, and eventually these American tune books were replaced in many churches, starting in the Northeast and urban areas, and spreading out into the countryside equally people adopted the gentler, more soothing tones of Victorian hymnody, and even adopted dedicated, trained choirs to practise their church building's singing, rather than having the entire congregation participate. But in many rural areas the quondam traditions lived on, non in churches, but in weekly, monthly or annual conventions were people would meet to sing from their favorite tunebooks. The most popular one, and the merely ane that survived continuously in print, was the Sacred Harp, which could exist plant in the typical rural Southern dwelling right up until the living tradition was "re-discovered" past Alan Lomax in the 1960s (although information technology had been well-documented by musicologist George Pullen Jackson prior to this). Indeed, "the most common volume on . Since so at that place has been a renaissance in "Sacred Harp singing", with annual conventions popping up in all 50 states and in a number of European countries recently, including the Britain, Germany, Ireland and Poland, also as in Australia.^[19] ^[xx] ^[21][one] Today "Sacred Harp singing" is a vibrant and living tradition with thousands of enthusiastic participants all around the world, drawn to the democratic principles of the tradition and exotic, beautiful sound of the music. Although the lyrics tend to exist highly religious in nature, the tradition is largely secular, and participation if open to all who care to nourish.^[22]

Hymn meters [edit]

The meter indicates the number of syllables for the lines in each stanza of a hymn. This provides a means of marrying the hymn's text with an appropriate hymn tune for singing. In do many hymns conform to one of a relatively small number of meters (syllable count and stress patterns). Care must exist taken, withal, to ensure that not only the metre of words and tune friction match, but also the stresses on the words in each line. Technically speaking an iambic tune, for instance, cannot exist used with words of, say, trochaic metre.

The meter is often denoted by a row of figures also the name of the tune, such equally "87.87.87", which would inform the reader that each verse has 6 lines, and that the first line has 8 syllables, the 2nd has 7, the third line viii, etc. The meter can besides be described past initials; Fifty.Thousand. indicates long meter, which is 88.88 (four lines, each 8 syllables long); S.Yard. is short meter (66.86); C.M. is common metre (86.86), while D.Fifty.M., D.S.K. and D.C.M. (the "D" stands for double) are similar to their respective single meters except that they have eight lines in a poesy instead of four.^[23]

Likewise, if the number of syllables in ane verse differ from another poetry in the same hymn (eastward.g., the hymn "I Sing a Vocal of the Saints of God"), the meter is called Irregular.

Hindu hymnody [edit]

The Rigveda is the earliest and foundational Indian collection of over a thousand liturgical hymns in Vedic Sanskrit.^[24]

Betwixt other notable Hindu hymns (stotras and others) or their collections there are:

Naalayira Divya Prabandham
Ram Raksha Stotra
Saundarya Lahari
Shiva Stuti
Shiva Tandava Stotram
Tirumurai
Vayu Stuti

A hymnody acquired tremendous importance during the medieval era of the bhakti movements. When the chanting (bhajan and kirtan) of the devotional songs of the poet-sants (Basava, Chandidas, Dadu Dayal, Haridas, Hith Harivansh, Kabir, Meera Bai, Namdev, Nanak, Ramprasad Sen, Ravidas, Sankardev, Surdas, Vidyapati) in local languages in a number of groups, namely Dadu panth, Kabir panth, Lingayatism, Radha-vallabha, Sikhism, completely or significantly replaced all previous Sanskrit literature. The same and with the songs of Baul movement. That is, the new hymns themselves received the condition of holy scripture. An case of a hymnist, both lyricist and composer is the 15th–16th centuries Assamese reformer guru Sankardev with his borgeet-songs.^[25] ^[26]

Sikh hymnody [edit]

The Sikh holy book, the Guru Granth Sahib Ji (Punjabi: ਗੁਰੂ ਗ੍ਰੰਥ ਸਾਹਿਬ Panjabi pronunciation: [ɡʊɾu ɡɾəntʰ sɑhɪb]), is a drove of hymns (Shabad) or Gurbani describing the qualities of God^[27] and why one should meditate on God's name. The Guru Granth Sahib is divided by their musical setting in unlike ragas^[28] into fourteen hundred and thirty pages known as Angs (limbs) in Sikh tradition. Guru Gobind Singh (1666–1708), the 10th guru, after adding Guru Tegh Bahadur's bani to the Adi Granth^[29] ^[30] affirmed the sacred text equally his successor, elevating it to Guru Granth Sahib.^[31] The text remains the holy scripture of the Sikhs, regarded every bit the teachings of the Ten Gurus.^[32] The function of Guru Granth Sahib, as a source or guide of prayer,^[33] is pivotal in Sikh worship.

In other religions [edit]

Buddhism [edit]

Confucianism [edit]

The earliest entries in the oldest extant collection of Chinese poetry, the Archetype of Poetry (Shijing), were initially lyrics.^[34] The Shijing, with its collection of poems and folk songs, was heavily valued by the philosopher Confucius and is considered to be one of the official Confucian classics. His remarks on the subject have become an invaluable source in ancient music theory.^[35]

Islam [edit]

Jainism [edit]

Judaism [edit]

Shinto [edit]

Zoroastrianism [edit]

Appreciations [edit]

According to Nissim Ezekiel, views on hymns tin be divided:

...poets who have mystical experiences and project them in verse have occasionally been successful but mystics who write verse exercise it badly. Religious hymns, still notable the religious sentiment they limited are not notably poetic. Bully religious poesy undoubtedly exists but the greatness is unequally divided betwixt the poetry and faith, while perfect integration betwixt the 2 is rare.^[36]

See besides [edit]

Carol
Chorale
List of Chinese hymn books
List of English-language hymnals by denomination
Metrical psalter
Sacred Harp

References [edit]

^ Entry on ὕμνος , Liddell and Scott, A Greek-English Lexicon (Oxford: Clarendon Printing, 8th edition 1897, 1985 printing), p. 1849; entry on 'hymnus,' Lewis and Brusque, A Latin Lexicon (Oxford: Clarendon Press 1879, 1987 printing), p. 872.
^ Bible, (Matthew 26:30; Mark 14:26; Acts 16:25; 1 Cor 14:26; Ephesians 5:19; Colossians 3:16; James 5:13; cf. Revelation 5:8–10; Revelation 14:i–5
^ Eskew; McElrath (1980). Sing with Understanding, An Introduction to Christian Hymnology. ISBN0-8054-6809-9.
^ "In praise of hymns". Retrieved 2017-05-eighteen .
^ Songs of faith , retrieved 2017-05-18
^ Anderson, Warren; Mathiesen, Thomas J.; Boynton, Susan; Ward, Tom R.; Caldwell, John; Temperley, Nicholas; Eskew, Harry (2001). Hymn. doi:10.1093/gmo/9781561592630.article.13648. ISBN978-ane-56159-263-0.
^ Levy, Kenneth; Troelsgård, Christian (2016). "Byzantine dirge". Grove Music Online. doi:10.1093/gmo/9781561592630.article.04494. Retrieved 6 March 2021.
^ Aquinas, Thomas. "St. Thomas's Introduction to his Exposition of the Psalms of David". Retrieved 2008-02-08 .
^ Wilson-Dickson, Andrew (1992). The Story of Christian Music. Oxford: Lion, SPCK. pp. 110–111. ISBN0-281-04626-3.
^ Routley, Erik (1980). Christian Hymns, An Introduction to Their Story (Audio Book). Princeton: Prestige Publications, Inc. p. Role 7, "Isaac Watts, the Liberator of English Hymnody".
^ Routley and Richardson (1979). A Panorama of Christian Hymnody. Chicago: G.I.A. Publications, Inc. pp. twoscore–41. ISBN1-57999-352-4.
^ Christian Hymns, An Introduction to Their Story (Audio Volume) op. cit. p. Office 7, "Isaac Watts, the Liberator of English Hymnody".
^ E. Wyn James, 'The Evolution of the Welsh Hymn', in Dissenting Praise, ed. I. Rivers & D. L. Wykes (Oxford University Press, 2011); Due east. Wyn James, 'Popular Poetry, Methodism, and the Ascendancy of the Hymn', in The Cambridge History of Welsh Literature, ed. Geraint Evans & Helen Fulton (Cambridge Academy Press, 2019); E. Wyn James, 'German language Chorales and American Songs and Solos: Contrasting Chapters in Welsh Congregational Hymn-Singing', The Bulletin of the Hymn Society of Keen Britain and Ireland, No. 295, Vol. 22:two (Jump 2018), 43–53.
^ Peacock, Kenneth, ed. (1970). Songs of the Doukhobors: An Introductory Outline (PDF). National Museums of Canada Bulletin No. 231, Folklore Series No. 7. Translated by E. A. Popoff (song texts). Ottawa: The National Museums of Canada; Queen's Printer of Canada.
^ "Vi gratulerar Elisabet Wentz-Janacek!". Lunds domkyrka (in Swedish). 2013-01-21. Retrieved 2021-04-03 .
^ Adey, Lionel (1986). Hymns and the Christian Myth. UBC Printing. p. 10. ISBN978-0-7748-0257-4.
^ Music, David. Hymnology A Collection of Source Readings. one. 1. Lanham Dr.: Scarecrow Press, Inc., 1996. 179/185-186/192/199/206. Print.
^ Music, David. Hymnology A Collection of Source Readings. 1. 1. Lanham Dr.: Scarecrow Press, Inc., 1996.
^ "Sacred Harp Bremen". www.sacredharpbremen.org . Retrieved 2018-01-04 .
^ Macadam, Edwin and Sheila. "Welcome". world wide web.ukshapenote.org.uk . Retrieved 2018-01-04 .
^ "Sacred Harp in Poland | Polish Sacred Harp Community Website". sacredharp86.org (in Polish). Retrieved 2018-01-04 .
^ "fasola.org – Sacred Harp and Shape Note singing". www.fasola.org . Retrieved 2018-01-04 .
^ Children's Britannica. Vol. 9 (Revised 3rd ed.). 1981. pp. 166–167.
^ The Rigveda: The Primeval Religious Poetry of India. Vol. one. Translated past Stephanie W. Jamison; Joel P. Brereton. New York: Oxford University Printing. 2014. p. 3. ISBN978-0-19-937018-4.
^ Schomer, Karine; McLeod, W. H., eds. (1987). The Sants: Studies in a Devotional Tradition of Republic of india. Berkeley Religious Studies Series. Delhi: Motilal Banarsidass. ISBN978-81-208-0277-3. OCLC 925707272.
^ Sivaramkrishna, Yard.; Roy, Sumita, eds. (1996). Poet-Saints of India. New Delhi: Sterling Publ. ISBN81-207-1883-6.
^ Penney, Sue (1995). Sikhism. Heinemann. p. fourteen. ISBN0-435-30470-4.
^ Dark-brown, Kerry (1999). Sikh Art and Literature. Routledge. p. 200. ISBN0-415-20288-4.
^ Ganeri, Anita (2003). The Guru Granth Sahib and Sikhism. Black Rabbit Books. p. 13.
^ Kapoor, Sukhbir (2005). Guru Granth Sahib an Advance Study. Hemkunt Press. p. 139.
^ Partridge, Christopher Hugh (2005). Introduction to Earth Religions. p. 223.
^ Kashmir, Singh. Sri Guru Granth Sahib — A Juristic Person. Global Sikh Studies. Retrieved 2008-04-01 .
^ Singh, Kushwant (2005). A history of the sikhs. Oxford Academy Press. ISBN0-nineteen-567308-five.
^ Ebrey, Patricia (1993). Chinese Civilisation: A Sourcebook (2d ed.). New York: The Complimentary Printing. pp. 11–13. ISBN978-0-02-908752-7.
^ Cai, Zong-qi (July 1999). "In Quest of Harmony: Plato and Confucius on Poetry". Philosophy East and Westward. 49 (3): 317–345. doi:x.2307/1399898. JSTOR 1399898.
^ Ezekiel, Nizzim (1987). Critical Thought: An Album of Twentieth Century Indian English Essay. New Delhi: Sterling Publishing. p. 230.

External links [edit]

Wikimedia Commons has media related to Hymns.

Wikiquote has quotations related to: Hymn

The links below are restricted to either cloth that is historical or resource that are non-denominational or inter-denominational. Denomination-specific resources are mentioned from the relevant denomination-specific articles.

"The Hymn Social club in the The states and Canada". Archived from the original on 2007-12-xv.
"Hymnary.org". Archived from the original on 2013-03-02. Retrieved 2020-01-xix . —Extensive database of hymns and hymnology resources; incorporates the Dictionary of Northward American Hymnology
"Hymns Without Words - a collection of freely downloadable recordings of classic hymns for use in congrgational singing".
"The Hymn Guild of Uk and Republic of ireland".
"Examples of Byzantine Music for Hymns". Archived from the original on 2006-08-nineteen. Retrieved 2006-10-04 . —2000 pages of hymns in both staff and neumatic notation
"HistoricHymns.com". —Site with all-encompassing hymn searching tools

rowallanwintakephe.blogspot.com

Source: https://en.wikipedia.org/wiki/Hymn