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Hymn
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A hymn is a type of song, usually religious, specifically written for the purpose of praise, adoration or prayer, and typically addressed to a deity/deities, a prominent figure or an epic tale. The word hymn derives from Greek hymnos "a song of praise".
ent hymns include the Egyptian Great Hymn to the Aten, composed by Pharaoh Akhenaten, the Vedas, a collection of hymns in the tradition of Hinduism and the Psalms, a collection of songs from Judaism.
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A hymn is a type of song, usually religious, specifically written for the purpose of praise, adoration or prayer, and typically addressed to a deity/deities, a prominent figure or an epic tale. The word hymn derives from Greek hymnos "a song of praise".
Origins
Ancient hymns include the Egyptian Great Hymn to the Aten, composed by Pharaoh Akhenaten, the Vedas, a collection of hymns in the tradition of Hinduism and the Psalms, a collection of songs from Judaism. The Western tradition of hymnody begins with the Homeric Hymns, a collection of ancient 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 collection of six literary hymns by the Alexandrian poet Callimachus.
Patristic writers began applying the term , or 'hymnus' in Latin, to Christian songs of praise, and frequently used the word as a synonym for "psalm".
Christian Hymnody
Originally modeled on the Psalms and other poetic passages (commonly referred to as "canticles") in the Scriptures, hymns are generally directed as praise and worship to God. Many refer to Jesus Christ either directly or indirectly.
Since the earliest times, Christians have sung "psalms and hymns and spiritual songs", both in private devotions and in corporate worship (; ; ; ; ; cf. ; ).
Christian hymns are often written with special or seasonal themes and these are used on holy days such as Christmas, Easter and the Feast of All Saints, or during particular seasons such as Advent and Lent. Others are used to instill reverence to the Holy Bible or to celebrate Christian practices such as the eucharist or baptism. Some hymns praise or address individual saints, particularly the Blessed Virgin Mary; such hymns are particularly prevalent in Catholicism, Eastern Orthodoxy and to some extent "High Church" Anglicanism.
A writer of hymns is known as a hymnist or hymnodist, and the practice of singing hymns is called hymnody; the same word is used for the collectivity of hymns belonging to a particular denomination or period (e.g. "nineteenth century Methodist hymnody" would mean the body of hymns written and/or used by Methodists in the nineteenth century). A collection of hymns is called a hymnal or hymnary. These may or may not include music. A student 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 contemporary worship songs are not considered hymns. The reason for this distinction is unclear, but according to some it is due to the radical shift of style and devotional thinking that began with the Jesus movement and Jesus music.
Music and accompaniment
In ancient and medieval times, stringed instruments such as the harp, lyre and lute were used with psalms and hymns.
Since there is a lack of musical notation in early writings, the actual musical forms in the early church can only be surmised. During the Middle Ages a rich hymnody developed in the form of Gregorian chant or plainsong. This type was sung in unison, in one of eight Church modes, and most often by monastic choirs. While they were written originally in Latin, many have been translated; a familiar example is the 4th century Of the Father's Heart Begotten sung to the 11th century plainsong Divinum Mysterium.
Western church
Later hymnody in the Western church introduced four-part vocal harmony as the norm, adopting major and minor keys, and came to be led by organ and choir. It 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 transcribe the four-part vocal score for their instrument of choice.
Contemporary Christian worship, as often found in Evangelicalism and Pentecostalism may include the use of contemporary worship music played with electric guitars and the drum kit, sharing many elements with rock music.
Other groups of Christians have 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' (often both 'Open' and 'Exclusive'), the Churches of Christ, Mennonites, Primitive Baptists, and certain Reformed churches such as the Free Church of Scotland (Presbyterian), although during the last century or so, several of these have reviewed and revised this stance.
Eastern church
Accompaniment is generally absent in worship by Eastern Orthodox congregations.
The development of Christian hymnody
Thomas Aquinas, in the introduction to his commentary on the Psalms, defined 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 mind dwelling on eternal things, bursting forth in the voice.")
The Protestant Reformation resulted in two conflicting attitudes to hymns. One approach, the regulative principle of worship, favoured by many Zwinglians, Calvinists and other 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 fell into this category. Such hymns were banned, along with any form of instrumental musical accompaniment, and organs were ripped out of churches. Instead of hymns, biblical psalms were chanted, most often without accompaniment, to very basic melodies. This was known as exclusive psalmody. Examples of this may still be found in various places, including the "free 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 only as a reformer, but as the author of many hymns including Ein' feste Burg ist unser Gott (A Mighty Fortress Is Our God) which is sung today even by Roman Catholics. Luther and his followers often used their hymns, or chorales, to teach tenets of the faith to worshipers. The earlier English writers tended to paraphrase biblical text, particularly Psalms; Isaac Watts followed this tradition, but is also credited as having written the first English hymn which was not a direct paraphrase of Scripture.
Later writers took even more freedom, some even including allegory and metaphor in their texts.
Charles Wesley's hymns spread Methodist theology, not only within Methodism, but in most Protestant churches. He developed a new focus: expressing one's personal feelings in the relationship with God as well as the simple worship seen in older hymns. Wesley wrote:
- Where shall my wondering soul begin?
- How shall I all to heaven aspire?
- A slave redeemed from death and sin,
- A brand plucked from eternal fire,
- How shall I equal triumphs raise,
- Or sing my great deliverer's praise.
Wesley's contribution, along 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 form is technically designated "gospel songs" as distinct from hymns. Gospel songs generally include a refrain (or chorus) and usually (though not always) a faster tempo than the hymns. As examples of the distinction, "Amazing Grace" is a hymn (no refrain), but "How Great Thou Art" is a gospel song. During the 19th century the gospel-song genre spread rapidly in Protestantism and, to a lesser but 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).
African-Americans developed a rich hymnody from spirituals during times of slavery to the modern, lively black gospel style.
The Methodist Revival of the eighteenth century created an explosion of hymn writing in Welsh, which continued into the first half of the nineteenth century. The most prominent names among Welsh hymn-writers are William Williams Pantycelyn and Ann Griffiths. The second half of the nineteenth century witnessed an explosion of hymn tune composition and choir singing in Wales.
Along with the more classical sacred music of composers ranging from Mozart to Monteverdi, the Roman Catholic Church continued to produce many popular hymns such as Lead, Kindly Light, Silent Night, O Sacrament Divine and Faith of our Fathers.
Many churches today use contemporary worship music which includes a range of styles often influenced by popular music. This often leads to some conflict between older and younger congregants (see contemporary worship). This is not new; the Christian pop music style began in the late 1960s and became very popular during the 1970s, as young 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 distinction is not perfectly clear; and purists remove the second two types from the classification as hymns. It is a matter of debate, even sometimes within a single congregation, often between revivalist and traditionalist movements.
Hymn meters
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 practice many hymns conform to one of a relatively small number of meters (syllable patterns).
Care must be taken, however, to ensure that not only the meter of words and tune match, but also the stresses on the words in each line. Technically speaking an iambic tune, for instance, cannot be used with words of, say, trochaic meter.
See also
External links
The links below are to either material that is either historical or resources that are non-denominational or inter-denominational. Denomination-specific resources are mentioned from the relevant denomination-specific articles.
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- — a useful resource for biographical information of hymn writers and composers
- — 2000 pages of hymns in both staff and neumatic notation
- — Saint Takla Haymanout the Ethiopian Church, Alexandria - Egypt
- — active discussion board where users help others locate lost hymn lyrics
- — Free MP3 piano hymns. Can be used for accompaniment.
- — Massive online database of hymns
Other links
- —A non-profit organization that provides free digital pipe organ recordings of hymns.
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