<< Back to the Alphabetic Index
The Community at Taizé, composed of members from Reformed, Anglican and Roman Catholic churches, has during the latter half of the 20th century evolved distinctive forms of common worship which have been shared with the thousands of visitors to Taizé. Many of these forms make use of short sentences, usually sung, which have something of the nature of a `mantra' - a sentence or prayer which may be repeated indefinitely as the background to or intermittent accompaniment of some other form of prayer or meditation.
(Lest it be thought that a `mantra' is a mindless activity, it should be noted that the Sanskrit word means `an instrument of thought'; like any good instrument, it is designed to be used.)
The following Responses used at Taizé are included in Rejoice & Sing:
.END of note.
Published in 3 books, and described (by Tans'ur) on its publication as "the most curiousest book that ever was published". Many editions followed, up to that of 1755 entitled Royal Melody Compleat. A further collection was published in 1764 entitled New Harmony of Syon.
Many of the tunes - in later editions all of them - are initialled `W.T.', but this may only mean that William Tans'ur was responsible for the harmonisations.
.END of note. Previous
. . .
Jeremy Taylor: The Golden Grove, or a Manuall of Daily Prayers and Letanies Fitted to the dayes of the Week. Containing a short Summary of what is to be Believed, Practised, Denied. Also Festival Hymns According to the manner of "The Ancient Church." Composed for the Use of the Devout, especially of Younger Persons; By the Author of "The Great Exemplar." London: Printed by J.F. for R.Royston, at the Angel in Ivie Lane, 1655
Golden Grove, a mansion near Llandilovawr (Llandeilo, Camarthenshire) was the home of Richard Vaughan, the second Earl of Carbery, who in 1645 provided a refuge for Jeremy Taylor during the troubles of the Civil War. For ten years Jeremy Taylor enjoyed the serenity of this beautiful part of South Wales, writing, preaching and tutoring in return for Lord Carbery's hospitality and protection. In 1655 he published the book to which he gave the name of his benefactor's house.
The book, and its appendix of Festival Hymns, are described in a biography of Taylor by Edmond Gosse, published in 1903. An extract from this description may be viewed here.
Click here > > to view the Title page and Jeremy Taylor's Preface.
.END of note. Previous
. . .
Chants for Certain Psalms for use in the Temple Church, 1915; ed. H.Walford Davies
.END of note. Previous
. . .
.END of note. Previous
. . .
.END of note. Previous
. . .
Thring, Godfrey: Hymns & Hymnals
(a) Godfrey Thring: Hymns and Sacred Lyrics, 1874
- Xref:
- RS-262 Crown him with many crowns
(b) Godfrey Thring: The Church of England Hymn-book Adapted to the Daily Services of the Church throughout the Year, 1880
- Xrefs:
- RS-262 Crown him with many crowns
- RS-615 O God of mercy, God of might
- RS-640 Saviour, again to thy dear name
(c) - do - New Edition, 1882 ( [D] 1883 printing )
This edition contained 672 hymns, + National Anthem, + 58 Hymns for the Visitation of the Sick and for Private Use.
For the Title-page and Preface to the 1882 edn, including a reprint of the 1st edition Preface, click here . . .
- Xrefs:
- RS-644 At evening, when the sun was set
- RS-235 Christ Jesus lay in death's strong bands
- (RS-585) [ Ein feste Burg (G.Thring's tr.) ]
|
.END of note. Previous . . . |
|
Founded and edited by Joel Tiffany, and published in New York from 1856 to __??.
The "Spiritual Science" of the magazine's title was in the field of what would now be called "spiritualism", with a generally agnostic view of the Bible and of main-stream christianity. An article in Volume 1 (1856), headed "The Bible", indicates its editorial view of Biblical interpretation -
[ vol.1 p.142 last paragraph ] ... We do not believe the account of the creation of the world, of our first parents, of the Garden of Eden, of the temptation, fall, etc., to be literally true. We believe them to be parables, or a symbolic representation of spiritual truth, full of meaning when properly understood, but equally full of falsehood when taken as literal in their significance. When we compare the system of cosmogony as given in the Bible, with that of any other system, we can find none more absurd, and so we say to those who claim for its literalism divine truth.We deny that God created the heavens and the earth in six days, according to the common understanding of such expression, and rested on the seventh, for which cause the Sabbath was instituted. We deny that such account is in any manner a history of the creation of the material heavens and the earth; and no amount of theorizing can make it harmonize with the true gelogical history of the world. But there is a meaning, a deep spiritual significance in all these parables, which, from time to time, we intend to lay before our readers. We claim that there is a key by means of which all can be understood. -- But of that hereafter.
For a transcription of the title page and contents of the first Volume, click here . . .
- Xref:
- RS-495 Father, hear the prayer we offer
(Love Maria Willis was a regular contributor to Tiffany's Monthly, under her maiden name of Whitcomb.)
.END of note. Previous
. . .
Heinrich Lindenborn: Neues Gott und dem Lamm geheiligtes Kirchen- und Hausgesangbuch der auf dem dreifachen Wege der Vollkommenheit nach dem himmslichen Jerusalem wandernden Tochter Sion, Cologne 1741
A Roman Catholic collection of original hymns (in Latin and German) and translations, all believed to be by Lindenborn himself. A number of these were subsequently translated into English by J.M.Neale and others, two of them finding their way into A.& M. 1889. (These were `Cedant justi signa luctus' = AMS-501 `Far be sorrow, tears, and sighing' = AMR-605 `Jesus Christ from death hath risen'; and `Almum flamen, vita mundi' = AMS-507 `Bounteous Spirit, ever shedding'.)
.END of note. Previous
. . .
(Julian, p.1183)
A.M.Toplady: Psalms & Hymns for Public and Private Worship, 1776
See also The Gospel Magazine.
Other editions followed, edited (somewhat carelessly, according to Julian) by Walter Row, and by other editors. It was reprinted by D.Sedgwick in 1860.
A copy of the (?) 1st edition in Dr Williams's Library has the Title Page(s) and the first part of the Preface missing or obliterated. The preface begins on its penultimate page:
[ Part of Toplady's Preface to the first edition ]
. . . With regard to the following Collection, I can only say, that (excepting the very few hymns of my own, which I have been prevailed with to insert) it ought to be the best that has yet appeared, considering the great number of volumes (no fewer than between forty and fifty), which have, more or less, contributed to the Compilation. . . .. . . So wilt thou not only sing with understanding, but with the SPIRIT also beaming upon thy soul; and be able, experimentally, to say,
- As from the Lute soft music flows,
- Obedient to the skilfull hand;
- So, tun'd by THEE, my spirit owes
- Her harmony to thy command.
- Touched by the finger of thy love,
- Sweet melody of praise I bring;
- Join the enraptur'd choirs above,
- And feel the bliss that makes them sing.
London, July 26, 1776 AUGUSTUS TOPLADY
.END of note. Previous
. . .
In this Enchiridion (and, generally, in Rejoice & Sing), `traditional' means words or tunes which have no identifiable author or composer, are unlikely to owe their origin to a single individual, and have been transmitted largely by oral tradition, at least in their early stages.
Where a particular country or community can be regarded as the source, these are indexed under the appropriate name. (But compare the note under `Spirituals')
`Anonymous', on the other hand, generally denotes a text or tune which probably did originate with a particular individual who cannot now be identified, and which has been handed down in written form.
[ Consistency in applying the above principles is not guaranteed. ]
[ Traditional ]
- Xrefs:
- RS-523 Give me joy in my heart, keep me praising / Sing hosanna (words and tune)
- RS-286 Rejoice in the Lord always
- RS-479 Shalom chaverim (words and tune)
- RS-210 Shanty
- RS-622 Vine and fig-tree
.END of note. Previous
. . .
(a) Gesang- und Gebetbuch fur die Diozese Trier, 1847
This may be a descendant of a much older hymn-book: e.g. the tune called Sunrise (AMR.6; CP.441; not in RS) appeared in the 1847 Trier book headed "Trier'sches Ges. 1695". (Frost, HCAM). But an earlier book has not been identified, so far as we know.
(b) - do - , 1871
- Xref:
- RS-245 Christus ist erstanden
See also Stuttgart Gesangbuch
.END of note. Previous
. . .
.END of note. Previous
. . .
[ see also The People's Music Book ]
.END of note. Previous
. . .
Twentieth Century Church Light Music
The "Twentieth Century Church Light Music Group" was founded c.1957 by Geoffrey Beaumont (Fr Gerard Beaumont, C.R.) and Patrick Appleford, to promote the use of worship music written in a style based on popular light music of the mid-twentieth century. Unsympathetic critics have judged that the styles adopted by the Group were based on music of the 1930's rather than the 1950's, and were already out-of-date when the Group's activities were at their peak. Nevertheless the serious aim of the group was to attract the attention of people, particularly young people, who were unable to respond to the established musical language of the Church.
The Group published several collections, mainly of new tunes to conventional hymns, but also including a number of new hymns by Patrick Appleford and others; some of the latter have subsequently found their way into established hymn-books.
Following Geoffrey Beaumont's own composition A 20th Century Folk Mass (1956), their publications included
(a) Eleven Hymn Tunes, 1957
(b) Rhythm in Religion, 1960
(c) Thirty 20th Century Hymn Tunes, 1960
- Xref:
- RS-373 Lord Jesus Christ / Living Lord
(d) More 20th Century Hymns, 1962
(e) Twenty-seven 20th Century Hymns, 1965
- Xrefs:
- RS-196 Jesus, humble was your birth
- RS-90 O Lord, all the world belongs to you
A Preface ("Composers' Note") to the Thirty Hymn Tunes states:
These hymn tunes have been written for congregational worship by 20th century congregations. The styles vary, but they all seek to express in the musical idion of light music - music which is common to almost everyone - the common worship of the People of God. They offered in the belief that not only the great and lasting music of the past but also the ordinary and transient music of today - which is the background to the lives of so many - has a rightful place in our worship.The music is easy to sing, and the piano arrangements should not only be treated freely and with vitality, but may also be adapted for any combination of instruments, including the organ. Drums are also helpful in keeping the rhythm. In practice it has been found that congregations pick up the tune quite easily after hearing a verse or two sing by a unison choir.
Contributors to Thirty Hymn Tunes are listed as follows -
.END of note. Previous
. . .
End of File. Return to Top . . .
END of Source Books T
<< Back to the Alphabetic Index
(The Rejoice & Sing Enchiridion:edited by David Goodall; last amended 11/12/03)