Welcome to Tidbits from History

 The hymns can be found on the Hymn History page.

Here is an index of some of the topics:
Most of the tidbits on this page are concerning music history
Protestant Reformation
American hymnology (Moody, F. Crosby, H. Lillenas, R. Lowry)
English hymnology
The Wesley brothers
Greek influence on church music
Information about the Moravians
Byzantine influence on church music
Latin influence on church music
The Dark Ages
Gospel Music

Byzantine influence on church music:
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The greatest contribution of the Eastern church to Christian song was Byzantine hymnody.  Influenced by Jewish tradition and Syrian practice, these hymns developed in the worship of the Eastern church as unaccompanied monophonic chant, mainly diatonic, lacking in strict meter, and closely following the rhythm of the text.

In the 8th century there developed a longer, more complex form of Greek hymnody known as the canon, which consisted of nine odes, each including from six to nine stanzas.  The nine odes were based upon biblical canticles and were characteristically hymns of praise.

Latin influence on Church music
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In the first three centuries, because of their persecution, Christians met in secret and therefore made limited use of singing.  Following the Edict of Milan, A.D. 313, Christianity soon became the religion of the Empire, and the singing of Christians emerged as a joyful expression of their freedom.

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Around 400AD Ambrose, bishop of Milan instituted the singing of “hymns and psalms after the manner of the Eastern churches, to keep the people from being altogether worn out with anxiety and want of sleep.”

Greek Influences to Church music:
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There was much activity in Syria as early Christians carried the Gospel beyond Palestine. The practice of antiphonal singing was introduced at Antioch early in the 4th c, and the chanting of the psalm verses became the responsibility of the congregation. Its members were divided into two semi-choruses, one of men, one of women and children, and the groups alternated with one another in the singing of the psalm-verses and combined in singing an Alleluia or, perhaps, some new refrain. The intercalating of passages of song between psalm-verses became, in the course of time, an organized practice and was destined to be imitated with telling effect in the West. (Music in the Middle Ages, Gustave Reese, New York: W.W. Norton & Company, 1940, p. 68)

In Syria, as well as in other places, began the singing of hymns with texts in verse form.  Ephraim (d A.D. 373), the foremost Syrian hymn writer, employed the poplar tunes of heretical groups and substituted orthodox texts for the people to sing.

Less than forty years after the founding Constantinope, the Council of Laodicea, A.D. 367, prohibited the participation of the congregation and the use of instruments in the service.  It further provided that only the Scriptures could be used for singing.  With this restriction, hymn writers were limited to the canticles and the psalms, which accounts for the absence of hymns of personal experience during this period.

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Arius was a heretic condemned by the church during the 4th century. Knowing the power of music, he wrote some songs that proclaimed his ideas. On festival days, he would take his followers and sing his songs in public places. Soon other people were also singing his songs even though they did not believe his teaching. In retaliation, the church started marching on the same days and singing their own songs. When the two groups met, there was rioting and bloodshed on both sides. The power of music!

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Dark ages
The last five hundred years of the first millennium A.D. are often called the Dark Ages.  During this era of transition (in the aftermath of the demise of the Roman empire), hymnody became a vehicle both for promoting the spread of Christianity and for combating the continuing presence of heresies within the church.
     The hymns express the fighting theology of the earlier classical period, they embody the fears and longing of men whose world was chaotic, they present Jesus as a King surrounded with the paraphernalia of the Old Testament and Apocalyptic imagery, and they are shaped to fit the requirements of the Christian year and of the daily office as developed by the monks in their abbey churches. (Albert Bailey, The Gospel in Hymns,  New York: Charles Scribner's Songs, 1950; p. 225)

Some of the hymns from the Dark Ages have survived in use to the present day.  Theodulph of Orleans (c 760-821) served as poet and counselor in the court of Charlemagne, for which he was rewarded with the title of Bishop of Orleans.  In that role he became a pioneer for education, establishing schools not only in monasteries and cathedrals for the education of clergy, but also in towns and villages of his diocese for poor children.  His hymn, "Glory, laus et honor" has become familiar as "All glory, laud and honor" translated by Dr. Neale.

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Gregorian chant
At the beginning of the 7th century, the melodies of the Roman chant were gathered together in a recognized repertoire, generally attributed to Pope Gregory I (590-604) and, throughout the centuries that followed to the present day, these chants bear his name.

So strong was the influence of the Gregorian chant that it soon became the accepted pattern for Western churches.  Before the end of the 7th century, it had reached England and was taken from England to Germany early in the 8th century.  During the reign of Charlemagne, the Roman church prospered, and its influence increased.  Churches, schools, convents, and monasteries were established throughout Europe, and the practice of Christian song was an integral part of this expansion.

The "Gregorian Chant" was an eerie sounding, plainsong. It had no harmony, no time values, and no musical instruments. It was sung only by men in the priesthood or by a choir but not the congregation. Today, we can still find some hymns based on this style. One example would be "O Come, O Come Immanuel."

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Middle Ages:
One hymnist from the 12th century is still represented in some contemporary hymnals. “Jesu, dulcis memoria,” an extend poem which represents the mystical element in medieval faith, has often been attributed to Bernad of Clairvaux (c1091-1153), one of the most influential churchmen of his day whose eloquent preaching is aid to have launched the 2nd crusade.  Two hymns which continue in use in English owe their origins to “Jesu, dulcis memoria:” “Jesus, The Very Thought of Thee” and “Jesus, Thou Joy of Loving Hearts.”

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16th Century
The 16th century saw the Renaissance at its height.  The five-line music staff had been established, but bar lines were not in common usage.  The development of music printing was a great advance over the circulation of most literature by oral tradition and by laboriously copied manuscripts.

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Protestant Reformation
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During the time of the reformation, the hymns sung in the churches became a powerful tool in evangelizing the lost. They were printed as tracts and given out far and wide.

During the reformation, congregational singing was not the only thing that become a part of the church service. Organ music was introduced as an accompaniment to the chorale. Chorale was the name of the music sung by the 16th century German Protestant church.

The hymns of the reformed church were sung in unison and without accompaniment. John Calvin, had a reservation against singing in parts. He stated that it would make a person have a proud heart to hear the beauty of his own voice mixed with three others.

 Luther's influence:
At the time of Martin Luther (1483-1546) the practice of music in the Catholic church was dominated by the clergy, with the congregation as spectators and listeners rather than participants.  The same conviction that motivated Luther's translation of the Bible into the language of the people also produced the desire for congregational song in the language of the people, so that all Christians might join in singing praises to God.

 Luther and his contemporaries drew upon four principal sources for their texts and tunes:
1. the liturgy of the Catholic church
2. pre-reformation nonliturgical  hymns
3. secular folk songs
4. works of original creativity.

The first hymnals of Luther appeared in 1524.  Etlich Christliche Lieder, known as the Achtliederbuch, contained eight hymns, four of them by Luther. Another collection was the Erfurter Enchiridion, which contained 26 hymns. Both of them were for the congregation, to be used both at home and at church.  In addition to his urging that these hymns be learned at home, Luther advocated the teaching of them to children in the parochial schools.

The popularity of Luther's early hymnals necessitated subsequent editions. The appearance of other hymnals without Luther's approval caused him to publish, in 1529, Joseph Klug's Geistliche Lieder auff neue gehessert, which replaced the Erfurter Enchiridion as the basic hymnal for congregation usage.  It was the first to include the hymn, A Mighty Fortress is our God, Ein' fest Burg ist unser Gott.

In spite of the great concern that Luther had for congregational song and his efforts in writing and publishing hymns, congregational singing developed slowly.  The tradition of congregational participation in the church service did not develop immediately, and it was not until the last of the 16 century that hymn singing gained great prominence.  The congregation continued to sing unaccompanied unison melodies, while the choir sang elaborate polyphonic settings of the tunes with the melody in the tenor voice.

Martin Luther, the great reformer from Germany said of hymn singing,

"With all my heart I would extol the precious gift of God in the noble art of music . . . music is to be praised as second only to the Word of God because by her all the emotions are swayed."

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17 Century
A study of hymn texts written during this period reveals man's quest for an intimate relationship between himself and God.  Confronted with the horrible killing and pillaging of the 30 Years War, the individual sought enlightenment, self-understanding, comfort, and consolation in a personal subjective approach to God.  These texts, which centered more and more upon the needs of the individual, were not intended for congregational use but for private devotional in the home. (Riedel, Johannes.  The Lutheran Chorale: Its Basic Traditions. Minneapolis: Augsburg Publishing House, 1967)

The most significant hymn writer from this period, in terms of his continuing influence upon congregational singing, is Paul Gerhardt (1607-1676).  He represents well the transition that occurred in the 17th c. from the objective expressions of earlier chorale writers to the more personalized expressions that emerged from the 30 Year War and later culminated in the hymns of the Pietistic movement.  His hymns continue to be well-represented in contemporary German hymnals.  Among American hymnals, his most frequently included hymns are "Jesus, thy Boundless Love to Me," "Give to the Winds Your Fears," , "All My Heart this Night Rejoices," and his translation of "O Sacred Head, Now Wounded."

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The invention of the printing press not only brought us Bibles but also the printing of hymn books. The first hymn books were printed with the words of the hymns only. Each person was expected to buy and bring his own copy of the hymn book to church. The church would have a few copies available for visitors only.

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American Hymnology
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We have touched on how Germany and England have shaped the history of hymnology. Now we are going to turn our pages and look at what America has contributed. American hymns have usually been less formal. During the years of 1797-1805 we begin to see a lot of Negro spirituals coming out of the south. One example would be "Swing Low, Sweet Chariot."

Continuing in our look at American hymn history, we turn to the 19th century. A lot of the hymns being written during this period were more scholarly but sometimes also had a liberal and Unitarian viewpoint. The Unitarian view did not believe in the Trinity (and was a denial of the Deity of Christ and of the Holy Spirit). Only a small few of these hymns are still sung today. But by 1870 we have Dwight Moody and Ira Sankey have come on the scene and we'll look at them next week.

Dwight L. Moody (1837-1899) was a famous evangelist and his songleader was Ira Sankey (1840-1908). Together they traveled America conducting evangelistic/revival crusades. Their music brought us testimonial hymns. The hymns: "A Shelter in the Time of Storm," "Hiding in Thee," and "Faith is the Victory," were all arranged by Sankey and have been received into many of our hymn books. Many others were great for the revival meeting but not apt for congregational singing, such as the "Ninety and Nine."

We could not continue looking at American hymnology without turning our spotlight on the most prolific hymn writer in history, Fanny Crosby. Fanny became blind at the age of six weeks because of improper medical treatment. But she praised God even in her blindness, knowing that the first face she would see would be her Savior. Her first hymn to become well known was "Pass Me Not, O Gentle Savior," written in 1868. What did she think of writing hymns? In her own words . . .

"God has given me a wonderful work to do, a work that has brought me untold blessing and great joy. When word is brought to me, as it is from time to time, of some wandering soul being brought back home through one of my hymns, my heart thrills with joy, and I give thanks to God for giving me a share in the glorious work of saving human souls." (Fanny Crosby's Story - S. Trevena Jackson p. 97)

Philip P. Bliss was born in 1838 to a poor family in Pennsylvania. He never went to school to learn about music but taught himself to be a musician. He has said that the ideas for his hymns usually came while he was listening to sermons. He has written many of our favorite hymns including: "My Redeemer," "Once for All," "Hold the Fort," "Jesus Loves Even Me," "Wonderful Words of Life," and many, many more.

Haldor Lillenas was born in 1885 in Norway, but came to America as a child. He was saved in 1906 through the ministry of the Peniel Mission in Portland, Oregon. He later became a preacher and wrote numerous hymns for the people of God. Some of his well know hymns are: "Wonderful Grace of Jesus" (hh#4), "The Bible Stands Like a Rock Undaunted," "Peace, Peace, Wonderful Peace," and many more. Lillenas founded the Lillenas Music Company in Indiana and contributed about 4000 gospel hymn texts and tunes.

There were so many great American hymn writers that it's hard to choose which ones to tell you about, but today we will conclude with Robert Lowry. Lowry was born in 1826 in Philadelphia. When he was seventeen he gave his heart and life to Christ. In 1868, the Biglow Publishing Company asked Lowry to be their new music editor. Through his work there he was able to prepare many Sunday school songbooks, many of which are still used today. Some of the hymns for which we know him are: "Christ Arose," "Shall We Gather at the River," and "Nothing But the Blood." But Lowry's main concern in life was not his hymn writing but his preaching of the Word of God.

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The colonial roots of American music are English. The first book printed in the English colonies was the Bay Psalm Book. Its ninth edition (1698) contained 13 psalm tunes, all of them from Europe; some, including "Old Hundred," are still sung.

After 1750 native-born composers in New England established a distinctive religious music. Spread through "singing schools" (informal courses of musical instruction), Yankee hymnody-with its angular melodies and open-fifth chords-was unconventional by European standards. A favorite form was the fuguing tune, a four-part piece that began like a hymn and ended like a round.

The most famous of the New England "tunesmiths" was William Billings, whose collection The New England Psalm Singer (1770) marked the appearance of the new style. His colleagues included Oliver Holden and Daniel Read.

Some religious sects, such as the Ephrata Cloisters Community, the Shakers, and the Moravians, also produced original music, which, however, failed to have lasting influence on American musical styles. One Shaker melody, "'Tis a Gift to Be Simple," became famous when it was used by the composer Aaron Copland in his ballet Appalachian Spring (1944).

The music of the New England tunesmiths was scorned as "unscientific" by such composers as Thomas Hastings and William Batchelder Bradbury. The dominant figure was Lowell Mason, who had a profound influence on 19th century musical life in America. Besides introducing music into the Boston schools in 1838, he composed more than 1200 hymns and compiled five major collections of church music, the most important and most successful being The Boston Handel and Haydn Society Collection of Church Music (1822).

Traditional New England religious music migrated to the South, where a new kind of folk hymnody emerged from the camp meetings of the religious revival movement. Close to modern gospel tunes in their repetitious, catchy refrains, the revival hymns and spirituals include such well-known examples as "Amazing Grace" and "Wayfaring Stranger."

Hymnals and collections of Christian music in America have been numerous since the 18th century - in the last hundred years they have multifilied enormously. Such a diverse society has supporters of every possible Christian sect, each of whom has established its own series of hymn - or songbook re-edited and revised every few years.

Southern folk hymns in the America were typically printed in "shape notes," an easy-to-read system of notation in which the notes had different shapes to represent the seven syllables of the scale. The shape-note collection of greatest and most lasting popularity was The Sacred Harp (1844) of Benjamin Franklin White and E. J. King.

Gospel Music
In 1873 Dwight L. Moody and Ira D. Sankey formed the earliest evangelistic team of preacher and musician. As one of their slogans put it: “Mr. Moody will preach the Gospel and Mr. Sankey will sing the Gospel.” Many others successfully took up the formula: John W. Chapman and the singer Charles Alexander, Billy Sunday and Homer Rodeheaver. The ‘gospel songs’ of these meetings conveyed the simplest of Christian messages through music of emotional directness to huge numbers of people.

It has been reported that:
“Sankey’s hymns while written to religious words, were made attractive by many secular contrivances . . . a circus quickstep, a negro sentimental ballad, a college chorus, and a hymn all in one . . . .”

The twentieth-century singers (Alexander and Rodeheaver for instance) emphasized even more the informality of the gospel meetings through the influence of ragtime and early jazz, Rodeheaver sometimes playing the trombone in meetings as well as singing.