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In 1780 John Wesley issued A Collection of Hymns for the People Called Methodists, containing over 1000 hymns, mostly by his brother Charles. These hymns are organized as follows: Part I. Introductory Hymns I. Exhorting Sinners to Return to God II. Describing ... III. Praying for a Blessing Part II. Convincing I. Formal Religion II. Inward Religion Part III. I. Praying for Repentance II. For Mourners Convinced of Sin III. For Persons Convinced of Backsliding IV. For Backsliders Recovered Part IV. For Believers I. Rejoicing II. Fighting III. Praying IV. Watching V. Working VI. Suffering VII. Seeking for Full Redemption VIII. Saved IX. Interceding for the World Part V. I. For the Society Meeting II. Giving Thanks III. Praying IV. Parting Supplement I. Select Psalms II. Hymns of Adoration III. The Lord Jesus Christ IV. The Holy Spirit V. Penitential Hymns VI. The Experience and Privileges of Believers VII. Christian Ordinances and Institutions VIII. Death and the Future Life IX. Various Seasons and Occasions
In a time when Charles Wesley's hymns, and even his name, are slowly fading from the purview of many Christians, this book is intended to recover the precious heritage of our past, and to bring to the reader's attention a sample of the massive body of Christian verse which that genius composed throughout his life. The main body of the book is a selection of well known, lesser known, and unknown hymns and Psalm paraphrases, intended for devotional use and for teaching the basic Christian doctrines. These selections are arranged around the Christian year, as is appropriate, since Wesley was and remained a devout Anglican. Associated essays give a biographical outline of Wesley's life and ministry, analyze his verse, explore the sources of his music, and discuss various theological and devotional issues which arise from his hymns. With this volume goes the prayer that it will be used of God to recover Scriptural worship "in reverence and holy fear," appreciate his poetry, foster humble piety, promote doctrinal awareness, and to love and serve the same God of all grace and Christ of redemption whom it was Wesley's delight to serve.
Rarely studied in their own right, writings about music are often viewed as merely supplemental to understanding music itself. Yet in the nineteenth century, scholarly interest in music flourished in fields as disparate as philosophy and natural science, dramatically shifting the relationship between music and the academy. An exciting and much-needed new volume, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century draws deserved attention to the people and institutions of this period who worked to produce these writings. Editors Paul Watt, Sarah Collins, and Michael Allis, along with an international slate of contributors, discuss music's fascinating and unexpected interactions with debates about evolution, the scientific method, psychology, exoticism, gender, and the divide between high and low culture. Part I of the handbook establishes the historical context for the intellectual world of the period, including the significant genres and disciplines of its music literature, while Part II focuses on the century's institutions and networks - from journalists to monasteries - that circulated ideas about music throughout the world. Finally, Part III assesses how the music research of the period reverberates in the present, connecting studies in aestheticism, cosmopolitanism, and intertextuality to their nineteenth-century origins. The Handbook challenges Western music history's traditionally sole focus on musical work by treating writings about music as valuable cultural artifacts in themselves. Engaging and comprehensive, The Oxford Handbook of Music and Intellectual Culture in the Nineteenth Century brings together a wealth of new interdisciplinary research into this critical area of study.