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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
"This book originated in a conference, Music, Cultural History and the Wesleys, hosted by CHOMBEC (Centre for the History of Music in Britain, the Empire and the Commonwealth) and held at the University of Bristol in July 2007"--Pref.
Hymnody is widely recognised as a central tenet of Methodism’s theological, doctrinal, spiritual, and liturgical identity. Theologically and doctrinally, the content of the hymns has traditionally been a primary vehicle for expressing Methodism’s emphasis on salvation for all, social holiness, and personal commitment, while particular hymns and the communal act of participating in hymn singing have been key elements in the spiritual lives of Methodists. An important contribution to the history of Methodism, British Methodist Hymnody argues that the significance of hymnody in British Methodism is best understood as a combination of its official status, spiritual expression, popular appeal, and practical application. Seeking to consider what, when, how, and why Methodists sing, British Methodist Hymnody examines the history, perception, and practice of hymnody from Methodism’s small-scale eighteenth-century origins to its place as a worldwide denomination today.
Examining nineteenth-century British hymns for children, Alisa Clapp-Itnyre argues that the unique qualities of children's hymnody created a space for children's empowerment. Unlike other literature of the era, hymn books were often compilations of many writers' hymns, presenting the discerning child with a multitude of perspectives on religion and childhood. In addition, the agency afforded children as singers meant that they were actively engaged with the text, music, and pictures of their hymnals. Clapp-Itnyre charts the history of children’s hymn-book publications from early to late nineteenth century, considering major denominational movements, the importance of musical tonality as it affected the popularity of hymns to both adults and children, and children’s reformation of adult society provided by such genres as missionary and temperance hymns. While hymn books appear to distinguish 'the child' from 'the adult', intricate issues of theology and poetry - typically kept within the domain of adulthood - were purposely conveyed to those of younger years and comprehension. Ultimately, Clapp-Itnyre shows how children's hymns complicate our understanding of the child-adult binary traditionally seen to be a hallmark of Victorian society. Intersecting with major aesthetic movements of the period, from the peaking of Victorian hymnody to the Golden Age of Illustration, children’s hymn books require scholarly attention to deepen our understanding of the complex aesthetic network for children and adults. Informed by extensive archival research, British Hymn Books for Children, 1800-1900 brings this understudied genre of Victorian culture to critical light.
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.
From its beginnings in the Bible, Christian hymnology has fulfilled three functions -- praise, recital and teaching of the Myth, and collective and personal adoration as well as the foundation and worship of the church. In Hymns and the Christian Myth Lionel Adey demonstrates that over the centuries shifts emphasizing particular elements of the Christian faith accord with the interests and concerns of the times in which the hymns were composed. Using a broad range of texts, Adey deals with major themes of every period from biblical times to the early twentiet century. In tracing the changes in representation of the Father, Son, Holy Spirit and Four Last Things in early and medieval Latin hymns, post-Reformation chorales and psalm-based hymns, and English hymns from the time of Watts, the book shows an increasing sense of personal response to the Incarnation and Passion of Christ and of participation in His redemptive work. Chapters on hymnody of the Nativity and Passion illustrate the tendency of monastic poets (the Learned tradition) to focus on dogma, mystery, and paradox, and carolists (the Popular tradition) to convey devotional tenderness. Those on hymnody of the Holy Spirit illustrate a shift through the medieval period from representing pentecostal events to exploring their spiritual meaning. During the Reformation and the Evangelical Revival, the weight of hymnody shifts first to the Father and then to the Son's Passion and Atonement, applied personally and inwardly re-lived by the convert. Most consistently, hymnic representations of the Last Things shift their focus from collective to individual judgement, from death as sleep until the general awakening to death as instant passage to reunion with family and friends. As a hymnologist rather than a theologian, Adey makes no pronouncements on the truth of Christian beliefs. His focus is on how poets have expressed them over two millenia. As such, the book will interest not only students of religion but also those in such related disciplines as literature, psychology, history, and sociology.