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61-544: Hymns Ancient and Modern is a hymnal in common use within the Church of England , a result of the efforts of the Oxford Movement . The hymnal was first published in 1861. The organization publishing it has now been formed into a charitable trust , Hymns Ancient and Modern Ltd , and As of 2022 it publishes a wide range of hymnals as well as other theological and religious books and magazines, under imprints including

122-606: A denominational hymnal but was well-received by choirs. Mason's famous hymns, which were also included in Southern tunebooks, appeared later editions or publications: Laban ("My soul, be on thy guard;" 1830), Hebron ("Thus far the Lord hath led me on," 1830), Boylston ("My God, my life, my love," 1832), Shawmut ("Oh that I could repent! 1835") Bethany (" Nearer, My God, to Thee ", as sung in the United States) (1856). In England,

183-587: A ring binder so that individual hymns can be removed and sit nicely on a music stand); a leader's guide (e.g. matching hymns to lectionary readings); and a hymnal companion, providing descriptions about the context, origin and character of each hymn, with a focus on their poets and composers. In some hymnals, the front section is occupied by service music, such as doxologies, three-fold and seven-fold amens, or entire orders of worship ( Gradual , Alleluia , etc.). A section of responsorial psalms may also be included. Hymnals usually contain one or more indexes; some of

244-459: A similar scheme for rival books. Given the lack of unanimity in the church's use of hymns, Henry Williams Baker thought it necessary to compile one book which would command general confidence. After ascertaining by private communications the widespread desire of churchmen for greater uniformity in the use of hymns and of hymnbooks in the services of the Church, Sir Henry Baker, vicar of Monkland in

305-415: A standard edition. Sources included: Henry Williams Baker wrote and translated many of the hymns which it contains, and his ability, his profound knowledge of hymnology, and his energetic discharge of the duties of chairman of its committee for twenty years, mainly contributed to its success. Not all the hymns in these sources were already provided with tunes. Therefore, composers like William Henry Monk ,

366-812: A train: William Denton of St Bartholomew , Cripplegate , co-editor of the Church Hymnal (1853) and Francis Henry Murray, editor of the Hymnal for Use in the English Church Denton suggested that the 1852 Hymnal for use in the English Church by Francis Murray and the Hymns and Introits by George Cosby White should be amalgamated to satisfy the need for standardisation of the hymn books in use throughout England. Besides their idea, Henry Williams Baker and Rev. P. Ward were already engaged on

427-517: A virgin market in the Methodist and Baptist revival movement . Singing in these camp meetings was chaotic because multiple tunes were sung simultaneously for any given hymn text. Since he lacked musical training , Wyeth employed Elkanah Kelsey Dare to collect tunes and edit them. Wyeth's Repository of Music, Part Second (1813) included 41 folk tunes, the first printed in America. This was also

488-665: Is a crucifix sculptured in alabaster under a canopy of Purbeck marble; the figures are the Virgin Mary and ‘the other Mary’ on the north side with St John and St Mary Magdalene on the south while the background is Salviati's mosaic. As with much else, Rev Baker aimed towards the Tractarian high-church style. The fine Pulpit is the gift of Sir Henry's sister, Jessy. The figures are the four great Latin Doctors: Saints ambrose , Jerome , Augustine of Hippo and Gregory

549-463: Is as it was when built in the 13thC. The first incumbent, Ralph de la Forde is listed from 1289 and his successors on the south wall of the Nave. The Chancel was the gift of Sir Henry and replaced an older 1830 structure. Sir Henry also paid for the shingled spire to be added to the tower The East window glass is the gift in 1865 of the proprietors of Hymns Ancient and Modern – Baker's colleagues on

610-789: Is still used by the Amish , making it the oldest hymnal in continuous use. The first hymnal of the Lutheran Reformation was Achtliederbuch , followed by the Erfurt Enchiridion . An important hymnal of the 17th century was Praxis pietatis melica . Market forces rather than denominational control have characterized the history of hymnals in the thirteen colonies and the antebellum United States; even today, denominations must yield to popular tastes and include "beloved hymns" such as Amazing Grace and Come Thou Fount of Every Blessing , in their hymnals, regardless of whether

671-696: Is the River Arrow to north and east. The village lies off the A44 and is the start of the Black and White Village Trail . It has two notable buildings - one in Monkland and one in Stretford. All Saints' Church, Monkland is Grade II* listed while St Cosmas and St Damian's Church, Stretford is Grade I listed . Monkland is a former civil parish . In 1961 the parish had a population of 169. On 1 April 1987

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732-676: The Te Deum go back much further. The Reformation in the 16th century, together with the growing popularity of moveable type , quickly made hymnals a standard feature of Christian worship in all major denominations of Western and Central Europe. The first known printed hymnal was issued in 1501 in Prague by Czech Brethren (a small radical religious group of the Bohemian Reformation ) but it contains only texts of sacred songs. The Ausbund , an Anabaptist hymnal published in 1564,

793-736: The Lock Hospital Collection (1769) by Martin Madan , the Olney Hymns (1779) by John Newton and William Cowper and A Collection of Hymns for the Use of The People Called Methodists (1779) by John Wesley and Charles Wesley . A further impetus to hymn singing in the Anglican Church came in the 1830s from the Oxford Movement , led by John Keble and John Henry Newman . Being an ecclesiastical reform movement within

854-590: The Missouri Harmony (1820) of Allen D. Carden. and the Southern Harmony (1835) of William Walker drew attention to the fact that they contained regional folk songs for singing in two, three, or four parts. A new direction was taken by B. F. White with the publication of the Sacred Harp (1844): whereas others had gone on to produce a series of tunebooks, White stopped at one, then spent

915-484: The Nippon Sei Ko Kai (NSKK), with the subsequent several revisions. It was used until 2006, when it was replaced by NSKK Hymnal ( 日本聖公会聖歌集 ). Hymnal Hymnals are omnipresent in churches but are not often discussed; nevertheless, liturgical scholar Massey H. Shepherd once observed: "In all periods of the Church's history, the theology of the people has been chiefly molded by their hymns." Since

976-468: The Royal School of Church Music published Sing Praise , subtitled "Hymns and Songs for Refreshing Worship", containing 330 recently written hymn, song and short chant compositions. The selection was designed to complement Common Praise in particular, but also other hymn books in current use. In March 2013 Canterbury Press published Ancient and Modern , so reverting to the original title without

1037-503: The "Ancient" in the title referring to the appearance of Phos Hilaron , translated from Greek by John Keble , and many hymns translated from Latin. This was a game-changer. The Hymns Ancient and Modern experienced immediate and overwhelming success. Total sales in 150 years were over 170 million copies. As such, it set the standard for many later hymnals on both sides of the Atlantic. English-speaking Lutherans in America began singing

1098-440: The 12th, 13th and 14th century were moved and reset by Street. The stone is local and with dressings of tufa around the door and most of the windows. The Nave and font have been dated to about 1100; the tower, south porch and door, also the large nave windows have been dated to about 1270. The tower is 13th-century of three stages with a corbelled cornice and a shingled timber broach spire. The second stage has lancets with labels,

1159-475: The 636 hymns included in A and M Revised (AMR) and the entire 200-hymn contents of 100 Hymns for Today (HHT, 1969) and More Hymns for Today (MHT, 1980). In 2000 Hymns Ancient & Modern Ltd, through its subsidiary the Canterbury Press , published a new hymnal, this time called Common Praise . This was printed by William Clowes Ltd. of Suffolk . In September 2010 Canterbury Press and

1220-512: The Anglican Church, the Oxford Movement wanted to recover the lost treasures of breviaries and service books of the ancient Greek and Latin churches. As a result Greek, Latin and even German hymns in translation entered the mainstream of English hymnody. These translations were composed by people like John Chandler, John Mason Neale , Thomas Helmore , Edward Caswall , Jane Laurie Borthwick and Catherine Winkworth . Besides stimulating

1281-531: The Great . By the time of Sir Henry Williams Baker's death in 1877 sales of Hymns Ancient and Modern had reached some 8 million and the government had even issued copies to every ship in the Royal Navy . His obituary included "...the beautifully restored church, the excellent choir, the crowded services and the efficient school bear witness to his zeal and devotion.=" and "... His true memorial will be found in

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1342-547: The acquired publishers Canterbury Press and SCM Press . By 1830 the regular singing of hymns in the dissenting churches (outside the Church of England) had become widely accepted due to hymn writers like Isaac Watts , Charles Wesley and others. In the Church of England hymn singing was not an integral part of Orders of Service until the early 19th century, and hymns, as opposed to metrical psalms , were not officially sanctioned. From about 1800, parish churches started to use different hymn collections in informal services, like

1403-581: The birth of the "folk hymn": the use of a folk tune, collected and harmonized by a trained musician, printed with a hymn text. "Nettleton," the tune used in North America to sing "Come Thou Fount" (words written in 1758), first appeared here. Southerners identified with folk hymns of Wyeth's 1813 Part Second and collected more: the titles of Kentucky Harmony (1816) of Ananias Davisson , the Tennessee Harmony (1818) of Alexander Johnson,

1464-539: The castle in 1066 as Castellan. His son became Baron then much later Earl of Stafford. The Earldom is extinct. The Benedictine cell at Monkland was linked with the equally small cell at Wotton Waven cell in Warwickshire. These passed, to and fro by result of war, to the Crown and to Conches more than once. In 1415, Henry V gave it to Sir Rowland Lenthall who had distinguished himself at Agincourt. After 50 years, it

1525-402: The committee set to work under the lead of Henry William Baker. An appeal was made to the clergy and to their publishers to withdraw their individual collections and to support this new combined venture. They founded a board, called the "Proprietors", which oversaw both the publication of the hymnal and the application of the profits to support appropriate charities, or to subsidise the purchase of

1586-515: The committee – and depicts Our Lord in Glory with angels above and a very happy group of earthly singers in a garden singing from a book; on the two side windows, angels, then saints singing and herdsmen below playing a horn and a recorder. The glass is by John Hardman Powell of Birmingham. As well as the Organ, much of the church is adorned with gifts from Sir Henry or memorials to him. The reredos

1647-587: The daily offices, Sunday, the church year, Holy Communion and other sacraments, and the various feasts. Furthermore, the Hymns Ancient and Modern was the first influential book to attach "Amen" to every hymn. Hymns Ancient and Modern experienced immediate and overwhelming success, becoming possibly the most popular English hymnal ever published. The music, expressive and tuneful, greatly assisted to its popularity. Total sales in 150 years were over 170 million copies., by 2024 nearly 200 million As such, it set

1708-447: The death of Nicholson. Many hymns were weeded out from the 1950 edition as the editors wished to make space for more recent compositions and to thin out the over-supplemented previous versions. Bower was organist at St. Paul's Cathedral , whilst Knight held the same post at Canterbury . In 1975 the proprietors formed a limited company and a registered charity , and in 1983 published the "New Standard Edition". This consisted of 333 of

1769-528: The diocese of Hereford, early in 1858 associated himself for this purpose with about twenty clergymen, including the editors of many existing hymnals, who agreed to give up their several books to try to promote the use of one standard hymn book. In October of that year an advertisement in The Guardian , the High Church newspaper, invited co-operation, and over 200 clergymen responded. In January 1859

1830-544: The editor of the 1861 edition, John Bacchus Dykes and Frederick Ouseley , John Stainer , Henry Gauntlett and Edmund Hart Turpin provided new hymn tunes. Among the hymns with newly-composed tunes were Eternal Father, Strong to Save and Praise to the Holiest in the Height (John Bacchus Dykes), Onward, Christian Soldiers ( Arthur Sullivan ) and Abide with Me (William Henry Monk). The Hymns Ancient and Modern

1891-469: The first stage a square-headed window in each wall. The fame of the church derives from it being where Sir Henry Williams Baker was from 1852 to 1877. Ut was here that he worked as Chairman of the Committee of Compilers for Hymns Ancient and Modern . The restoration of the Nave by Street involved demolishing the walls and re-building with the same stones in their former position – so that in effect it

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1952-426: The growing popularity of hymns inspired the publication of more than 100 hymnals during the period 1810–1850. The sheer number of these collections prevented any one of them from being successful. In 1861, members of the Oxford Movement published Hymns Ancient and Modern under the musical supervision of William Henry Monk , with 273 hymns. For the first time, translations from languages other than Hebrew appeared,

2013-475: The hymn books by poor parishes. The superintendent was William Henry Monk . One of the advisors, John Keble , recommended that it should be made a comprehensive hymn-book. This committee set themselves to produce a hymn-book which would be a companion to the Book of Common Prayer . Another intention of the founders of Hymns Ancient and Modern was that it would improve congregational worship for everybody. A specimen

2074-467: The hymns in the book. In 1989 Hymns Ancient & Modern Ltd. bought Church Times , the Church of England's periodical, and bought SCM Press in 1997. Other imprints include Canterbury Press. In 2007 it became the distributor for St Andrew Press , the Church of Scotland 's publishing house. The Japanese edition of Hymns Ancient Modern , called Kokin Seika Shū ( 古今聖歌集 ), was published in 1902 by

2135-407: The journey. Ralph's wife, Isabel, the daughter of Simon I de Montfort , rode as a knight in north France and lived to the age of 90. Tracing back to 924, Ralph's descendants remained well in royal favour until only a sister survived in 1309. Brother Robert, the standard-bearer, held 131 manors from King William – scattered somewhat as was William's method – and was based at Stafford where he built

2196-510: The manor itself does not. The two parish books ‘from 1730 to 1817’ and ‘1817 to Now’ are a wonderful record of the churchwardens, poorhouse, petty constables and waywardens. In 1890, the parish was listed as of 1079 acres – about 1.7 sq. miles with a population of 211 in 48 houses. The numbers are as yet little changed although there is some growth. In the most recent state as the Civil Parish of Monkland and Stretford, its major boundary

2257-638: The metrical translations of German chorales by Catherine Winkworth and Jane Laurie Borthwick , and rediscovered their heritage. Although closely associated with the Church of England , Hymns Ancient and Modern was a private venture by a committee, called the Proprietors, chaired by Sir Henry Baker . Monkland, Herefordshire Monkland is a small village in the parish of Monkland and Stretford , in Herefordshire , England, about three miles (5 km) west of Leominster . In Domesday

2318-647: The mill at Monkland was 11 shillings and 25 ‘sticks’of eels, each ‘stick’ being 25 eels. The village was valued at £7. Before the conquest, Aelmer and Ulfketel held it as two manors; ‘they could go where they would’ – an extra and not frequent piece of Domesday detail. Monkland, the mill and its 22 residents was transferred by him to the Abbey of St Pierre and St Paul de Castillon  [ fr ] at Conches. The town of Conches had its name changed from Castillon by his father Raoul ‘The Spaniard’ after his pilgrimage to Santiago de Compostela and his wife's miraculous cure on

2379-628: The parish was abolished and merged with Stretford to form "Monkland & Stretford". The church dates from circa 1100, therefore being of Norman origin. It was built by the monks from the Abbey of Conches in Normandy. Pevsner writes that the church is of 13th century construction and was thoroughly restored and rebuilt in 1866 by G. E. Street . Street later worked on the Law Courts as well as York, Salisbury and Carlisle cathedrals. The 1866 work

2440-709: The present day, and Walker's Christian Harmony , published in 1866, with the first convention organized in 1875 (43 all-day singings in 2010); the Kentucky Harmony was republished in altered form as the Shenandoah Harmony in 2010, reviving the world of predominantly minor key melodies and unusual tonalities of Davisson's work. In the North, the " Better Music Boys ," cultivated musicians such as Lowell Mason and Thomas Hastings who turned to Europe for musical inspiration, introduced musical education into

2501-525: The psalms" in general, was served by hymnals for West gallery singing imported from England. William Billings of Boston took the first step beyond West Gallery music in publishing The New-England Psalm-Singer (1770), the first book in which tunes were entirely composed by an American. The tune-books of Billings and other Yankee tunesmiths were widely sold by itinerant singing-school teachers. The song texts were predominantly drawn from English metrical psalms , particularly those of Isaac Watts . All of

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2562-401: The publication of more than 100 hymnals during the period 1810–1850. The sheer number of these collections prevented any one of them from being successful. A beginning of what would become the Hymns Ancient and Modern was made with the Hymns and Introits (1852), edited by George Cosby White. The idea for the hymn-book arose in 1858 when two clergymen, both part of the Oxford Movement , met on

2623-746: The publications of these tunesmiths (also called "First New England School") were essentially hymnals. In 1801, the tunebook market was greatly expanded by the invention of shape notes , which made it easier to learn how to read music. John Wyeth , a Unitarian printer in Harrisburg, Pennsylvania , who had apprenticed in Boston during the emergence of the First New England School, began to publish tunebooks in 1810 in German and English for various sectarian groups (but not Unitarians). He saw

2684-482: The rest of his life building an organization, modeled on church conventions, to organize singing events, with the result that the Sacred Harp continues as a living tradition to the present. The other tunebooks eventually yielded to denominational hymnals that became pervasive with the development of railroad networks, with the exception of the Southern Harmony, for which there is an annual singing in Benton, Kentucky to

2745-502: The same time, few other books are so well memorized. Singers often have the song number of their favorite hymns memorized, as well as the words of other hymns. In this sense, a hymnal is the intersection of advanced literate culture with the persistent survival or oral traditions into the present day. The earliest hand-written hymnals are from the Middle Ages in the context of European Christianity , although individual hymns such as

2806-559: The school system, and emphasized the use of organs, choirs, and "special music." In the long term this resulted in a decline of congregational singing. On the other hand, they also composed hymns that could be sung by everybody. Mason's The Handel and Haydn Society Collection of Church Music (1822) was published by the Handel and Haydn Society of Boston while Mason was still living in Savannah ; nobody else would publish it. This never became

2867-460: The site is identifiable as Lena and also Leine. Early versions of the name develop into Monklene or "low-lying land of the monks" in the Hundred of Hezetre, now Hazeltree . About 1180 the variants Munkelen, Moneclene and Monkeslane are found. Some sources have the erroneous Monkllan which is Anglo-Welsh for "Monk's Church." The River Arrow runs to the east of the village. Raoul/Ralph de Tosni

2928-616: The song texts conform to sectarian teaching. The first hymnal, and also the first book, printed in British North America , is the Bay Psalm Book , printed in 1640 in Cambridge , Massachusetts , a metrical Psalter that attempted to translate the psalms into English so close to the original Hebrew that it was unsingable. The market demand created by this failure, and the dismal nature of Calvinist "lining out

2989-493: The specialized indexes may be printed in the companion volumes rather than the hymnal itself. A first line index is almost universal. There may also be indexes for the first line of every stanza, the first lines of choruses, tune names, and a metrical index (tunes by common meter, short meter, etc.). Indexes for composers, poets, arrangers, translators, and song sources may be separate or combined. Lists of copyright acknowledgements are essential. Few other books are so well indexed; at

3050-443: The standard for many later hymnals like The English Hymnal which first appeared in 1906 and was succeeded by The New English Hymnal in 1986. The first edition, musically supervised by William Henry Monk , was published in 1861 by Novello & Co , with 273 hymns. They also published the 1868 Appendix; but following negotiations, the whole publishing project was placed in the hands of William Clowes and Son later that year. It

3111-513: The translation of medieval hymns, and use of plainsong melodies, the Oxford Reformers, inspired by Reginald Heber 's work, also began to write original hymns. Among these hymnwriters were clergy like Henry Alford , Henry Williams Baker , Sabine Baring-Gould , John Keble and Christopher Wordsworth and laymen like Matthew Bridges , William Chatterton Dix and Folliott Sandford Pierpoint . The growing popularity of hymns inspired

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3172-427: The tunes. They may take a well-known tune and associate it with new poetry, or edit the previous text; hymnal committees are typically staffed by both poets and musicians. Some hymnals are produced by church bodies and others by commercial publishers. In large denominations, the hymnal may be part of a coordinated publication project that involves several books: the pew hymnal proper; an accompaniment version (e.g. using

3233-407: The twentieth century, singer-songwriter hymns have become common, but in previous centuries, generally poets wrote the words, and musicians wrote the tunes. The texts are known and indexed by their first lines ("incipits") and the hymn tunes are given names, sometimes geographical (the tune "New Britain" for the incipit " Amazing Grace , how sweet the sound"). The hymnal editors curate the texts and

3294-469: The word "Hymns", but also subtitled Hymns and Songs for Refreshing Worship , a new edition designed for contemporary patterns of worship. It contains 847 items, including some items from Common Praise and Sing Praise , ranging from psalm settings to John L. Bell , Bernadette Farrell , Stuart Townend and others. In 2014 the British organist John Keys completed recordings of organ accompaniments of all

3355-555: Was austere in style and conformed to the Anglican Book of Common Prayer . It also established the practice of writing tunes for specific texts and publishing both texts and tunes together rather than in separate collections, which had been the practice until then. Roughly, the hymns were arranged in the order of the Prayer Book. More specifically, there were separate sections grouped according to liturgical criteria: hymns for

3416-651: Was born in 1037, and died in 1102 as Seneschal de Conches in Normandy; the family also held Tosny, 30 miles from Conches. Ralph was to have been standard-bearer to William the Conqueror at the Battle of Hastings but gave the honour to his younger brother Robert. Different genealogical sources do differ, especially as there were three close relatives named Robert. After the conquest, Ralph gained some 65 manors across England in Norfolk, Worcs, Herefordshire etc. The tax for

3477-506: Was in part a rebuild rather than the all-too-common demolish-and-newbuild. A small cell of Benedictine monks was founded at the church by Ralph de Tosni, Seneschal de Conches in Normandy where there was the Abbey of St Pierre and St Paul de Castillon. The monastic buildings were probably on the south side of the churchyard. This was the site of the old Manor House of which deteriorating outbuildings remain. The large-scale 1880/90 Ordnance Survey maps have some useful extra detail. Windows from

3538-495: Was issued in May 1859. In 1860 a trial edition was published, with the imprimatur of Dr Renn Hampden , Sir Henry Baker's diocesan . The first full edition with tunes, under the musical editorship of Professor W. H. Monk, King's College, London, appeared on 20 March 1861. The Hymns Ancient and Modern was a rather eclectic collection of hymns that included a broad series of hymns from different religious traditions, in order to achieve

3599-426: Was republished for the last time, with a second supplement by Sydney Nicholson . In 1922, the "standard edition" was published, more strongly based on the "old complete edition" than the less popular "new and revised edition". This also was edited by Nicholson, who was the musical editor until he died in 1947. In 1950 the "revised edition" was published, with G. H. Knight and J. Dykes Bower having both edited since

3660-679: Was resumed by the Crown and then the Manor and Priory were granted with tithes to the Dean of the Canons of St George's Chapel, Windsor. They are still vow-patrons of the benefice and relations continue, mostly via the Diocese. In 1831 the Manor was sold to a Mr Preece of Leominster; this solicitor passed it to the Bengough family of Gloucestershire in 1835, who still live in the village. Manor Farm remains,

3721-406: Was revised in 1875 by Monk to produce the second edition, to which Charles Steggall added several supplementary hymns in 1889. In 1904 a "new and revised edition" was published, edited by Bertram Luard-Selby . After many complaints about the difference between this and its predecessors, Charles Steggall's edition was republished in 1906 as the "Complete edition". In 1916 the "old complete edition"

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