A hymnal or hymnary is a collection of hymns , usually in the form of a book, called a hymnbook (or hymn book ). They are used in congregational singing . A hymnal may contain only hymn texts (normal for most hymnals for most centuries of Christian history); written melodies are extra, and more recently harmony parts have also been provided.
50-671: Lutheran Service Book ( LSB ) is the newest official hymnal of the Lutheran Church–Missouri Synod (LCMS) and the Lutheran Church–Canada (LCC). It was prepared by the LCMS Commission on Worship and published by Concordia Publishing House , the official publisher of the LCMS. It is the fourth official English-language hymnal of the LCMS published since the synod began transitioning from German to English in
100-567: A religious profession , the publication of a treaty of peace, a royal coronation, etc. It is sung either after Mass or the Divine Office or as a separate religious ceremony. The hymn also remains in use in the Anglican Communion and some Lutheran Churches in similar settings. Originally, the hymn Te Deum was written on a Gregorian chant melody. The petitions at the end of the hymn (beginning Salvum fac populum tuum ) are
150-421: A Te Deum service on December 31 of each year. It is also celebrated in some South American countries such as Argentina , Chile , and Peru on their national days. The text has been set to music by many composers, with settings by Zelenka , Handel , Haydn , Mozart , Berlioz , Verdi , Bruckner , Furtwängler , Dvořák , Britten , Kodály , and Pärt among the better known. Jean-Baptiste Lully wrote
200-606: 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,
250-512: A dramatic performance of the initial part of the Te Deum at the end of Act I. The traditional chant melody was the basis for elaborate Te Deum compositions by notable French composer organists, Louis Marchand , Guillaume Lasceux , Charles Tournemire (1930), Jean Langlais (1934), and Jeanne Demessieux (1958), which are still widely performed today. A version by Father Michael Keating is popular in some Charismatic circles. Mark Hayes wrote
300-587: 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
350-479: A selection of verses from the book of Psalms , appended subsequently to the original hymn. The hymn follows the outline of the Apostles' Creed , mixing a poetic vision of the heavenly liturgy with its declaration of faith. Calling on the name of God immediately, the hymn proceeds to name all those who praise and venerate God, from the hierarchy of heavenly creatures to those Christian faithful already in heaven to
400-700: A setting of Te Deum for the court of Louis XIV of France , and received a fatal injury while conducting it. Michel Richard de Lalande wrote a setting of the Te Deum, S.32. The prelude to Marc-Antoine Charpentier's setting ( H.146 ) is well known in Europe on account of its being used as the theme music for Eurovision network broadcasts of the European Broadcasting Union , most notably the Eurovision Song Contest and Jeux Sans Frontières . He wrote also three other settings of
450-414: A setting of the text in 2005, with Latin phrases interpolated amid primarily English lyrics. In 1978, British hymnodist Christopher Idle wrote God We Praise You , a version of the text in 8.7.8.7.D meter, set to the tune Rustington . British composer John Rutter has composed two settings of this hymn, one entitled Te Deum and the other Winchester Te Deum . Igor Stravinsky set the first 12 lines of
500-620: A short religious service (of blessing or thanks) that is based upon the hymn. It continues in use in many contexts by several denominations. In particular it is the core of a short church service of thanksgiving held, often at short notice, to celebrate good news such as a military victory, the signing of a peace treaty, or the birth of a royal child. Authorship of the hymn is traditionally ascribed to Saint Ambrose (died 397) or Saint Augustine (died 430). In 19th-century scholarship, Saint Hilary of Poitiers (died 367) and Saint Nicetas of Remesiana (died 414) were proposed as possible authors. In
550-517: 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
SECTION 10
#1732772460627600-739: Is a Latin Christian hymn traditionally ascribed to a date before AD 500, but perhaps with antecedents that place it much earlier. It is central to the Ambrosian hymnal , which spread throughout the Latin Church with other parts of the Ambrosian Rite of Milan in the 6th to 8th centuries. It is sometimes known as the Ambrosian Hymn, although authorship by Saint Ambrose is unlikely. The term Te Deum can also refer to
650-500: Is in thee. O Lord, in thee have I trusted : let me never be confounded. O God, we praise you; O Lord, we acclaim you. Eternal Father, all the earth reveres you. All the angels, the heavens and the Pow'rs of heaven, Cherubim and Seraphim cry out to you in endless praise: Holy, Holy, Holy Lord God of hosts, heaven and earth are filled with the majesty of your glory. The glorious choir of Apostles sings to you,
700-730: Is retained by many churches of the Reformed tradition . The hymn is in regular use in the Catholic Church , Lutheran Church, Anglican Church and Methodist Church (mostly before the Homily) in the Office of Readings found in the Liturgy of the Hours , and in thanksgiving to God for a special blessing such as the election of a pope, the consecration of a bishop, the canonization of a saint,
750-789: 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
800-503: Is structured in order to allow churches to easily prepare printed orders of service and electronically presented orders of service, containing readings, hymns, and service music. 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
850-676: 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,
900-534: The Book of Common Prayer , verse is written in half-lines, at which reading pauses, indicated by colons in the text. The Enchiridion Indulgentiarum of 2004 grants plenary or partial indulgence under certain circumstances. A Te Deum service is a short religious service, based upon the singing of the hymn, held to give thanks. In Sweden , for example, it may be held in the Royal Chapel in connection with
950-590: 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
1000-630: The Triduum ) and on all ferias during Eastertide . Before the 1961 reforms of Pope John XXIII , neither the Gloria nor the Te Deum were said on the feast of the Holy Innocents , unless it fell on Sunday, as they were martyred before the death of Christ and therefore could not immediately attain the beatific vision . In the Liturgy of the Hours of Pope Paul VI , the Te Deum is sung at
1050-503: 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
SECTION 20
#17327724606271100-594: The 20th century, especially Ernst Kähler (1958), have shown the association with "Nicetas" to be spurious. The Te Deum has structural similarities with a eucharistic prayer and it has been proposed that it was originally composed as part of one. The hymn was part of the Old Hymnal since it was introduced to the Benedictine order in the 6th century, and it was preserved in the Frankish Hymnal of
1150-463: The 20th century, the association with Nicetas has been deprecated, so that the hymn, while almost certainly dating to the 4th century, is considered as being of uncertain authorship. Authorship of Nicetas of Remesiana was suggested by the association of the name "Nicetas" with the hymn in manuscripts from the 10th century onward, and was particularly defended in the 1890s by Germain Morin . Hymnologists of
1200-691: The 8th century. It was, however, removed from the New Hymnal which became prevalent in the 10th century. It was restored in the 12th century in hymnals that attempted to restore the praiseful intent of the Rule of St. Benedict, Chap. 12: How the Morning Office Is to Be Said. In the traditional office , the Te Deum is sung at the end of Matins on all days when the Gloria is said at Mass; those days are all Sundays outside Advent , Septuagesima , Lent , and Passiontide ; on all feasts (except
1250-818: The Canticle following the First Lesson. It is appointed for (1) Sundays except in Pre-Lent and Lent, (2) Feasts and Solemnities, and (3) all days during the Octaves of Christmas, Easter, and Pentecost. It is also used together with the standard canticles in Morning Prayer as prescribed in the Anglican Book of Common Prayer , as an option in Morning Prayer or Matins for Lutherans , and
1300-402: The Church spread throughout the world. The hymn then returns to its credal formula, naming Christ and recalling his birth, suffering and death, his resurrection and glorification. At this point the hymn turns to the subjects declaiming the praise, both the universal Church and the singer in particular, asking for mercy on past sins, protection from future sin, and the hoped-for reunification with
1350-710: The Lord. All the earth doth worship thee : the Father everlasting. To thee all Angels cry aloud : the Heavens, and all the Powers therein. To thee Cherubin and Seraphin : continually do cry, Holy, Holy, Holy : Lord God of Sabaoth; Heaven and earth are full of the Majesty ;: of thy glory. The glorious company of the Apostles ;: praise thee. The goodly fellowship of
1400-717: The Prophets ;: praise thee. The noble army of Martyrs : praise thee. The holy Church throughout all the world : doth acknowledge thee; The Father : of an infinite Majesty; Thine honourable, true : and only Son; Also the Holy Ghost ;: the Comforter. Thou art the King of Glory : O Christ. Thou art the everlasting Son : of the Father. When thou tookest upon thee to deliver man : thou didst not abhor
1450-729: The Te Deum: H.145, H.147, H.148. Henry Desmarets , two settings of Te Deum (1687). Louis-Nicolas Clérambault wrote three settings of the Te Deum: C.137, C.138, C.155. Earlier it had been used as the theme music for Bud Greenspan 's documentary series, The Olympiad . Sir William Walton 's Coronation Te Deum was written for the coronation of Queen Elizabeth II in 1953. Other English settings include those by Thomas Tallis , William Byrd , Henry Purcell , Edward Elgar , Richard St. Clair and Herbert Howells , as well as five settings by George Frideric Handel and three settings by Charles Villiers Stanford . Puccini 's opera Tosca features
1500-1054: The Virgin's womb. When thou hadst overcome the sharpness of death : thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God : in the glory of the Father. We believe that thou shalt come : to be our Judge. We therefore pray thee, help thy servants : whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints : in glory everlasting. [added later, mainly from Psalm verses:] O Lord, save thy people : and bless thine heritage. Govern them : and lift them up for ever. Day by day : we magnify thee; And we worship thy Name : ever world without end. Vouchsafe, O Lord : to keep us this day without sin. O Lord, have mercy upon us : have mercy upon us. O Lord, let thy mercy lighten upon us : as our trust
1550-948: The Virgin's womb; you overcame the sting of death and opened wide the Kingdom of Heaven to those who put their faith in you. You are seated at the right hand of God in the glory of the Father. We believe you are the Judge who is to come. And so we beg you, help your servants, redeemed by your most precious blood. Number them among your saints in eternal glory. [added later, mainly from Psalm verses:] Save your people, Lord, and bless your inheritance. Shepherd them and raise them to eternal life. Day by day, we bless you and praise your name for endless ages evermore. Be gracious, Lord, on this day, and keep us from all sin. Have mercy on us, O Lord, have mercy. May your mercy be upon us, Lord, as we place our trust in you. In you, O Lord, I rest my hope: let me never be put to shame. In
Lutheran Service Book - Misplaced Pages Continue
1600-601: The birth of a prince or princess, christenings, milestone birthdays, jubilees and other important events within the royal family of Sweden. In Luxembourg , a service is held annually in the presence of the grand-ducal family to celebrate the Grand Duke's Official Birthday , which is also the nation's national day, on either 23 or 24 June. In the Autonomous Region of Madeira , the Bishop of Funchal holds
1650-581: 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,
1700-485: The early 1900s. LSB is intended to succeed both The Lutheran Hymnal ( TLH ) and Lutheran Worship ( LW ) as the common hymnal of the LCMS. Supplemental and companion editions to the hymnal were released throughout the end of 2006 and into 2007. The hymnal was officially approved by the LCMS at the 2004 LCMS National Convention in St. Louis . It was officially released on September 1, 2006, but many customers who pre-ordered
1750-1687: The elect. Te Deum laudámus: te Dominum confitémur. Te ætérnum Patrem omnis terra venerátur. Tibi omnes Angeli; tibi cæli et univérsae potestátes. Tibi Chérubim et Séraphim incessábili voce proclámant: Sanctus, Sanctus, Sanctus, Dóminus Deus Sábaoth. Pleni sunt cæli et terra majestátis glóriæ tuæ. Te gloriósus Apostolórum chorus; Te Prophetárum laudábilis númerus; Te Mártyrum candidátus laudat exércitus. Te per orbem terrárum sancta confitétur Ecclésia: Patrem imménsæ majestátis; Venerándum tuum verum et únicum Fílium; Sanctum quoque Paráclitum Spíritum. Tu Rex glóriæ, Christe. Tu Patris sempitérnus es Fílius. Tu ad liberándum susceptúrus hóminem, non horruísti Vírginis úterum. Tu, devícto mortis acúleo, aperuísti credéntibus regna cælórum. Tu ad déxteram Dei sedes, in glória Patris. Judex créderis esse ventúrus. Te ergo quǽsumus, tuis fámulis súbveni, quos pretióso sánguine redemísti. Ætérna fac cum sanctis tuis in glória numerári. [added later, mainly from Psalm verses:] Salvum fac pópulum tuum, Dómine, et bénedic hæreditáti tuæ. Et rege eos, et extólle illos usque in ætérnum. Per síngulos dies benedícimus te. Et laudámus nomen tuum in sǽculum, et in sǽculum sǽculi. Dignáre, Dómine, die isto sine peccáto nos custodíre. Miserére nostri, Dómine, miserére nostri. Fiat misericórdia tua, Dómine, super nos, quemádmodum sperávimus in te. In te, Dómine, sperávi: non confúndar in ætérnum. We praise thee, O God : we acknowledge thee to be
1800-652: The end of the Office of Readings on all Sundays except those in Lent, on all solemnities, on the octaves of Easter and Christmas, and on all feasts. The revised Handbook of Indulgences (fourth edition) grants a plenary indulgence , under the usual conditions, to those who recite it in public on New Year's Eve . In the Daily Office of the Catholic Ordinariates the Te Deum is sung at Morning Prayer as
1850-490: 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,
1900-507: The hymnal received their copies several weeks earlier. In April 2015, Lutheran Service Book became the first Lutheran hymnal to be made available in ebook format. In addition to the pew edition, several other editions of LSB are available: In addition to the various print editions of the hymnal, the Commission on Worship prepared an electronic edition of Lutheran Service Book known as Lutheran Service Builder . This computer program
1950-652: 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 . Te Deum The Te Deum ( / t eɪ ˈ d eɪ əm / or / t iː ˈ d iː əm / , Latin: [te ˈde.um] ; from its incipit , Te Deum laudamus ( Latin for 'Thee, God, we praise'))
2000-484: The noble company of prophets praises you, the white-robed army of martyrs glorifies you, Holy Church throughout the earth proclaims you, Father of boundless majesty, with your true and only Son, worthy of adoration, and the Holy Spirit, Paraclete. You, O Christ, are the King of glory, you are the Father's everlasting Son; when you resolved to save the human race, you did not spurn
2050-709: 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
Lutheran Service Book - Misplaced Pages Continue
2100-525: 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
2150-746: 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
2200-482: 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
2250-502: 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
2300-559: 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
2350-616: 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
2400-493: 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
2450-427: 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
2500-407: 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
#626373