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Author: Henry W. Baker, 1821-1877 Meter: 10.10.11.11 Appears in 78 hymnals Topics: Music Ministry First Line: Sing praise to the Lord! Lyrics: 1 Sing praise to the Lord! praise God in the height; Rejoice in his word, you angels of light: O heavens, adore him by whom you were made, And worship before him in brightness arrayed. 2 Sing praise to the Lord! praise God upon earth, In tuneful accord, all you of new birth; Praise him who has brought you his grace from above, Praise him who has taught you to sing of his love. 3 Sing praise to the Lord, all things that give sound; Each jubilant chord re-echo around; Loud organs, his glory tell forth in deep tone, And trumpets, the story of what God has done. 4 Sing praise to the Lord! thanksgiving and song To him be outpoured all ages along; For love in creation, for heaven restored, For grace of salvation, sing praise to the Lord! Scripture: Psalm 117 Used With Tune: LAUDATE DOMINUM

God Calls Us to Worship

Author: Mary Nelson Keithahn Meter: 11.11.11.11 Appears in 1 hymnal Topics: Music Music ministry First Line: God calls us to worship with glorious sounds Lyrics: God calls us to worship with glorious soundsof music declaring that here love is found;in songs of the faithful and tunes that we play,God's presence is made known among us today.Refrain:Sing praise that, in music, God gives us a voice,and calls us to worship, give thanks, and rejoice!Sing praise for the music that's chosen with carethat we may express our deep feelings in prayer,for psalms, hymns, and anthems that help us move onfrom tears of lament to a joyful new song.Refrain:Sing praise now for music that gives us a voiceto tell of God's goodness, give thanks, and rejoice.Sing praise for directors who work hard and longto help us discover our own gifts for song,who nurture and teach us and set us afireto sing from the pew or a place in the choir.Refrain:Sing praise now for music that gives us a voiceto tell of God's goodness, give thanks, and rejoice.Sing praise for musicians who walk at our side,our friends and companions, who ever providenew reasons to sing and to offer our praise,and lead us in serving God, now and always.Refrain:Sing praise now for music that gives us a voiceto tell of God's goodness, give thanks, and rejoice. Scripture: Colossians 3:16-17 Used With Tune: KAPELLMEISTER Text Sources: The Song Lingers On

From All That Dwell Below The Skies (Praise God from Whom All Blessings Flow)

Author: Isaac Watts, 1674-1748; Anon. ; Thomas Ken, 1637-1711 Meter: 8.8.8.8 Appears in 1,278 hymnals Topics: Music Ministry First Line: From all that dwell below the skies Lyrics: 1 From all that dwell below the skies, Let the Creator's praise arise; Let the Redeemer's name be sung, Through ev'ry land, by ev'ry tongue. 2 Eternal are your mercies, Lord; Eternal truth attends your word; Your praise shall sound from shore to shore, Till suns shall rise and set no more. 3 Your lofty themes, all mortals, bring; In songs of praise divinely sing; The great salvation loud proclaim, And shout for joy the Savior's name. 4 In ev'ry land begin the song; To ev'ry land the strains belong; In cheerful sounds all voices raise, And fill the world with loudest praise. Doxology: Praise God, from whom all blessings flow; Praise him, all creatures here below; Praise him above, you heav'nly host: Praise Father, Son and Holy Ghost. Scripture: Psalm 66:1-2 Used With Tune: OLD HUNDREDTH

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Tunes

Tune authorities

ELLACOMBE

Meter: 8.6.8.6 D Appears in 600 hymnals Composer and/or Arranger: William H. Monk, 1823-1889 Topics: Music Ministry Tune Sources: Gesangbuch der Herzogl, Wirtembergischen Katholischen Hafkapelle, 1784, alt.; Adapt.: Würth's Katholisches Gesangbuch, 1863 Tune Key: A Major Incipit: 51765 13455 67122 Used With Text: I Sing the Mighty Power of God

OLD HUNDREDTH

Meter: 8.8.8.8 Appears in 1,893 hymnals Composer and/or Arranger: Louis Bourgeois, ca.1510-1561; Randall DeBruyn, b. 1947 Topics: Music Ministry Tune Sources: Genevan Psalter, 1551 Tune Key: G Major or modal Incipit: 11765 12333 32143 Used With Text: From All That Dwell Below The Skies (Praise God from Whom All Blessings Flow)

ENGELBERG

Meter: 10.10.10 with alleluias Appears in 140 hymnals Composer and/or Arranger: Charles V. Stanford, 1852-1924 Topics: Music Ministry Tune Key: F Major or modal Incipit: 51325 67165 55432 Used With Text: When, in Our Music, God is Glorified

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Instances

Published text-tune combinations (hymns) from specific hymnals

Servant Song

Author: Donna Marie McGargill, OSM, b. 1944 Hymnal: Journeysongs (2nd ed.) #837 (2003) Topics: Music Ministry; Music Ministry; Music Ministry First Line: What do you want of me, Lord? Languages: English Tune Title: [What do you want of me, Lord?]

When in Our Music

Author: Fred Pratt Green, 1903-2000 Hymnal: Journeysongs (2nd ed.) #624 (2003) Meter: 10.10.10 with alleluias Topics: Music Ministry; Music Ministry; Music Ministry First Line: When in our music God is glorified Lyrics: 1 When in our music God is glorified, And adoration leaves no room for pride, It is as though the whole creation cried Alleluia! 2 How often, making music, we have found A new dimension in the world of sound, As worship moves us to a more profound Alleluia! 3 So has the Church, in liturgy and song, In faith and love through centuries of wrong, Borne witness to the truth in every tongue, Alleluia! 4 And did not Jesus sing a psalm that night When utmost evil strove against the light? Then let us sing, for whom he won the fight, Alleluia! 5 Let ev'ry instrument be tuned for praise! Let all rejoice who have a voice to raise! And may God give us faith to sing always Alleluia! Scripture: 1 Chronicles 15:16-24 Languages: English Tune Title: ENGLELBERG

All Creatures of Our God and King

Author: St. Francis of Assisi, 1182-1226; William H. Draper, 1855-1933 Hymnal: Journeysongs (2nd ed.) #600 (2003) Topics: Music Ministry; Music Ministry; Music Ministry Lyrics: 1 All creatures of our God and King, Lift up your voice and let us sing; Alleluia! Alleluia! Bright burning sun with golden beam, Pale silver moon with softer gleam, O praise him! O praise him! Alleluia! Alleluia! Alleluia! 2 Great rushing winds that are so strong, White clouds above that sail along, O praise him! Alleluia! Fair rising morn, with praise rejoice; O stars of evening, find a voice! O praise him! O praise him! Alleluia! Alleluia! Alleluia! 3 Swift flowing water, pure and clear, Make music for your Lord to hear, Alleluia! Alleluia! Fierce fire so masterful and bright, Providing us both warmth and light, O praise him! O praise him! Alleluia! Alleluia! Alleluia! 4 Dear mother earth, who day by day Unfolds rich blessings on our way, O praise him! Alleluia! The flow'rs and fruits that in you grow, Let them his glory also show! O praise him! O praise him! Alleluia! Alleluia! Alleluia! 5 All you that are of tender heart, Forgiving others, take your part. Sing his praises! Alleluia! All you that pain and sorrow bear, Praise God, and on him cast your care! O praise him! O praise him! Alleluia! Alleluia! Alleluia! 6 And you, most kind and gentle death, Waiting to hush our final breath, O praise him! Alleluia! You lead back home the child of God, Where Christ our Lord the way has trod: O praise him! O praise him! Alleluia! Alleluia! Alleluia! 7 Let all things their Creator bless And worship him in humbleness! O praise him! Alleluia! Praise God the Father, praise the Son, And praise the Spirit, Three-in-One: O praise him! O praise him! Alleluia! Alleluia! Alleluia! Scripture: Psalm 19:2 Languages: English Tune Title: LASST UNS ERFREUEN

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People

Authors, composers, editors, etc.

Johann Jakob Schütz

1640 - 1690 Person Name: Johann J. Schütz, 1640-1690 Topics: Music Ministry; Music Ministry; Music Ministry Author of "Sing Praise to God Who Reigns Above" in Journeysongs (2nd ed.) Schütz, Johann Jakob, was born Sept. 7, 1640, at Frankfurt am Main. After studying at Tübingen (where he became a licentiate in civil and canon law), he began to practise as an advocate in Frankfurt, and in later years with the title of Rath. He seems to have been a man of considerable legal learning as well as of deep piety. He was an intimate friend of P. J. Spener; and it was, in great measure, at his suggestion, that Spener began his famous Collegia Pietatis. After Spener left Frankfurt, in 1686, Schütz came under the influence of J. W. Petersen; and carrying out Petersen's prin¬ciples to their logical conclusion, he became a Separatist, and ceased to attend the Lutheran services or to communicate. He died at Frankfurt, May 22, 1690 (Koch, iv. 220; Blätter fur Hymnologie, Feb. 1883). Schütz is known as an author by two tractates; one being his Christliche Lebensregeln, Frankfurt, 1677; the other, that which contains his hymns, Christliches Gedenckbüchlein, zu Beforderung eines anfangenden neuen Lebens, &c, Frankfurt am Main, 1675 [Library of the Predigerministerium at Frankfurt]. This work includes 5 hymns, in a separate section, which is headed, “Hierauf folgen etliche Gesänge." These hymns are:— i. Die Wollust dieser Welt. ii. Was inich auf dieser Welt betrübt. iii. So komm, geliebte Todes-Stund. iv. Scheuet ihr, ihr matten Glieder. v. Sei Lob und Ehr dem höchsten Gut. Of these No. v. is undoubtedly by Schütz, and the other four exhibit much the same style of thought as, and frequent parallels to, the prose portions of the work. None of these have been traced earlier than 1675; and until this has been done, it is pretty safe to ascribe them all to Schütz. Three of these hymns have passed into English, viz.:— i. Sei Lob und Ehr dem höchsten Gut. Praise and Thanksgiving. First published in 1675, as above, No. v. It is founded on Deut. xxxii. 3; entitled, "Hymn of Thanksgiving ;" and is in 9 stanzas of 6 lines, and the refrain, "Gebt unserm Gott die Ehre”. Koch, iv. 220, speaks of this hymn as "outweighing many hundred others; and a classical hymn, which, from its first appearance, attracted unusual attention." And Lauxmann, in Koch, viii. 334-339, relates how delighted J. J. Moser was, when, on entering church the first Sunday after his captivity at Hohentwiel, he heard this hymn, and how heartily he joined in it; how it comforted the dying G. C. Rieger, of Stuttgart, on Tuesday, in Easter Week, 1743, and many other incidents. Translations in common use:— 1. All Glory to the Sov'reign Good. This is a full and good translation by J. OJacobi, in his Psalter Germanica, 2nd ed., 1732, p. 151, where it is entitled, "The Malabarian Hymn." 2. All glory be to God most high. A good translation by A. T. Russell, of st. i., iv., viii., for the Dalston Hospital Hymn Book, 1848, No. 59. 3. All praise and thanks to God most high. This is a good tr., omitting st. ix., by Miss Winkworth, in her Lyra Germanica, 2nd Ser., 1858, p. 146. 4. Sing praise to God Who reigns above. A good tr., omitting st. ix., contributed by Miss Cox to Lyra Eucharistica, 1864, p. 33, and included in her Hymns from the German, 1864, p. 235. 5. To God a joyful anthem raise. A good tr. of st. i., ii., iv., v., viii., by J. M. Sloan, as No. 314, in J. H. Wilson's Service of Praise, 1865. The following are also translated into English:— ii. So komm, geliebte Todes-Stund. For the Dying. First published in 1675, as above, No. iii., in 11 st. of 8 1., entitled, "The thoughts on Death of a Royal Princess, after the usual interpretation of Job xix. 25." This Princess was Sophie Elisabethe. daughter of Duke Philipp Ludwig, of Holstein-Sonderburg (b. at Homburg vor der Hohe, May 4, 1653; married, in 1676. to Duke Moritz, of Sachse-Zeitz; d. at Schleusingen, Aug. 19, 1684), who had been a regular attender at Spener's conferences at Frankfurt, and thus associated with Schütz. This hymn has often been ascribed to her; and she had already chosen Job xix. 25, as the text of her funeral sermon. But it is more probable that both hymns were written by Schütz for her use, or in her honour. The trs. are :—(1) "Come, happy hour of death, and close." By Dr. G. Walker, 1860, p. 56. (2) "O come, delightful hour of death." By Dr. G. Walker, 1860, p. 106. iii. Was mich auf dieser Welt betriibt. Earthly Vanities. This hymn, on Renunciation of the World, first appeared in 1675, as above, No. ii., in 4 st. of 10 1., and entitled "From the World to God." It has sometimes been erroneously ascribed to Michael Franck. It is tr. as "The woes that weigh my body down." By Miss Manington, 1863, p. 32. [Rev. James Mearns, M.A.] --Excerpts from John Julian, Dictionary of Hymnology (1907)

Robert Lowry

1826 - 1899 Person Name: Robert Lowry, 1826-1899 Topics: Music Ministry; Music Ministry; Music Ministry Author (attributed to) of "How Can I Keep from Singing" in Journeysongs (2nd ed.) Robert Lowry was born in Philadelphia, March 12, 1826. His fondness for music was exhibited in his earliest years. As a child he amused himself with the various musical instruments that came into his hands. At the age of seventeen he joined the First Baptist Church of Philadelphia, and soon became an active worker in the Sunday-school as teacher and chorister. At the age of twenty-two he gave himself to the work of the ministry, and entered upon a course of study at the University of Lewisburg, Pa. At the age of twenty-eight he was graduated with the highest honors of his class. In the same year of his graduation, he entered upon the work of the ministry. He served as pastor at West Chester, Pa., 1851-1858; in New York City, 1859-1861; in Brooklyn, 1861-1869; in Lewisburg, Pa., 1869-1875. While pastor at Lewisburg, he was also professor of belles lettres in the University, and received the honorary degree of D. D. in 1875. He then went to Plainfield, N. J., where he became pastor of Park Avenue Church. In each of these fields his work was crowned with marked success. Dr. Lowry was a man of rare administrative ability, a most excellent preacher, a thorough Bible student, and whether in the pulpit or upon the platform, always a brilliant and interesting speaker. He was of a genial and pleasing disposition, and a high sense of humor was one of his most striking characteristics. Very few men had greater ability in painting pictures from the imagination. He could thrill an audience with his vivid descriptions, inspiring others with the same thoughts that inspired him. His melodies are sung in every civilized land, and many of his hymns have been translated into foreign tongues. While preaching the Gospel, in which he found great joy, was his life-work, music and hymnology were favorite studies, but were always a side issue, a recreation. In the year 1880, he took a rest of four years, visiting Europe. In 1885 he felt that he needed more rest, and resigned his pastorate at Plainfield, and visited in the South and West, also spending some time in Mexico. He returned, much improved in health, and again took up his work in Plainfield. On the death of Wm. B. Bradbury, Messrs. Biglow & Main, successors to Mr. Bradbury in the publishing business, selected Dr. Lowry for editor of their Sunday-school book, Bright Jewels, which was a great success. Subsequently Dr. W. Doane was associated with him in the issue of the Sunday-school song book, Pure Gold, the sales of which exceeded a million copies. Then came Royal Diadem, Welcome Tidings, Brightest and Best, Glad Refrain, Good as Gold, Joyful Lays, Fountain of Song, Bright Array, Temple Anthems, and numerous other volumes. The good quality of their books did much to stimulate the cause of sacred song in this country. When he saw that the obligations of musical editorship were laid upon him, he began the study of music in earnest, and sought the best musical text-books and works on the highest forms of musical composition. He possessed one of the finest musical libraries in the country. It abounded in works on the philosophy and science of musical sounds. He also had some musical works in his possession that were over one hundred and fifty years old. One of his labors of love some years ago was an attempt to reduce music to a mathematical basis. On the established fact that Middle C has two hundred and fifty-six vibrations per second, he prepared a scale and went to work on the rule of three. After infinite calculation and repeated experiments, he carried it far enough to discover that it would not work. A reporter once asked him what was his method of composition — "Do you write the words to fit the music, or the music to fit the words?" His reply was, "I have no method. Sometimes the music comes and the words follow, fitted insensibly to the melody. I watch my moods, and when anything good strikes me, whether words or music, and no matter where I am, at home or on the street, I jot it down. Often the margin of a newspaper or the back of an envelope serves as a notebook. My brain is a sort of spinning machine, I think, for there is music running through it all the time. I do not pick out my music on the keys of an instrument. The tunes of nearly all the hymns I have written have been completed on paper before I tried them on the organ. Frequently the words of the hymn and the music have been written at the same time." The Doctor frequently said that he regarded "Weeping Will Not Save Me" as the best and most evangelistic hymn he ever wrote. The following are some of his most popular and sweetest gospel melodies: "Shall We Gather at the River?," "One More Day's Work for Jesus," "Where is My Wandering Boy To-night?," "I Need Thee Every Hour," "The Mistakes of My Life," "How Can I Keep from Singing?," "All the Way My Saviour Leads Me," "Saviour, Thy Dying Love," "We're Marching to Zion," etc. "Shall We Gather at the River?" is perhaps, without question, the most widely popular of all his songs. Of this Mr. Lowry said: "It is brass band music, has a march movement, and for that reason has become popular, though for myself I do not think much of it." Yet he tells us how, on several occasions, he had been deeply moved by the singing of that hymn, "Going from Harrisburg to Lewisburg once I got into a car filled with half-drunken lumbermen. Suddenly one of them struck up, "Shall We Gather at the River?" and they sang it over and over again, repeating the chorus in a wild, boisterous way. I did not think so much of the music then as I listened to those singers, but I did think that perhaps the spirit of the hymn, the words so flippantly uttered, might somehow survive and be carried forward into the lives of those careless men, and ultimately lift them upward to the realization of the hope expressed in my hymn." "A different appreciation of it was evinced during the Robert Raikes' Centennial. I was in London, and had gone to meeting in the Old Bailey to see some of the most famous Sunday-school workers in the world. They were present from Europe, Asia, and America. I sat in a rear seat alone. After there had been a number of addresses delivered in various languages, I was preparing to leave, when the chairman of the meeting announced that the author of "Shall We Gather at the River?" was present, and I was requested by name to come forward. Men applauded and women waved their handkerchiefs as I went to the platform. It was a tribute to the hymn; but I felt, when it was over, that, after all, I had perhaps done some little good in the world, and I felt more than ever content to die when God called." On Children's Day in Brooklyn, in 1865, this song was sung by over forty thousand voices. While Dr. Lowry said, "I would rather preach a gospel sermon to an appreciative, receptive congregation than write a hymn," yet in spite of his preferences, his hymns have gone on and on, translated into many languages, preaching and comforting thousands upon thousands of souls, furnishing them expression for their deepest feelings of praise and gratitude to God for His goodness to the children of men. What he had thought in his inmost soul has become a part of the emotions of the whole Christian world. We are all his debtors. Rev. Robert Lowry, D. D., died at his residence in Plainfield, K J., November 25, 1899. Dead, yet he lives and his sermons in gospel song are still heard and are doing good. Dr. Lowry was a great and good man, and his life, well spent, is highly worthy of a place among the world's greatest gospel song and hymn writers. -- Biography of Gospel Song and Hymn Writers ------- Lowry, Robert, D.D., son of Crozier Lowry, was born at Philadelphia, Pennsylvania, March 12, 1826, and educated at Lewisburg University. Having received ordination as a Baptist Minister, his first charge was at West Chester, Pennsylvania. From thence he passed to New York City, and then to Brooklyn, N. Y. In 1876 he was appointed Professor of Rhetoric in his University. On resigning his Professorship he undertook the charge of the 2nd Baptist Church, New Jersey. Dr. Lowry has been associated with some of the most popular Sunday School hymn-books published in the States, including Happy Voices, 1865; Chapel Melodies, 1868; Bright Jewels, 1869; Pure Gold, 1871; Royal Diadem, 1873; Tidal Wave, 1874; Fountain of Song1877; Welcome Tidings, 1877, &c. Of Dr. Lowry's hymns those which have attained the widest circulation are:— 1. Jerusalem, for ever bright. Heaven. Appeared in the American Tract Society's Happy Voices, 1865, with music by the author. 2. Low in the grave He lay. Resurrection of Christ. Written in 1874 and published in Brightest and Best, 1875. 3. Marching on, marching on. Sunday School Battle Song. Appeared, with music by the author, in Happy Voices, 1865. 4. My home is in heaven, my rest is not here. In Happy Voices, 1865, with music by the author. 5. My life flows on in endless song. Joy in God. In Bright Jewels, 1869; the Royal Diadem, 1873, and others in America and Great Britain, with music by the author. 6. One more day's work for Jesus. Work for Christ. Published, with music by the author, in Bright Jewels, 1869. 7. Shall we gather at the river? Mutual recognition in the Hereafter. The origin of this hymn is thus set forth in E. W. Long's Illustrated History of Hymns and their Authors, Philadelphia, 1876, p. 64:— ”On a very hot summer day, in 1864, a pastor was seated in his parlour in Brooklyn, N. Y. It was a time when an epidemic was sweeping through the city, and draping many persons and dwellings in mourning. All around friends and acquaintances were passing away to the spirit land in large numbers. The question began to arise in the heart, with unusual emphasis, ‘Shall we meet again? We are parting at the river of death, shall we meet at the river of life?' ‘Seating myself at the organ,’ says he, ‘simply to give vent to the pent up emotions of the heart, the words and music of the hymn began to flow out, as if by inspiration:— ‘Shall we gather at the river, Where bright angel feet have trod?’" In 1865 the hymn and music were given in Happy Voices, No. 220, in 5 stanzas of 4 lines and a chorus. The hymn has since passed into a great number of hymnals in Great Britain and America. 8. Take the wings of the morning; speed quickly thy flight. Exhortation to Repentance. Written for, and published with music by the author in, the Royal Diadem, 1873. 9. Weeping will not save me. Salvation through Faith. Published in the Chapel Melodies, 1868. 10. What can wash away my stain? Precious Blood of Jesus. Given in the Welcome Tidings, 1877, with music by the author. 11. Where is my wandering boy tonight! The absent Child. In the Fountain of Song, 1877, together with music by the author. Most of these hymns are given in Mr. I. D. Sankey's Sacred Songs & Solos, Pts. i., ii. --John Julian, Dictionary of Hymnology (1907)

Anonymous

Person Name: Anon. Topics: Music Ministry; Music Ministry; Music Ministry Author (vs. 3-4) of "From All That Dwell Below The Skies (Praise God from Whom All Blessings Flow)" in Journeysongs (2nd ed.) In some hymnals, the editors noted that a hymn's author is unknown to them, and so this artificial "person" entry is used to reflect that fact. Obviously, the hymns attributed to "Author Unknown" "Unknown" or "Anonymous" could have been written by many people over a span of many centuries.

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