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Texts

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The Gospel of Your Grace

Author: Arthur T. Pierson Appears in 12 hymnals First Line: The gospel of thy grace Refrain First Line: Whosoever will believe Text Sources: Praise! Psalms, Hymns and Songs for Christian Worship (Praise Trust, 2000)

For I am not ashamed of the gospel

Author: Harry Dixon Loes Appears in 2 hymnals First Line: The gospel of Christ
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Preach the Gospel

Author: Daniel Webster Whittle Appears in 5 hymnals First Line: Preach the Gospel, sound it forth Refrain First Line: Spread the joyful tidings Lyrics: 1. Preach the Gospel, sound it forth, Tell ... glory! 2. Preach the Gospel, full of joy, While ... . [Refrain] 3. Preach the Gospel, make it clear, By the ... . [Refrain] 4. Preach the Gospel full of love, Christ’s ... . [Refrain] 5. Preach the Gospel as if God Sinners lost ... Used With Tune: [Preach the Gospel, sound it forth] Text Sources: Gospel Hymns No. 6 , by Ira D. Sankey et al. (Cincinnati, Ohio: John Church, 1891)

Tunes

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Tune authorities
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HURSLEY

Meter: 8.8.8.8 Appears in 374 hymnals Tune Sources: Katholisches Gesangbuch, ca. 1774; adapt. from Metrical Psalter, 1855 Tune Key: F Major Incipit: 11117 12321 3333 Used With Text: Come, Sinners, to the Gospel Feast
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WORDS OF LIFE

Composer: Philip P. Bliss Meter: 8.6.8.6.6.6 Appears in 163 hymnals Tune Key: F Major Incipit: 33343 32252 23215 Used With Text: Wonderful Words of Life
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HE'S SWEET

Composer: Nolan Williams, Jr. b. 1969; Kenneth Louis Meter: 8.8.9.11 Appears in 3 hymnals Tune Sources: Traditional Gospel hymn Tune Key: G Major Incipit: 33553 33372 Used With Text: He's Sweet I Know

Instances

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Published text-tune combinations (hymns) from specific hymnals
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The Gospel Bells

Author: Opal F. Brookover Hymnal: Timeless Truths #217 Meter: 8.8.8.8 with refrain First Line: The gospel bells ring joyfully Refrain First Line: Ring out, glad bells Lyrics: 1 The gospel bells ring joyfully Across the ... joy and liberty. 2 The gospel bells in music tell The ... . [Refrain] 4 Ring out, glad gospel bells, again, Repeat the everlasting ... Topics: Gospel Scripture: Luke 2:14 Tune Title: [The gospel bells ring joyfully]
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Preach the Blessed Gospel

Author: Mrs. Frank A. Breck Hymnal: Songs of Love and Praise No. 4 #97 (1897) First Line: Preach the blessed gospel, preach it near and far Refrain First Line: Preach, preach the gospel on the distant isle Lyrics: ... guiding star, Preach the blessed gospel ev’rywhere. Refrain: Preach, ... preach the gospel on the distant isle, Preach ... and smile, Preach the blessed gospel ev’rywhere. 2 Preach ... ’s command, Preach the blessed gospel ev’rywhere. [Refrain] 3 ... Tune Title: [Preach the blessed gospel, preach it near and far]
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The Gospel Army

Author: E. R. Latta Hymnal: Showers of Blessing #68 (1888) First Line: Hark, I hear the gospel army Refrain First Line: Hark! hark! I hear the gospel army Lyrics: ... Hark, I hear the gospel army, As they grandly ... ! hark! I hear the gospel army, Pressing on by land ... ! hark! I hear the gospel army, Marching on to victory ... Hark, I hear the gospel army, And their shining ... Hark, I hear the gospel army, With their legions strong ... Tune Title: [Hark, I hear the gospel army]

People

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Authors, composers, editors, etc.

C. Hubert H. Parry

1848 - 1918 Person Name: Charles H. H. Parry, 1848-1918 Composer of "RUSTINGTON" in Worship (4th ed.) Sir Charles Hubert Hastings Parry, 1st Baronet (27 February 1848 – 7 October 1918) was an English composer, teacher and historian of music. Parry's first major works appeared in 1880. As a composer he is best known for the choral song "Jerusalem", the coronation anthem "I was glad" and the hymn tune "Repton", which sets the words "Dear Lord and Father of Mankind". He was director of the Royal College of Music from 1895 until his death and was also professor of music at the University of Oxford from 1900 to 1908. He also wrote several books about music and music history. Some contemporaries rated him as the finest English composer since Henry Purcell, but his academic duties prevented him from devoting all his energies to composition. Parry was born in Bournemouth, the youngest of six children of Thomas Gambier Parry (1816–1888) of Highnam Court, Gloucestershire, a painter, art collector and inventor of the "spirit fresco" process, and his first wife, Isabella née Fynes-Clinton (1816–1848). Three of their children died in infancy, and Isabella Parry died twelve days after the birth of her sixth child. Parry grew up at Highnam Court with his surviving siblings, (Charles) Clinton and Lucy. Thomas Parry remarried in 1851, and had a further six children. Parry was sent to Twyford Preparatory School in Hampshire and Eton, where his interest in music was encouraged and developed. At Eton he distinguished himself at sports as well as music, despite early signs of the heart trouble that was to dog him for the rest of his life. He took music lessons with Sir George Job Elvey, the organist of St George's Chapel, Windsor, and composed many prentice works. While still at Eton Parry successfully sat the Oxford Bachelor of Music examination, the youngest person who had ever done so. His examination exercise, a cantata, O Lord, Thou hast cast us out, "astonished" the Oxford Professor of Music, Sir Frederick Ouseley, and was triumphantly performed and published in 1867. On going to Oxford after leaving Eton, Parry did not study music, being intended by his father for a commercial career, and instead read law and modern history. From 1870 to 1877 he was an underwriter at Lloyd's of London. In 1872 he married Lady Elizabeth Maude Herbert (1851–1933), second daughter of the politician Sidney Herbert and his wife Elizabeth. His in-laws, like his father, preferred a conventional career for him, although Parry proved as unsuccessful in insurance as he was successful in music. Parry and his wife had two daughters, their elder, Dorothea (d. 11 July 1963) married the politician Arthur Ponsonby in 1898 and had a son and a daughter. Their younger daughter Gwendolen (b. 1877) married the baritone Harry Plunket Greene (1865–1936) and had two sons and a daughter. Parry continued his musical studies alongside his work in insurance. He had already studied with the English-born composer Henry Hugo Pierson in Stuttgart, and on moving to London he took lessons from William Sterndale Bennett, but finding them insufficiently demanding he sought lessons from Johannes Brahms. Brahms was not available, and Parry was recommended to the pianist Edward Dannreuther, "wisest and most sympathetic of teachers". Dannreuther started by giving Parry piano lessons, but soon extended their studies to analysis and composition. At this stage in his musical development, Parry moved away from the classical conventions inspired by Mendelssohn. Dannreuther introduced him to the music of Wagner, which influenced his compositions of these years. At the same time as his compositions were coming to public notice, Parry was taken up as a musical scholar by George Grove, first as his assistant editor for his new Dictionary of Music and Musicians, to which post Parry was appointed in 1875 and contributed 123 articles, and then, in 1883, Grove, as the first director of the new Royal College of Music, appointed him as the college's professor of composition and musical history. Parry's first major works appeared in 1880: a piano concerto, which Dannreuther premiered, and a choral setting of scenes from Shelley's Prometheus Unbound. The first performance of the latter has often been held to mark the start of a "renaissance" in English music, but was regarded by many critics as too avant garde. Parry scored a greater contemporary success with the ode "Blest Pair of Sirens" (1887), commissioned by and dedicated to Charles Villiers Stanford, one of the first British musicians to recognise Parry's talent. Stanford described Parry as the greatest English composer since Purcell. "Blest Pair of Sirens," a setting of Milton's "At a Solemn Musick", suggested as a text by Grove, established Parry as the leading English choral composer of his day; this had the drawback of bringing him a series of commissions for conventional oratorios, a genre with which he was not in sympathy. Now well established as a composer and scholar, Parry received many commissions. Among them were choral works such as the "Ode on Saint Cecilia's Day" (1889), the oratorios Judith (1888) and Job (1892), the psalm-setting De Profundis (1891) and a lighter work, The Pied Piper of Hamelin (1905), described later as "a bubbling well of humour." The biblical oratorios were well received by the public, but Parry's lack of sympathy with the form was mocked by George Bernard Shaw, then writing musical criticism in London. He denounced Job as "the most utter failure ever achieved by a thoroughly respectworthy musician. There is not one bar in it that comes within fifty thousand miles of the tamest line in the poem." Contemporary critics generally regarded Parry's orchestral music as of secondary importance in his output, but in the late twentieth and early twenty-first centuries many of Parry's orchestral pieces have been revived. These include five symphonies, a set of Symphonic Variations in E minor, the Overture to an Unwritten Tragedy (1893) and the Elegy for Brahms (1897). In 1883 Parry wrote music to accompany the Cambridge Greek Play The Birds by Aristophanes, a production which starred the mediaevalist and ghost-story writer, M. R. James. Parry received an honorary degree from Cambridge University in the same year. Subsequently, he wrote music for Oxford productions of Aristophanes: The Frogs (1892), The Clouds (1905) and The Acharnians (1914). He had also provided elaborate incidental music for a West End production by Beerbohm Tree Hypatia (1893). In contrast to this involvement with music for the theatre, his only attempt at opera, Guenever was turned down by the Carl Rosa Opera Company. When Grove retired as director of the Royal College of Music, Parry succeeded him from January 1895, and held the post until his death. In 1900 he succeeded John Stainer as professor of music at Oxford. An obituarist in 1918 lamented these calls on Parry's time: "A composer who counts is rare enough anywhere, any time. Do not try to use him as a mixture of university don, cabinet minister, city magnate, useful hack, or a dozen things besides. A great blow was delivered against English music when Parry was appointed to succeed Sir George Grove as director of the RCM." Despite the demands of these posts his personal beliefs, which were Darwinian and humanist, led him to compose a series of six "ethical cantatas", experimental works in which he hoped to supersede the traditional oratorio and cantata forms. They were generally unsuccessful with the public, though Elgar admired The Vision of Life (1907), and The Soul's Ransom (1906) has had several modern performances. Influenced as a composer principally by Bach and Brahms, Parry evolved a powerful diatonic style which itself greatly influenced future English composers such as Elgar and Vaughan Williams. His own full development as a composer was almost certainly hampered by the immense amount of work he took on; but his energy and charisma, not to mention his abilities as a teacher and administrator, helped establish art music at the centre of English cultural life. As head of the Royal College of Music, he numbered among his leading pupils Ralph Vaughan Williams, Gustav Holst, Frank Bridge and John Ireland. Parry was created a Knight Bachelor in 1898. He was made a baronet in 1902. The baronetcy became extinct on his death. Parry wrote about music throughout his adult life. As well as his 123 articles in Grove's Dictionary, his publications include Studies of Great Composers (1886); The Art of Music (1893) enlarged as The Evolution of the Art of Music (1896); The Music of the Seventeenth Century, (Volume III of the Oxford History of Music (1902); Johann Sebastian Bach: the Story of the Development of a Great Personality (1909); and Style in Musical Art, collected Oxford lectures (1911). Parry resigned his Oxford appointment on doctor's advice in 1908 and, in the last decade of his life, produced some of his best-known works, including the Symphonic Fantasia '1912' (also called Symphony No. 5), the Ode on the Nativity (1912), Jerusalem (1916) and the Songs of Farewell (1916–1918). The piece by which he is best known, the setting of William Blake's poem "Jerusalem" mentioned above, was immediately taken up by the suffragette movement, with which both Parry and his wife were strongly in sympathy. Parry held German music and its traditions to be the pinnacle of music, and was a friend of German culture in general. He was, accordingly, certain that Britain and Germany would never go to war against each other, and was in despair when World War I broke out. In the words of the Oxford Dictionary of National Biography: "During the war he watched a life's work of progress and education being wiped away as the male population, particularly the new fertile generation of composing talent of the Royal College, dwindled." In the autumn of 1918, Parry contracted Spanish flu during the infamous global pandemic and died at Knightscroft, Rustington, West Sussex, aged 70. At the suggestion of Stanford, he was buried in St Paul's Cathedral. The site of his birthplace, in Richmond Hill, Bournemouth, next door to The Square, is marked with a blue plaque, and there is a memorial tablet, with an inscription by the Poet Laureate, Robert Bridges, in Gloucester Cathedral, unveiled during the Three Choirs Festival of 1922. --en.wikipedia.org

Joseph Barnby

1838 - 1896 Person Name: Joseph Barnby, 1838-1896 Composer of "ST. ANDREW (Barnby)" in The Cyber Hymnal Barnby was a composer, conductor and (like his father Thomas Barnby) an organist. He entered the choir of York Minster at age seven, and was an organist and choirmaster at twelve. In 1854 he went to London and entered the Royal Academy of Music, where he studied under Cipriani Potter and Charles Lucas. In 1856, he competed for the first Mendelssohn Scholarship. When the examinations were over, of the nineteen applicants, he was tied for first place with Arthur Sullivan. After a second test, Sullivan won. Barnby was organist at Mitcham, St. Michael’s, Queenhithe, and St. James’ the Less, Westminster, before he was appointed to St. Andrew’s, Wells Street, where he remained from 1863 to 1871, establishing the musical reputation of the services. From 1871 to 1886 he was organist of St. Anne’s, Soho, where he instituted the annual performances of Bach’s Passion Music according to St. John, with orchestral accompaniment. In 1867, Messrs. Novello, to whom he had been musical adviser since 1861, established Barnby’s Choir, which gave oratorio concerts from 1869 to 1872, when it was amalgamated with the choir formed and conducted by M. Gounod at the Royal Albert Hall, under the title of the Royal Albert Hall Choral Society (now the Royal Choral Society). The same publishing firm also gave daily concerts in the Albert Hall, 1874-75, which Barnby orchestrated. Barnby conducted the St. Matthew Passion in Westminster Abbey in 1871. He was appointed precentor of Eton in 1875, a post he kept until 1892, when he succeeded Thomas Weist-Hill as principal of the Guildhall School of Music. In 1878, Barnby married Edith Mary Silverthorne. Also that year, he helped found the London Musical Society, becoming its first director and conductor. Under his baton, the Society produced Dvorak’s Stabat Mater for the first time in England. In 1884, Barnby conducted the first performance in England of Wagner’s Parsifal as a concert in the Albert Hall. From 1886-8 he conducted rehearsals and concerts of the Royal Academy of Music, of which he was a fellow. Barnby was knighted in 1892, and in the same year conducted the Cardiff Festival. He conducted the festival again in 1895. Barnby’s compositions include an oratorio (Rebekah, 1870), a psalm (The Lord Is King, Leeds Festival, 1893), an enormous number of services and anthems, part songs and vocal solo, trios, etc. He also wrote a series of Eton Songs, 246 hymn tunes (published in one volume in 1897), and edited five hymnals, the most important of which was The Hymnary (1872). Biography courtesy of Thomas and Mary Barnby Hodges, © The Cyber Hymnal™ (www.hymntime.com/tch)

Anonymous

Composer of "HURSLEY" in The Cyber Hymnal 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.

Hymnals

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Published hymn books and other collections

Spiritual Gospel Songs

Publication Date: 1959 Publisher: Missionary Gospel Hour Publication Place: Akron, Oh. Editors: C. W. Bellew; Missionary Gospel Hour
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Melodies of Praise

Publication Date: 1957 Publisher: Gospel Publishing House Publication Place: Springfield, Mo. Editors: Edwin P. Anderson; Gospel Publishing House

Gospel Quartet Music No. 1

Publication Date: 1961 Publisher: Gospel Quartet Music Publication Place: Memphis, Tenn. Editors: R. W. Blackwood; J. Blackwood; Gospel Quartet Music

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