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The Primitive Hymns, Spiritual Songs and Sacred Poems Regularly Selected, Classified and Set in Order (1858) [569] The Baptist Hymn Book: comprising a large and choice collection of psalms, hymns and spiritual songs (1859) [570] The Primitive Baptist Hymnal: a choice collection of hymns and tunes of early and late composition (1881) [571]
Fawcett's hymn in Spiritual Songs is no. 267, "All fulness resides in Jesus our Head". The original text of this hymn is in Baptist Psalms and Hymns, 1858–80) The first line is "A Fulness resides in Jesus our Head" and is rendered in this way in George Vicesimus Wigram 's 1856 Little Flock Hymnbook , and in J.N.D's 1881 edition; also in ...
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.
Yet there is room! The Lamb's bright hall of song: Horatius Bonar: Sankey records this as the first gospel song he composed (1874). [7] 432: The Handwriting on the Wall: At the feast of Belshazzar and a thousand of his lords: Knowles Shaw: Sankey's arrangement of Shaw's original tune [8] 436: Oh, give thy heart to Jesus: W.O. Cushing: 438
The 1956 edition was the first Southern Baptist Convention publication to use the title "Baptist Hymnal". The 1956, 1975, 1991 and 2008 editions have all been printed by LifeWay Christian Resources , formerly known as the Sunday School Board of the Southern Baptist Convention; however, the 1956 printing names Convention Press as the printer and ...
The poem contains 2126 dodecasyllabic lines, with caesurae after the sixth syllable, composed in six books (libars). The linguistic basis of the book is Split Čakavian speech and the Štokavian lexis, and the Glagolitic original of the legend; the work thus foreshadows the unity of Croatian language.
The naming of the notes of the hexachord by the first syllable of each hemistich (half line of verse) of the first verse is usually attributed to Guido of Arezzo. Guido, who was active in the eleventh century, is regarded as the father of modern musical notation. He made use of clefs (C & F clefs) and invented the ut-re-mi-fa-sol-la notation.
Tillman was not first in publishing the song, an honor which goes to G. D. Pike in his 1873 Jubilee Singers and Their Campaign for Twenty Thousand Dollars. [5] Rather, Tillman's contribution was that he culturally appropriated the song into the repertoire of white southerners , whose music was derived from gospel , a style that was a distinct ...