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William Walker. William Walker (May 6, 1809 – September 24, 1875) was an American Baptist song leader, shape note "singing master", and compiler of four shape note tunebooks, most notable of which are the influential The Southern Harmony and The Christian Harmony, which has been in continuous use (republished 2010).
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 ...
Concordia: a collection of hymns and spiritual songs (1918) [330] Young People's Luther League Convention Song Book [331] [332] The Parish School Hymnal (1926) [333] [334] The Primary Hymn Book, Hymns and Songs for Little Children (1936) [335] United Lutheran Church in America. Common Service Book of the Lutheran Church with Hymnal (1917) [286]
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 ...
"Alas! and Did My Saviour Bleed" is a hymn by Isaac Watts, first published in 1707. The words describe the crucifixion of Jesus and reflect on an appropriate personal response to this event. The hymn is commonly sung with a refrain added in 1885 by Ralph E. Hudson ; when this refrain is used, the hymn is sometimes known as " At the Cross ".
Finding shelter in a gap in the gorge, he was struck by the title and scribbled down the initial lyrics. [3] According to E. J. Fasham, a more likely inspiration for the text is a 1673 sermon by Daniel Brevint (who had been the Dean of Durham Cathedral).
The "Alabama" edition was a revision carried out under the leadership of O. A. Parris and John H. Deason and published in 1958. This edition utilized Jesse B. Aikin's seven-shape system; this change was made because Aikin's system was the most common among gospel singers in the South.
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.