Sample Quiz

sacred song from the book from psalms

non-psalm song from the Bible, ex. Magnificat, song of songs, etc.

Syllabic, pneumatic and melismatic

one syllable per note

a pattern of a few notes attached to one syllable

a melisma is an extended decoration of a single syllable which may extend for several phrases

hymn-like song that uses popular dance rhythms and often combine latin with other vernacular language (also called macaronic carols)

isorhythmic, rhythmic, and bar-form

the tune that appears with one syllable for most quarter notes

AAB form, a line or two is repeated near the beginning of each verse with a contrasting section following. Often a decending scale indicating the end of a verse

single line of music

multiple lines on music singing together with a dominant melody, and harmony

emphasizes subjective personal experience, repentance, and holy living

psalm singing

chant/anglican chant, and metrical psalm

a way of singing biblical texts bu matching neutral speech patterns to simple melodies, allows for flexibility in syllables by staying on the same chant tone.

psalm texts are paraphrased to fit the regular metrical structure of a verse hymn tone

art movement that yields hymns with higher literary language, greater subjectivity, emotionalism, and references to nature

a 19th century movement that argued the reformation had gone too far and hoped to revitalize some catholic traditions (ex. robes for those leading worship, confession to a priest, greater emphasis on choral worship, and not congregational singing)

hymns with unknown origin displaying characteristics of folk songs, often modal, pentatonic, and more colloquial

noteheads receive distinctive shapes to indicate scale-degree (four note [mi-fa-sol-la] and seven note versions)

multiple-verse song with a single repeated chorus, simple harmony, slow chord changes, certain degree of rhythmic buoyancy (especially in the chorus). [essence of success of the song was in how catchy the chorus way]

Rough Dates: 4th century (ca. 340–397). Historical/Church Situation: Arian controversy; hymns defended orthodox Nicene theology. Hymns: Texts: Latin hymns; simple, metrical (iambic dimeter); clear theological language. Music: Plainchant melodies; unison singing for congregational use. Unique Contributions: Popularized congregational hymnody; theological clarity and accessibility.

Rough Dates: 6th–7th century (ca. 540–604). Historical/Church Situation: Roman decline; organized worship practices amidst chaos. Hymns: Texts: Reformed liturgical texts; introduced structure. Music: Gregorian chant; monophonic, modal, meditative. Unique Contributions: Codified chant tradition; unified Western Church music.

Rough Dates: 16th century (1483–1546). Historical/Church Situation: Protestant Reformation; need for vernacular worship. Hymns: Texts: German hymns; theological focus on grace, faith, and Scripture (Ein feste Burg). Music: Simple, rhythmic melodies; accessible for congregational singing. Unique Contributions: Democratized hymnody; used music to teach Reformation theology.

Rough Dates: 16th century (1509–1564). Historical/Church Situation: Reformed movement; emphasis on scriptural purity in worship. Hymns: Texts: Metrical psalms; direct biblical paraphrases (Genevan Psalter). Music: Simple, unadorned melodies; reverent and communal. Unique Contributions: Centralized psalm-singing in Reformed worship.

Usually strophic poetry, connotes praising a divine figure. “Hymn” refers to poetry, not music. Usually has singing in mind.

Rough Dates: 17th–18th century (1674–1748). Historical/Church Situation: English nonconformity; expanded hymnody beyond psalms. Hymns: Texts: Original hymns; emotive, doctrinal clarity (When I Survey the Wondrous Cross). Music: Paired with straightforward melodies for congregational use. Unique Contributions: Father of English hymnody; theological and poetic innovation.

Rough Dates: 18th century (1707–1788). Historical/Church Situation: Methodist Revival; need for evangelical, heartfelt worship. Hymns: Texts: Emotional, theologically rich hymns (Hark! The Herald Angels Sing); vivid imagery. Music: Paired with memorable, popular tunes for congregations. Unique Contributions: Combined theological depth with poetic artistry.

Rough Dates: 19th century (1792–1872). Historical/Church Situation: American revivalism; elevated church music standards. Hymns: Texts: Supported existing texts; not a major writer. Music: Singable, harmonized melodies (Nearer, My God, to Thee); classical influence. Unique Contributions: Advanced music education; improved American congregational hymnody.

• Century: 2nd–3rd century (ca. 150–215 AD).
• Early Christian theologian; blended Greek philosophy with Christianity.
• Authored Hymn to Christ the Savior, among the earliest Christian hymns.

• Century: 8th century (ca. 675–749 AD).
• Byzantine theologian and hymnographer; defended icons during the Iconoclastic Controversy.
• Wrote Kanons and hymns like The Golden Canon with rich theological imagery.

• Century: 4th–5th century (ca. 348–413 AD).
• Spanish Roman Christian poet; blended classical Latin poetic forms with Christian themes.
• Wrote Corde natus ex parentis (Of the Father’s Love Begotten).

• Century: 12th century (1079–1142 AD).
• Medieval theologian and poet; authored hymns for monastic worship.
• Wrote with intellectual depth and lyrical refinement.

• Century: 12th century (1090–1153 AD).
• Cistercian monk; inspired devotional hymn texts like O Sacred Head, Now Wounded.
• Focused on themes of Christ's Passion and personal devotion.

• Century: 12th century (1098–1179 AD).
• Mystic and composer; created sequences and hymns with mystical lyrics.
• Innovated with complex modal melodies and spiritual themes.

• Century: 17th century (1607–1676 AD).
• Lutheran pastor; wrote over 120 hymns focusing on faith amidst suffering.
• Known for O Sacred Head, Now Wounded (translated earlier Latin hymn).

• Century: 17th century (1598–1662 AD).
• German composer; wrote hymn tunes like Nun Danket alle Gott.
• Innovated Lutheran chorales with rich yet singable melodies.

• Century: 18th century (1700–1760 AD).
• Moravian leader; wrote hymns emphasizing Christ's love and redemption.
• Fostered communal hymn singing and missionary work.

• Century: 18th century (1685–1750 AD).
• Baroque composer; harmonized and arranged Lutheran chorales (Jesu, Joy of Man’s Desiring).
• Combined theological depth with complex musical forms.

• Century: 16th century (ca. 1510–1561 AD).
• French composer; key contributor to the Genevan Psalter.
• Composed simple psalm tunes like Old 100th (Doxology).

• Century: 17th century (1652–1726 for both authors).
• Produced New Version of the Psalms of David for Anglican worship.
• Known for While Shepherds Watched Their Flocks by Night.

• Century: 17th century (1640–1704 AD).
• Baptist pastor; introduced congregational singing in Baptist worship.
• Authored original hymns emphasizing doctrinal teaching.

• Century: 18th century (1725–1807 AD).
• Wrote Amazing Grace and co-authored Olney Hymns.
• Focused on themes of grace, redemption, and personal transformation.

• Century: 18th century (1731–1800 AD).
• Contributed to Olney Hymns with introspective works like There Is a Fountain Filled with Blood.
• Blended personal struggles with Christian hope.

• Century: 19th century (1783–1826 AD).
• Anglican bishop; wrote hymns like Holy, Holy, Holy, Lord God Almighty.
• Combined poetic elegance with theological precision

• Century: 19th century (1792–1866 AD).
• Oxford Movement leader; wrote The Christian Year to enhance Anglican worship.
• Promoted reverent and meditative hymn themes.

• Century: 19th century (1816–1868 AD).
• American composer; wrote music for Jesus Loves Me.
• Focused on accessible, singable melodies for congregations.

• Century: 19th century (1820–1915 AD).
• Blind American hymn writer; authored over 8,000 hymns (Blessed Assurance).
• Focused on themes of salvation, grace, and evangelism.

• Century: 19th century (1826–1899 AD).
• Wrote Shall We Gather at the River? and composed music for Fanny Crosby’s hymns.
• Combined emotional appeal with singable melodies.

• Century: 19th century (1838–1876 AD).
• Gospel hymn writer; composed It Is Well with My Soul (music) and Hallelujah, What a Savior.
• Blended heartfelt texts with dynamic, memorable tunes.

the use of identical consonant sounds at the beginning of words

eg. "God of grace and God of glory, On thy people pour thy power"

using significant words or ideas that end in on e stanza at the beginning of the next

eg. "the triumphs of the grace/My gracious master, and my God"

repeating a word at the beginning of successive lines

eg. "Rejoice ye pure in heart/Rejoice, give thanks and sing"

setting sharply contrasting ideas at the beginning of successive lines

eg. "I once was lost/But not I'm found"

addressing inanimate objects

eg. "all creatures of our God and king"

the crossing of lines or phrases

eg. "sorrow and love flow mingled down/did e'er such love and sorrow meet"

arranging ideas in order of intensity

eg. "ours the cross, the grave, the skies"

beginning and ending a line with the same word

eg. "hide me, O my saviour, hide"

immediate repetition of a word or phrase within a single line

eg. "I'll never, no never, no never forsake"

making a list

eg. "the God of creation/the God of power, the God of love/the God of Salvation"

using a word or phrase in place of another to suggest a likeness between them

eg. "a mighty fortress is our God"

linking two opposite ideas in a single statement (not a mere balance, but a combination in some way)

eg. "love, drowned to death, shall never die"

treating an abstraction as though it has human qualities

eg. "Thou [Zion, i.e., heaven] mayst smile at all thy foes"

comparing unlike objects in one aspect (using "like" or "as")

eg. asking the Holy Spirit to come "like the murmur of the dove song"

repeating the same thing in other words

eg. "I am tired, I am weak, I am worn"

"Iambic" indicates that the type of foot used is the iamb, which in English is an unstressed syllable followed by a stressed syllable (as in a-BOVE).

A metrical foot consisting of an accented syllable followed by an unaccented syllable. Examples of trochaic words include “garden” and “highway.”

A metrical foot consisting of an accented syllable followed by two unaccented syllables; the words “poetry” and “basketball” are both dactylic.

A metrical foot consisting of two unaccented syllables followed by an accented syllable. The words “underfoot” and “overcome” are anapestic.

6 syllables

8 syllabels

10 syllables

8.6.8.6. - alternating lines of iambic tetrameter and iambic trimeter

6.4.6. - alternating lines of iambic tetrameter ad iambic trimeter

8.8.8.8. - four lines of iambic tetrameter

• Begun by Calvin, completed by Theodore Beza, and metrical versions of all 150 psalms were published in 1560à
• syllabic tunes, some syncopations, some repetition of phrases, one single high point in each melody

• first complete english psalter
• texts became standard. Simpler english tunes

• Two irishmen complete a psalter known as the New version, which challenged the old version because it was poetically superior. But they took liberties with the text (adding/omitting) - "as for Tate and Brady, they have taken away my Lord"
• first publication did not contain music
• authorized by the monarchy for use in all religious services

• first publication in mid 1800s
• still published today
• is the standard mainline anglican hymnal

• "One of the most electric English hymn books"
• edited by Percy Dearmer with great influence from Vaughan Williams
• included adaptations of earlier music/texts and folk-song arrangements,
• lowered keys to fit congregational singing
• expanded music vocabulary of Christian songs

• first published in 1844 in Georgia, US
• one of the most popular in the southern four-shape tradition, in both ales volume and geographical coverage
• so popular that shaped-note singing is often called "Sacred Harp" singing
• includes pentatonic melodies like "What Wondrous Love is This", "Amazing grace", etc.

• 1831 by Joshua Leavitt
• Included folk hymn tunes, choruses from secular songs, traditions of German and Latin hymns
• first time an American hymnal (except the lutherans) had included this kind of translation work
• popular among evangelicals

• Published as a 24-page pamphlet of sings in 1873
• 1903 edition contained 1,20 songs
• super popular in England. Sold 80 million in the first 50 years

Genevan Psalm singing Shape-note singing Calvinist Reformed Tradition: Advocated unaccompanied psalm singing to maintain purity and simplicity in worship. Anabaptist Movement: Rejected instruments as worldly, emphasizing heartfelt, communal singing. English Puritans: Practiced unaccompanied singing, adhering to strict interpretations of biblical worship practices.

1. CCM
2. Martin Luther - borrowed popular music and integrated into church worship with biblical texts; encouraged singing in German, not Latin
3. Macaronic song
4. Gospel music (potentially)

• The Reformation Era (16th Century)
• The Oxford Movement (19th Century)
• The Evangelical Revival (18th Century)

Refers to personal, emotional, or individual expression in hymn texts, focusing on the worshiper's feelings and experiences rather than objective doctrine

• Evangelical Revival (18th Century)
• Romantic Era (19th Century)
• Contemporary Worship Movement (20th–21st Century)

Theological Basis: Lutherans embraced music as a means of glorifying God and teaching theology, while Calvinists prioritized simplicity and purity in worship. Role of Music: Lutherans encouraged diverse musical expression, including hymns and chorales, while Calvinists restricted singing to biblical psalms only. Text Sources: Lutherans used both original hymns and paraphrased Scripture, whereas Calvinists strictly adhered to metrical psalmody. Musical Complexity: Lutherans utilized rich harmonies and polyphony; Calvinists favored simple, unaccompanied melodies. Language Use: Lutherans wrote hymns in vernacular German; Calvinists also used vernacular languages but limited texts to Psalms. Purpose of Singing: Lutheran singing was educational and devotional; Calvinist singing was reverent and scripturally focused. Church Setting: Lutheran churches featured choir and organ; Calvinist churches avoided elaborate instruments, emphasizing congregational participation.

Language Style: The 1562 Old Version used archaic, austere language, while Tate & Brady adopted smoother, modernized English. Meter and Poetic Quality: The Old Version had rigid, functional meter; Tate & Brady featured refined, singable poetry. Literal vs. Free Paraphrase: The Old Version adhered closely to the text; Tate & Brady allowed freer, New Testament-influenced interpretations. Use in Worship: The Old Version served solemn, Calvinist worship; Tate & Brady aligned with Anglican aesthetics. Popularity and Adoption: The Old Version became outdated; Tate & Brady gained favor in 18th-century Anglican churches.

Theological Focus: Evangelical hymns emphasize personal salvation, while liturgical hymns focus on doctrinal and corporate worship themes. Tone: Evangelical hymns are emotional and direct, whereas liturgical hymns are formal and poetic. Musical Style: Evangelical hymns use simple, singable tunes; liturgical hymns are stately and organ-accompanied. Purpose: Evangelical hymns inspire revival and conversion; liturgical hymns enhance structured worship services. Key Figures: Evangelicals include Fanny Crosby and Robert Lowry; liturgical writers include Reginald Heber and John Keble.

Camp meetings offered community, often singing and other music, sometimes dancing, and diversion from work. The practice was a major component of the Second Great Awakening, an evangelical movement promoted by Baptist, Methodist, Presbyterian and other preachers in the early 19th century.

a part of a song that is repeated after each verse, typically by more than one singer.