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Historical and background information on the words, music, and sources of the selections in the Hymnal, essays on church music, biographical information on authors and composers, and indexes for the collection have been published as Hymnal Companions for the 1940 and 1982 editions of the Hymnal. During the work of preparing The Hymnal (1940), the Joint Commission on the Revision of the Hymnal realized that a historical handbook for the Hymnal would be an important resource for the church. In 1939 Canon Charles Winfred Douglas was appointed as chair of the committee to compile The Hymnal 1940 Companion. He was replaced in 1941 by the Rev. Arthur Farlander. The Rev. Dr. Leonard Ellinwood contributed extensive original research to complete The Hymnal 1940 Companion. It was first published in 1949. A second edition was published in 1951, and a third edition was published in 1956. The Hymnal 1982 Companion has three volumes and includes four books. Volume 1, including a variety of scholarly essays on hymns, service music, and the liturgical and pastoral context of hymnody, was published in 1990. Volumes 2, 3A, and 3B were all published in 1994. Volume 2 includes background on the service music in The Hymnal 1982 and biographies. Volumes 3A and 3B include background on the hymns. The Hymnal 1982 Companion also has indexes, glossaries, and bibliographies for further study. It was edited by Raymond F. Glover, general editor of The Hymnal 1982. It is published by Church Publishing Incorporated, formerly Church Hymnal Corporation, a subsidiary of the Church Pension Fund. Other hymnal companions published outside the Episcopal Church include the Historical Companion to Hymns Ancient & Modern (1962), and the Hymnal Companion to the Lutheran Book of Worship (1981). See Hymnal, The.

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This informative resource provides a brief history of each hymn in the popular hymnal Glory to God. Written by one of the foremost hymn scholars today, the Companion explains when and why each hymn was written and provides biographical information about the hymn writers. Church leaders will benefit from this book when choosing hymn texts for every worship occasion. Several indexes will be included, making this a valuable reference tool for pastors, worship planners, scholars, and students, as well as an interesting and engaging resource for music lovers.

This volume is Lindajo McKim's handbook to The Presbyterian Hymnal [a.k.a., Hymns, Psalms, and Spiritual Songs] (1990). As editor of the hymnal, McKim had ready access to a variety of sources as she prepared this Companion. She presents mostly the historical background of the texts and music found in the hymnal, though she also offers brief exegeti-cal or interpretive comments on the texts and sometimes a descriptive phrase on the tune or harmonization.

Though the articles and especially the biographies tend to be short and nontechnical (and there is no bibliography except for a few references in the Introduction), this Companion is clearly laid out and is eminently accessible to anyone interested in the basic facts of hymnody. For ease of reference (also for those who wish to use this volume with another hymnal) the author, composer, tune name, and alphabetical indices from The Presbyterian Hymnal are given at the end of this Companion. One hopes that the paper binding will stand up to the repeated use that this handy volume will surely get.

Dr. Joseph Herl accepts the Outstanding Teaching Award at the 2018 commencement ceremony. Herl has been editing a companion for the LSB hymnal. Photo courtesy of Concordia University, Nebraska.

The main objectives of this companion are in tune with the mission and vision of ATESEA: to teach and to write Asian theology. Our senior leaders and gurus in Asia are making numerous contributions in their attempts at restructuring Asian theology. For example, Shoki Coe, C. S. Song, Kosuke Koyama, and others have written books highlighting local Asian songs. However, Asian Christian hymnals such as Sound the Bamboo remain rare.

Asian churches in quest of their identities must work through Asian expressions of Christian faith, of which Asian music is a decisive force. The great majority of our hymnals were translated and the liturgies were copied from the mother churches of the missionaries. Churches that regard local music as secondary to the Western products, as unacceptable to the sacred temple, are resisting their local identities.

CCA is pleased to recommend this companion volume, Hymnal Companion to Sound the Bamboo: Asian Hymns in Their Cultural and Liturgical Contexts. It seeks to glorify God and proclaim the gospel with Asian music and songs. This book introduces the background of the hymns, their writers, and composers, which will help readers to understand and interpret hymns in their cultural and liturgical contexts. I am honored to write this preface, and I trust that churches will find this volume a useful resource. I profoundly thank Dr. I-to Loh for his efforts in making possible the production of the new hymnal companion. And now, it is in your hand.

The main purpose of this companion volume is to provide basic information to Asians and non-Asians about Asian musical styles, the hymns in Sound the Bamboo, and their development in various Christian contexts.

This companion volume attempts to place all the hymns in Sound the Bamboo in their proper historical, cultural, musicological, theological, and liturgical contexts, so that the rich Asian musical traditions may be introduced, understood, and interpreted not only by Asians but also by their sisters and brothers around the world.

From when I began to collect Asian songs/hymns in 1968 to the completion of this work, a span of nearly thirty-nine years, I have been helped, advised, and hosted by innumerable friends and strangers in their churches and schools, at their homes, along the streets, and through phone calls, letters, and electronic correspondences. Without their kind support and assistance, this work could not have been completed. I especially thank all of the authors, composers, translators, paraphrasers, arrangers, and performers whose kind assistance was crucial to the production of Sound the Bamboo: CCA Hymnal 2000 and this companion. Through the recommendation and introduction of Rev. George Todd, who has been my mentor since seminary days, Takenaka Masao requested me to collect songs for the Urban Rural Mission Committee (URM) of CCA, and Rev. Harry Daniel and Rev. Oh Jae Shik helped me to establish initial contacts in Asia. In addition, Tosh Arai played a major role in the editing of Sound the Bamboo.

The committee considered using the International Phonetic Alphabet but found it too complicated for most users of the hymnal. In this collection, transliterated texts are based on the following standard or official transliteration systems: Burmese (including Kachin, Karen), Pilipino (including Tagalog, Ikalahan, Cebuano), Cambodian (Khmer), Laotian, Vietnamese, Indonesian (including Balinese), Japanese (including Okinawan), Korean, Mandarin Chinese, Malaysian (including Kadazan), Nepali, Taiwanese (including Hokkien [Amoy], Amis, Bunun, Paiwan), Maori, and Pidgin English in Papua New Guinea.

This companion is written for the general public, especially people in Asia and the Pacific for whom English is not their first language; these users may have difficulty understanding some of the hymns. Therefore, efforts have been made to highlight or summarize the main contents of every hymn, and some hymns have suggestions as to how the hymn or liturgical response may be sung and used in liturgies. For the musical analysis, a few basic musical terms and very straightforward language are used to explain the styles; these analyses are written for musicians, theological students, pastors, and theological educators with a basic knowledge of music. But this by no means precludes the general public or lay audience from reading these analyses. In fact, the cultural backgrounds, the liturgical contexts, and some of the interpretations of text, tunes, and text-tune relationships (or what is called doing theology with music) will be helpful to all readers in understanding these hymns and using them in their liturgies or in doing contextual theologies. The following explanation will facilitate the basic tools for analyzing the music.

Several years ago, CPH published LSB: Companion to the Hymns, which provides extensive background on every hymn and canticle in the hymnal. This summer, a sister resource will be published, LSB: Companion to the Services. Just as the Companion to the Hymns is an invaluable resource for the hymns in LSB, so the Companion to the Services is for the services in the hymnal.

Leaver's study focuses on the Wittenberg hymnal of 1526, which until now has received little scholarly attention. This hymnal, Leaver argues, shows how the Lutheran Reformation was to a large degree defined, expressed, promoted, and taken to heart through early Lutheran hymns. Examining what has been forgotten or neglected about the origins of congregational hymnody under Martin Luther's leadership, this study of worship, music, and liturgy is a significant contribution to Reformation scholarship.

Worshiping with the Reformers

In this volume, which serves as a companion to IVP Academic's Reformation Commentary on Scripture series, Reformation scholar Karin Maag takes readers inside the worshiping life of the church during this era.