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In the last century and more, especially in North American evangelicalism, hymns have eclipsed psalms in the liturgy of the church. Actually, hymns themselves have given way in more recent years in many communions to the ubiquitous Scripture songs and choruses. We would hope that the forthcoming Trinity Psalter Hymnal might contribute to the recovery of both robust psalmody and robust hymnody.

It is also unthinkable, in all of our corporate singing in the church, that we would never sing anything that has the explicit name of our Lord Jesus Christ in it. Unconvincing attempts have been made to assert that the Psalms explicitly name or invoke Christ; however, Scripture simply does not do so explicitly until the New Testament. The thrust of redemptive history, particularly as set forth in the Pauline epistles and the book of Hebrews, is that the complete has come, and the provisional has given way, and so we are to proclaim to all the world that Jesus Christ is Lord. Hence, we are to worship with maximal explicitness, all shadows that typified the Old having given way to the bright light of the New, in the unveiled gospel of Jesus Christ. The hymns recorded in the last book of the Bible, Revelation, especially furnish us with a clear pattern of hymnic praise to the Lamb slain before the foundation of the world, to whom all glory is due.

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There is nothing in the New Testament that hints that this glorious message will not be on our lips in preaching, praying, and singing, both in the implicit form that this takes in the Psalms and in the explicit form that it takes in the hymns, which we see exampled on the pages of the New Testament and in the ancient church.[9] And then we see it in every succeeding period of the church, which continues to apply the Word of God in every age in all her worship: preaching, praying, and singing in ways that are in keeping with the Word, seeking to communicate the gospel of our Lord and Savior Jesus Christ, to whom be honor and glory, forever. Amen.

Please note: My family is part of a non-denominational, Bible-following, Jesus-loving congregation. These hymns were not chosen because of our connection to or preference for any single denomination. They are the hymns I grew up hearing and those that have become family favorites since I began singing hymns with my children.

I invite you to join my family in singing and appreciating different versions of our favorite hymns with the belief that individual expressions of our shared faith are to be appreciated and celebrated!

Amber, you did it again!!! We love this hymn study and I have recommended it numerous times to friends. It is not only beautifully done it is full of useful information and the links are such an added bonus that we enjoy listening to. Thank you for doing all the leg work so that we can study hymns so easily.

This was just what I was looking for to add our homeschool as we incorporate different hymns. I love seeing all the different musical expressions of hymns. Made even better with easy links and beautiful printables!

I am very excited about this for our family! We have sung hymns together casually, but have never actually done a hymn study. I love how HeritageMom has taken the time to create a multi-cultural guide (with lots of links!) to help us dive deeper, and praise God in more than just one style. The design/layout is also aesthetically pleasing.

Third, friends in significantly multiethnic and cross cultural settings will have an extra layer of work to do in thinking through the diet of sung praise in their churches. For instance, Mike Campbell, founding pastor of Redeemer Church (PCA) in Jackson, MS, sat down with a Trinity Hymnal and an African American Heritage Hymnal, and chose to utilize the hymns they shared in common.

There are just under a hundred hymns and psalms recommended here (and about that many unique tunes). In the left hand column is the hymn number in the Trinity Hymnal, then comes the hymn name, followed by the hymn tune name. You will note that there are almost no duplicated hymn tunes (those used more than once are marked with an * asterisk).

Three broad generalizations have emerged from this debate. First, scholars generally concur that John took the lead in selecting and adapting the poems and hymns by other authors that are included in the various collections issued jointly by the brothers. Second, scholars also converge in assigning John authorship of the translations of German and Spanish hymns in the collections (except for a couple of loose adaptations by Charles in the Collection of Moral and Sacred Poems). Finally, there is consensus that the vast majority of original contributions in the early joint collections were penned by Charles.

We would like to emphasize that the goal, the purpose, the reason for including hymns in the AO schedule (besides the fact that Mason included them) is to sing hymns -- to be comfortable singing the hymns, to enjoy singing the hymns, to be able to sing the hymns anywhere, anytime.

Hymns are participatory, not spectator oriented. They are portable. Paul and Silas sang hymns in chains in prison at midnight. Hymns can be sung to infants, on long car trips, beside a hospital bed, with other Christians when visiting other places, near or remote. In places where churches must be underground, worshippers silently mouth hymns together so that their secret worship services are not discovered. They know them by heart. For us, it is a privilege and blessing to be able to make a joyful noise, and we hope you are all sharing that blessing with your children.

Please, please be sure you are singing with your family, not just listening. Singing is the number one priority, and every other thing you could do with the hymns (studies of the hymn backgrounds, biographies of the lyric writers, the composers, etc,) is just not as important. It is not that other things are wrong, but they should not become a distraction or a burden.

AO mom Megan Hoyt wrote A Touch of the Infinite: Studies in Music Appreciation with Charlotte Mason combining her own personal music background, CM's methodology from the Home Education volumes, and books CM used for music teaching in her own schools. Megan Hoyt explains musical terms, ear training and listening skills, reading musical notation, distinguishing musical instruments, hymns and folk songs are all parts of CM music study. ($) Listen to her talk about her book with Cindy Rollins on the Mason Jar podcast here. (If you benefit from this book, Megan would love for you to leave a positive review at amazon.com!)

Hymntime - search by first line from the letters on the left.

Christian Classics Ethereal Hymnary

Hymnary.org

Lassen Technologies MIDI hymns

Let God Be True offers Free Acapella MP3 Hymns

Reformed University Fellowship

Center for Church Music has vocals with MP3's, RealPlayer, sheet music, devotionals, and histories of hymns.

Psalms in Metre for Christian Worship offers different versions of the Psalms and different tunes (they show you the tunes that line up with the particular psalm paraphrase you want to sing, and you pick the tune) In the old days some hymnals simply had the words to the songs, and the leader decided on a tune based on the code in the title (such as S.M. for Short Meter). Old tunes such as Boylston, Aberdeen, Ballerma, etc., which are very familiar, are still written into hymnals today. You can take any one of these three tunes and apply it to any hymn lyrics with "S.M." in the title--and you get three different settings for the same words. Songleaders did that all the time, especially when songbooks were scarce. I have even heard stories of churches where they only knew five or six tunes and sang those tunes over and over for different songs. We have a songbook at our house called "The Good Old Songs" in which the first hymn in a group will have music/notes, and then three or four other songs follow with just lyrics that can be sung to that same tune. Learning the different terms for the tunes and seeing which songs fit with which tunes would be a nice study for an older child with an interest in music. (Thanks to Katie Barr and Lorraine Nessman for this link!)

Hymns make wonderful copywork selections. You may also wish to ask your students to recite the words to the hymns (as they do their poetry recitations) at the end of the month in which they are learned -- an excellent mental exercise, and one which Charlotte Mason suggested herself!

Beer & Hymns is a community sing-a-long of hymns and cover songs you know by heart. Each event supports a featured charity, bringing people together to raise our glasses, raise our voices, and raise funds for organizations who change the world.

This cycle of hymns for the cult of king Senusret III is preserved in a single copy, on an incomplete papyrus retrieved during the 1889 Petrie excavations at Lahun; the other side of the papyrus bears the end of a narrative literary episode, and a rectangular section had been torn from the end of the sheet in ancient times for reuse as a small sheet (perhaps for writing a short letter or account). The hymns provide a succinct introduction to the imagery of divine kingship during the Middle Kingdom (about 2025-1700 BC), a period of strongly centralised power.

Earlier editors of the hymns tended to assume that the hymns would have been sung to the king during his reign, and postulated a visit by the king to the town at Lahun where the papyrus was found. The strongest indication that the hymns were sung during the life-time is the epithet 'may he live for ever and eternity' at the end of the cycle; in accounts papyri this epithet follows the name of living kings, whereas 'true of voice' is written after the names of deceased kings. 2351a5e196