The Music of the Protestant Hymnals Used in Puerto Rico (1976) by archivepr

Boston University School of* Theology

Dissertation

THE MUSIC OF THE PROTESTANT HYMNALS USED IN PUERTO RICO

LUIS A. OLIVIERI -

Submitted in partial fulfillment of the requirements for the degree of /â&#x2013;

Master of Sacred Music 1976

B o s to n U n i v e r s i t y

School of Theology

Dissertation

THE MUSIC OF THE PROTESTANT HYMNALS USED IN PUERTO RICO

LUIS A. OLIVIERI 6

Submitted in partial fulfillment of the requirements for the degree of Master of Sacred Music 1976

APPROVED

First Reader

Professor of Church Music

Second Reader

ACKNOWLEDGMENTS

This work is dedicated to the following persons in grateful acknowledgment of their encouragement and help we have received from themâ&#x20AC;˘

To my parents,

Rosa MarĂa and Arturo Olivieri from whom we learned the first hymns during our childhood; to Dr. Paul Pisk, visiting professor at Boston University, who gave us the initial orientation for this work; to Dr. Max Miller, from Boston University School of Theology, who has been our advisor, faithfully reading the draft papers and giving very significant and helpful suggestions; and finally, to my dear wife Evelyn, who with a great deal of patience and love has done the proofreading and typing; and to our children Luis and Emanuel.

TABLE OF CONTENTS

INTRODUCTION ...,........ ........................... ...... 1 Reasons Tor the study Origins of Protestantism in Puerto Rico CHAPTER I

THE DEVELOPMENT OF HYMNODY........ .,.......... 6

Sources of early "hymns used Use of hymns Criteria for the selection of Content The learning of hymns CHAPTER II

THE HYMNALS AND THEIR CONTENT..........

Description of the main hymnals used Musical content of hymnals Observations on melodic and harmonic usage CHAPTER III

TOWARD A NATIVE HYMNODY........?......

.138

In the Pentec os tal churches In the Disciples of Christ churches Melodic and rhythmic elements Choruses Present hymnals with South American hymns Other contemporary collections Contemporary Puerto Rican hymn composers CONCLUSIONS .....

..184

APPENDIXES.... ......... ................ ................. 190 BIBIIOGRAPHY..... ......................... .............. 22 6

L IS T OF APPENDIXES

APPENDIX I Best Represented Gospel Songs Composers in the Spanish Hymnals ••.... ........... ........... . .190 APPENDIX II Melodic Content of the Hymnals Used by Churches*... *.191 APPENDIX III Two-hundred best-known tunes ...........

193

APPENDIX IV Hymn texts given with different tunes.................197 APPENDIX V Hymns translated more than once ........

2.0h

APPENDIX VI Tunes Used For more than One Hymn................... .209 APPENDIX VII List of hymnals which have been known in the Protestant Churches ........

215

APPENDIX VIII List of hymnals and collections with chorus es»....o..221 APPENDIX IX Hymns of Latin American origin in Himnos de Fe y Alabanza. ........

•223

INTRODUCTION

Reasons Tor this Study About 40 different hymnals have been used in Puerto Rico since 1 8 9 8 , when Protestant churches began to be organized,

Most of these hymnbooks are very similar in

their musical and literary contentâ&#x20AC;˘

It is not very

difficult to realize that most of their content was translated from hymnals in English, from the United States and England, particularly the gospel song type of hymn which is predominant in these hymnals.1 Although there are different types of hymn tunes in these hymnals, the average congregation knows more gospel songs than any other type of hymn. Some of the questions we would like to answer through this study deal with the predominant use of the gospel song in our churches,

Why the churches have not learned more

hymns of the traditiona1 type?

What does the gospel tunes

have that justify or explain this popularity in our hymnals and churches?

Do they have any relationship to the

folksongs orpopular music of our country?

How have the

churches learned the melodies of these tunes?

Are they

easier 1 0 learn than chorale melodies? We would like to indicate which are the different types

For a complete list of the hymnals see Appendix VII*

of hymn tunea represented in our hymnals, besides the gospel songsj and which are the best from the musical point of view* Many of these hyranbooks have been edited by denominational committees $ except for the earlier ones which were edited by interdenominational agencies»

In which way has this influenced

the selection of the hymn tunes? Which criteria have they used to make the selection of the hymns included? Is there any particular advantage of having a denominational hymnbook? Recently we have had the publication and use of new collections of hymns in pamphlets and small hymnals *

Some

of these include the production of native composers•

there something new in these hymns?

Can we speak of an

indigenous hymnody? Besides the music of the tunes in the hymnbooks we would like to say something about the so called "coritos” (refrains or choruses) which are very popular in most of our churches *

It has been said that their music is an

attempt to use the indigenous music in our church singing. In this study we are trying to give a general picture of the music in the hymnody of the Puerto Rican churches, its hymnals, its development and present status• As far as we know, this is the first attempt to write about the music of Spanish hymnody, The only study already done in this field is the one done by Cecil Me Connell in his book La Historia del Himno en Castellano, but no evaluation of the hymnals * music is done in it• This study will be limited to the hymnals and hymns that have been used by the churches in Puerto Rico # especially those which are the official books for the various churches•

Our main subject of study will be the

hymn tunes although some comments will be given on the

words and how they have been translated and adapted into the Spanish language* Origins of the Protestantism in Puerto Rico Probably, ”the first services to be held in Puerto Rico took place in 1598 when the British took San Juan and held it for five months.

Another reference to the

Protestantism origins in Puerto Rico is the presence of a Protestant European merchant called Heileger, who in 1861 organized in Aguadilla* at the home of José A. Badillo, a Bible study : group which came to be known as the Bible Believers or "Los Bíblicos”« religious 1ibertj

Under the Spanish government 9

was very restricted and the official churcIi

was the Roman Catholic*

The only organized Protestant church

was an Anglican* established by an English-speaking group from the Brittanic islands in the Caribbean who were living in Puerto Rico » On November 2 0 * 1 8 6 9 they got permission fr ora the government to worship as the Holy Trinity Church in the city of Ponce *

with the invassion of the United

States into the Island in I8 9 8 , it was also invaded by different Protestant denominations 9 which established formally Protestantism in Puerto Rico• Baptists * Presbyterians, Methodists, Episcopals, Congregationals and Lutherans were the first Protestant congregations to establish missionary work. of Christ group came in 1906*

The Disciples

Most of the first missionaries who came to Puerto Rico had previously been in Mexico*

Among them was Charles

W. Drees (1851-1924)* a graduate from Boston University Justo L, González, The Development of Christianity in the Latin Caribbean * (Grand Rapids, Michigan: W* B, Eerdmans Publishing Co** 1 9 6 9 ) p. 1 0 1 .

School of Theology, who came to Puerto Rico and founded the First Methodist Church of San Juan in April, 1900*

He had

b e e n a missionary in Mexico since 187^ where he participated

in the production of Himnario Metodista, in 1881, Another missionary who came to the Island after being in Mexico was the Englishman John Edwards (1840-1911). He worked as the direct or of the evangelistic work of the Congregational Church, The first Presbyterian missionary, Milton E, Caldwell (d, 190?) came to Puerto Rico in 1899 after serving in Mexico, Hugo P, McCormick and A, B, Rudd were the first Baptist missionaries.

.Both were from

Virginia and educated in Southern Baptist schools, but worked for the Northern Baptist Mission Society,

Other

missionaries and early pastors were ex-Roman Catholic priests like Angel Vlllamil Ortiz {1873-1937)$ a Puerto Rican ex-Franciscan who founded the Christian and Missionary Alliance Churchâ&#x20AC;˘

This mission began its work in 1900, 4

By this year there were several churches of the various denominations organized.

The missionary work was

divided among the different denominations, ecumenical enterprise in the Islandâ&#x20AC;˘ of Churches was organized, Council,

This was the first

In 1 9 0 5 the Federation

It is now known as the Evangelical

Other early ecumenical projects were the churches1

periodicalf in 1912, and the Evangelical Seminary in 1919* The Evangelical Seminary was the result of the merging of various Bible institutes and small theological schools from the principal denominations, The Pentecostal Church began its work in the city of Ponce in November of 1916, under the leadership of two Puerto Ricans who were related to the Assemblies of God in the United States,

Frank 0, Finkerbinder was sent to

Puerto Rico to organize the church under the name of Iglesia de Dios Pentecostal, Inc,, being this the first native and

autonomous church in Puerto Rico and the most growing one up to the present timeâ&#x20AC;˘

Other small Pentecostal churches

were organized by dissidents of this church and other denominations.

Later on, the Defenders of Faith and the

Assemblies of Christian Churches were organized; both by the year of 1931. After 7^ years of life, most of the Protestant churches and institutions depend on the Mission Boards of the mother churches in the United States for their economical support,

The only self-support churches are

Baptist, Disciples, and Pentecostals, although the first two are related to their Conventions in the United States * The Protestant population in Puerto Rico is estimated to be 15 to 20 percent of the Island population, which is about 3 Âť000,000 people *^

Figures are estimated taking into account the information given by D* Moore, Puerto Rico para Cristot (Cuernavaca, Mexico: CIDOC, 19^9 )Âť P* 5/l2*

CHAPTER I THE DEVELOPMENT OF HYMNODY Sources of Early Hymns Used The missionaries brought to Puerto Rico the hymns they used to sing in their countries , most of them ^istimlated in Mexico and Spain during the last half of the nineteenth century. About the impact of the Protestant hymns in the Puerto Rican culture t the Puerto Rican musicologist Maria Luisa Muñoz says s No podemos olvidar la influencia ejercida por las iglesias protestantes con @1 canto de sus himnos• El himno fue el fiel acompañante del misionero predicador del Santo Evangelio, y el pueblo agrupado en congregaciones tgáa o menos numerosas , descubrió un alborozo y satisfacción, de una manera armoniosa de alabar a Dios• The first hymnal used by Puerto Rican evangelical worshipers was Himnos Evangélicos. also called Himnario Evangélico, published in 1893 and 1895 by the American Tract Society of New York, an interdenominational agency.

It is interesting to note that by that time,

churches were using what may be called an ecumenical hymnal9 produced by a committee with representation of the various denominations• 1

María Luisa Muñozy La Mdsioa en Puerto Rico. (Sharon 9 Conn; The Troutman Press , 1 9 ^ ) ( PP« 3^*35•

7. The hymns included in this book came from different sources and hymnals which had been published before^this one. According to Cecil Me Connell, the first hymnal in Spanish was edited by the English Wesleyan pastor William Harris Rule (I8 I2 -I8 9 0 ) in 1835 in Cadiz, Spain. This was an edition published without music• The American Tract Society in New York published in 1848 the hymnal Himnos para el Uso de las Congregaciones Españolas de la Iglesia Cristiana. Another edition of this hymnal was published in 1880, with 350 hymns•

Most of the hymns included were

translated by pastor W • H. Rule»

Some of the Spanish free

thinkers and liberals of the nineteenth century contributed with their poems»

Melodies of well-known tunes of English

hymns were adapted to these poems•

Among these poets was

Francisco Martinez de la Rosa (1 7 8 7 -I8 6 2 ) who wrote "Venid Pastorcillos" , to be sung with the tune MULL1SR•

J o s é Joaquin

de Mora (1783-1864) wrote "Oh Dios, Padre Mío", to be sung with tune WAS LEBET, WAS SCHWEBET, and "Ni *en la tierra ni en el cielo", to be sung with tune WELLESLEY *

Another of

the liberal poetá was J osé Zorrilla y Moral (1817-1893)# who wrote "Señor yo te conozco", to be sung with the tune MISSIONARY HYMN by Lowell Mason.

The last one in this group

is Tomás J osé González Carvajal (1753-183*0 who did in Spain a similar work to the one Isaac Watts did with the Psalms in England• In 1819 González Carvajal published Los Salmos traducidos Nuevamente al Castellano en Verso y Prosa Conforme al Sentido Liberal y a la Doctrina de los Santos.

From this collection probably comes the hymn-psalm

"Cantad Alegres al Señor", based on Psalm 100, to be sung with tune DUKE STREET.1 1

Cecil Me Connell, La Historia del Himno en Castellano. (El Paso, Texas: Casa Bautista de Publicaciones, Í9¿3)» P « 113•

On© of the earliest Spanish hymnbooks with printed music was Lira Sagrada» published in 1874 by Mateo CoSidá # a Spanish ex-catholic priest# Two of his translations were included In this hymnbooks

"Iglesia de Cristo" by Charles

Wesley# to be sung with tune LYONS and "Hoy es dia de reposo" a sabbatical hymn from B. Richards # to be sung with the tune ARMSTRONG. The most outstanding figure of Spanish hymnody was Juan Bautista Cabrera (1837-1916)• bishop of the Spanish Reformed Church# He edited two hymnbooks: Himnario para #1 Uso de la Iglesia Española and Himnos y Canciones for the Sunday School and parochial schools. was published in I8 7 8 'with 300 hymns •

The first one

There were original

hymns , paraphrases from other languages and translations from the English and Latin# most of them done by Cabrera, We owe him the best and most known chorale by our churches# "Castillo Fuerte es Nuestro Dios"# from Luther *s EIN PESTE BURG 1ST UNSER GOTT.

The German chorales were first translated into Spanish by Fritz Fliedner (1845*1901)# a German pastor who lived in Madrid by 1870.

None of these chorales were used in the

earliest Spanish American hymnals,

The hymnal which now

includes some of his translations is Cántico Nuevo. edited in Argentina in 1962, The first evangelical church founded in Mexico was in 1864# by the English missionary Thomas M, Westrup (1837-1909), Later on he became the first missionary of the Baptist Convention in Mexico and spent moat of his life there•

Realizing the need for hymns in Spanish# he

translated many of the best known English hymns # and •dited a hymnbooki

Incienso Cristiano. which went through

two editions # in 1875 and 1889, One hundred and twentyfive of his translations were included in the Himnario

Evangélico of 1895*

Among them, "Rock of Ages", "Abide with Me"9 and "Jesus Lover of my Soul"• He also translated «any gospel songs and wrote some original poems* The Presbyterians in Mexico published in 1877 the Himnario de las Iglesias Evangélicas under the editorship of M* N, Hutchinson.

The Methodists published in I876 the

first edition of Himnario de la Iglesia Metodista Episcopal which had a music edition^ in 1881• William Butler and William H. Rule were the editors and translators for most of the hymns in this hymnboolc. In Argentina, the first hymnal with music was printed in 1881 3 Himnos Evangélicos. The publication was sponsored by the Methodists under the direction of Henry G. Jacks on, a missionary from United States who translated, adapted and wrote some of the hymns included.

After this, in 1 9 0 5 , he

was member of the Methodist Hymnal Committee in the United States. 4 Another important source for the early hymnals was the collection Estrella de Belén. published in 1 8 6 7 and prepared by the missionary Henry C . Riley for the American Tract Society. The collection consisted of 16 pamphlets of ft pages each, words and printed music•

They were used in

the services of the Spanish speaking congregations of the o

Americas for many years.

From this hymnbook comes the

well-known hymn "A nuestro Padre Dios", which has been always sung with the tune AMERICA•1 2

; A copy of this edition is at the Boston University School of Theology Library» 2

Cecil Me Connell, Op. cit.. p. 126•

example , in Hinmario Evangélico there are 513 hymns* The most important translators in this hymnbook are: Juan Bautista Cabrera with 53» Thomas »M* Westrup with 10, William H* Rule with 7 » Pedro Castro, a Spanish pastor» with 11» M* N * Hutchinson with 5# and Ramón Bon with 6 * With original texts in Spanish, the most important are Tomás González Carvajal with 4, and Mateo Cosidó with 5* The hymn tunes in this hymnal are for the most part from English and North American hyranbooks*

The following

list shows the most represented composers i Lowell Ms®cm William Bradbury Phillip Bliss Ira D* Sankey Joseph P* Holbrook James Me Granaham George F* Root William H* Doane George 0, Stebbins

32 tunes 16

Ik Ik 12

9 7 7 7 4

There are some tunes with Spanish names, but' no source or composer is given*

For example, CADIZ, CUBA, HABANA,

MALAGA, MEXICO, PUEBLA, SANTIAGO, MI BIEN and FUENTE*

total, there are 3 9 8 melodies, many of them repeated for different hymns *

There are some non-English European tunes

such as WACHET AUF identified with the name ALAMEDA, BAVARIA, ELLACOMBE, GERMAN and some tunes arranged from MendsIssohn1s music 1 among them, WILSON* Two more hymnals should be mentioned among the early hymnbooks in Puerto Rico*

The first one is El Nuevo Himnario

Evangélico, published in 191^ by the American Tract Society as a revision to the Himnario Evangélico of 1895* The Society appointed, a committee composed of representatives from the different denominations working in Mexico* were two missionaries 3

There

Rev. John Butler and Rev* William

Wallace, and three Mexican pastors who were also hymnwriter®»

IX Vicente Mendoza, Eplgmenio Velasco and Teófilo Barocio.

About the work on the production of the new hymnal

the same committee expressed* La Comisión ha trabajado con tanta fidelidad y entusiasmo como le ha sido posible, revisando y estudiando cada himno , estrofa por estrofa y verso por verso, comparando a veces dos, tres y hasta cinco traducciones de un himno} asi como las músicas que mejor se adaptan a ellos % revisando más de diez diferentes colecciones d© himnos de E s p a ñ a S u d América y Méjico• No es aventurado decir qu® revisó y estudió lo menos unos tres mil himnos de toda proce dencia y de carácter para llegar al resultado que ahora ofrece al pueblo evangélico.*** The hymnal was first used as a substitute to Himnario Evangélico of 1895*

It was considered for many years as

the hymnbook published in Spanish.

It contained 3^9 hymns.

Seventy tunes were from English composers, most of them from Dukes , Sullivan, Barnby and Smart *

One hundred fifty tunes

from United States were used, including

3 gospel songs• ^ i

There were Z J melodies from German composers, most of them arrangements from master works and some folk melodies. Prom Mexican composers were included 19 tunes, 6 of them by Epigmenio Velasco.

Other melodies were from Spain, France,

Italy, Chile and Sicily*

Anglican chants were given for the

"Psalm 23" and "The Lord *s Prayer"• The second hymnal which may be considered among the earliest in Puerto Rico, although it is still in use, is

American Tract Society, Nuevo Himnario Evangélico. (San José, Costa Ricaj Editorial Caribe, 19l4), pp. v-vi» 2

It was the official hymnal at the Evangelical Seminary of Puerto Rico until 1 9 6 2 . 3 Seven of the gospel songs were from John P, Sweney (1837-1899) who wrote them specially for Himnario Metodista Episcopal of 1881, in Mexico.

Himnos de Gloria»

Xt was edited in 1921 by the missionary

H* C* Ball (b, 1 8 9 6 }* This hymnb 0 ok was not used as a substitute for the Nuevo Himnario Evangélico» but as a supplement of it, because it included more gospel songs of the evangelistic type, although some churches began to use it as their only hymnal and still do up to the present time»

According to Revf Ball, more than 800,000 copies of

this hymnal have been sold among the Spanish speaking congregations throughout the world.^

Word editions of the

hymnal were published previously in 1916 and 1919• In Himnos de Gloria there are 2 3 0 hymns.

The most

represented translators are: Vicente Mendoza 39 Henry C # Ball 3h Juan Bautista Cabrera 13 Pedro Grado 11 H» ¥« Cragin 9 Thomas Westrup 7 Pedro Castro 5 Included in the hymnal are some original poems by these translators and 7 poems by Fanny Crosby»

Most of the

translated hymns are gospel songs from the United States and 21 hymns translated from English writers. The most represented gospel-song composers are x Charles H, Gabriel William J* Kirkpatrick John R* Sweney George C • Stebbins William H, Doane Mrs. C. H» Morris Phillip Bliss William Bradbury George F. Root

l4 13 8 6 6 6 6 5 5

■^Henry C. Ball, personal letter, December 28, I9 6 X*

Of the n o n gospel song tunes, 10 are from English composers, from United States composers including 6 by Lowell Mason, and 4 from other European composers•

Folk and secular

melodies from different countries are used but none of them from Latin America» Among them are LILUOÍÍALANI or ALOHA from Hawaii, JUANITA and PUEBLA from Spain, LILY OF THE VALLEY „pr THE LITTLE OLD CABIN from Kentucky and AUTUMN from Scotland. However, for the most part, the hymnal is a collection of 00 spel aong tunes, including a total of 200 of that kind» ..Ip its content this hymnbook is very similar fco the gospel songs collection published in the United States by the end of the nineteenth century. Most of the original poems and tunes are the same that were included in the gospel songs publication of Ira D* Sankey and Phillip P . Bliss were sung at the gospel meetings•

which

Other similar hymnbooks

in English are Awakening Songs. compiled by pilarles H. í Gabriel and published by the Rodeheaver Co. of Chicago in 1917 } Uorld ¥ide Revival Songs, by C. P* Curry, It. Rode heaver and Charles Gabriel, published by the Revival Publishing Co. of Chicago in 1915? Life and Service Hymns of 1917, compiled by Bentley B. Ackley, with tunes by Charles Gabriel, P. P. Bliss, ¥. H. Doane and George C • 3tebbins• Among the denominational hymnals, the first one to be used and produced in Puerto Rico was Cant os Sagrados: Un Hironario para la Fe Católica. words only, published in San Juan, Puerto Rico in 1924 by the Episcopal Church.^ Phillip P. Bliss and Ira B. Sankey, Gospel Hymns No, 2♦ (Ohiog John Church Co., 1 8 7 6 )• 2,

. A copy of this hyinnal is in the Douglas Collection at Washington Cathedral Library, as listed in The Papers pf_-_the Hymn Society. No, XXIII, (The Hymn Society of America, New York, 1958) p* 45•

This hymnal won't into seven ©ditions ( th© Iasi? one In 1949, considerably enlarged to include 263 hymns. For the music it depends on the Hymnal 1940, and the Church Hymnal.

music supplement was published to include the music not found in these hymnals.

Most of the translations for th©

1042 and 1949 editions were don© by Rev. Lorenzo Alvarez (1 8 9 7 -1 9 6 9 ). who was an Episcopalian priest. This hymnal was the main source for the present hymnal, El Hlmnariot 1 9 6 1 • Different hymnals in English have been used as melodic sources for the Spanish translations of the hymns• Reference to some of them is done in the local words-edition hymnals» Among the most used are Hymns of Praise. 1922, by the Rodeheaver Co.; The Modern Hymnal; The Church School Hymnal for the Youth, 19^9, Westminster Press. The Methodist Church used in his early annual meetings The Methodist Hymnal« 1 8 7 8 ,^ for the singing of hymns in English until 1905 when they adopted the Hlmnario Evangélico» 4

See page 7 of Official Minutes of the Porto Rico Mission of the Methodist Episcopal Church, 1902, San Juan, Puerto Rico.

The Use o f Hymns In the early years of the Church In Puerto Rico the hymne used were mainly for evangelistic purposes, to com* municate the gospel teachings in a Roman Catholic country. The lively melody of the gospel song became a favorite among the new converts, expressing their joy of the new life in Clirist.

In the southern part of the Island the Congregational

missionary Rev. Huffman held "evangelistic meetings in public market places and in the homes of members of the congregation,. These meetings usually consisted of singing, praying and preaching.tT^ This has been the practice up to the present time in most of the evangelical congregations•

Hymn singing is a

very important part in the evangelistic meeting. Generally, the text of the hymns used is a testimony of conversion or &n invitation for conversion to the faith.

Some of the

titles of the hymns most frequently used wea*e: Acogida da Jesús Allí la puerta franca está Grato es decir la historla Hay un inundo feliz Ven a Cristo Pecador ven al dulce Jesús A Jesucristo, ven sin tardar Salvo en los tiernos brazos Aún hay lugar, escucha pecad or Oh Salvador mi fiel Jesús

music music music music music music music music music music

by by by by by by by by by by

J • McGranaham Silas J . Va.il William Fischer J . P, Webster John Fawcet J, P, Webster George F» Root W« H, Doane Ira I). Sankey G* S , Schiler

This list is not complete but gives an idea of the type of melody and text of the hymns used•^ The text deals ^ _

Donald Moore• Puerto Rico para Cristo. Mexicos CIDOC, 196977’p. 2 / 6 5 , 2_

(Cuernavaca•

¿rom an interview with Rev. Angel Acevedo, one of the early Baptist ministers, February 26, 1 9 6 2 *

16 mostly with the initial stage of the Christian life, the conversion.

There is little place for Christian nurture

snd development and lack of educational ideals.

Melodies

ar© catchy and sentimental# with a soft martial rhythm* Evangelistic campaigns have been very common in the churches since their beginning. They follow the style of Dwight Moody, Billy Sunday and Billy Graham, where hymn singing has an important role. They prefer gospel songs• Between the years 1921-1928, there w e r e several evangelistic campaigns in the Island, with preachers like Henry Strachan and Fred J » Peters•

The Association of Churches sponsored

one called "Puerto Rico Para Cristo" (1921-1922)$ later on, one called "Cruzadas d e la Fe E v a n g é l i c a " O n e pastor, commenting about the campaign in his town, said about the role of singing: Mr, Peters spends half hour of each service for the spiritual and lively singing. He has a group of refrains (choruses) which the audience learns easily and they continue singing the gOod news. In this way, even the children praise the Lord• During these years churches started using Himnos de Gloria which contains many of the songs and hymns used in these evangelistic crusades•

The emphasis was given to

the learning and use of gospel songs and the evangelical type of hymn*

This type of hymn is described by an out

standing hymnologist: It consisted in cultivating the mystic, personal side: communion with God, fervent life of Christ as God, prayer, contemplation of heaven as the reward for the faithful endurance of the X

)

A little hymnal, Himnos Evangélicos. words only

was published in 1922 by the Protestant publishing house Puerto Rico Evangélico especially for this campaign» It included 57 hymns taken from Hlmnario Evangélico, Nuevo Himnario Evangélico. Himnos de Gloria and Himnos Selectosg ^5 of them, gospel songs. Other different revised and enlarged editions were published in 1934 and 1950, ^Francisco Rodriguez, "Avivamiento en Guayama, P ♦R •" iMfrto Rico Evangélico. May 26, 1928, Vol, No. 48), p, 12.

ill® of life| nature as a approach to God, the winning of soul® through conversion rather than through^ baptism* the spread of the gospel to all lands. Himnos de Gloria d id not have any thematic guide to the hymns because they were conceived for the evangelistic meeting and the Sunday School, in which most of the hymns used were also of this type• This is somewhat different fro® Himnario Evangélico and Nuevo Himnario Evangélico where the hymns were more appropiate for the worship service * although a section of evangelistic hymns was included• Worship services in the Puerto Rican evangelical churches followed the pattern of the mother churches in the United States•

The sermon was the most important

part and the main service was the preaching service• Also the communion service was important; it was celebrated every three months. included*

Generally three to four hymns were

the first one a praise hymnj the Second, a

testimonial one or related with the sermon, and the third an invitation to conversion or re-dedication.

This

pattern is still followed in many churches in Puerto RicoThis is different in some way to the so called liturgical churches, as the Episcopal and Lutheran, where the hymns are chosen to fit into the parts of the liturgy and the liturgical calendar.

The only occasions that evangelical

churches follow the liturgical calendar when choosing the hymns to be sung are Christmas, Holy Week and Easter* Among these, the best known are * Noche de Faz, Noche de Amor Suenen Dulces Himnos Oh Santísimo Venid Pastorcillos Td Dejaste Tu Trono Oid un Son

F . Gruber G. F. Root Sicilian song Ira D* Sankey Ira D. Sankey P, Mendelssohn

Albert E. Bailey, The Gospel in Hymns. (New Yorks Charles Scribner*s Sons, I9 5 0 ), p, 477.

AI Calvario solo Jesús Hay un precioso manantial Rostro Divino Me hirió el Pecado Hubo Quien por Mis Culpas En el Monte Calvario Junto a la Cruz La Tumba le Encerró Ved a Cristo, Rey de Gloria El Señor Resucitó Al Cristo Vivo Sirvo IResucitó 5 La Nueva Dad

Charles H* Gabriel U. S. Melody G. LÜders Ralph Hudson Grant C* Tullar Ge orge Bennard J A H* Stockton Robert Lowry Geo• C . Stebbins Lyra Davldica A. H* Ackley J • Lincoln Hall

A favorite kind of worship service is what in some churches Is called ”Praise Service”•

In Spanish they are

called "Servicios de Alabanza” or ”d© Canto”. In the United States "they were originated by Eben Tourjée in 1851 as part of the Young Men Christian Association (YMCA) activities*

It consisted of singing hymns selected

at randosp or around a theme. Scripture selections and prayers were included between the hymns * During our child hood in the 1940fs this service was done very often in the youth and women meetings of the United Brethern and Congregational Churches• Another use of hymns in worship services of the churches is a "special music” section by choirs, quartets, and soloists•

Many hymnals included choral arrangements

of the hymns and choral groups used these hymnals as their main source for repertoire, singing the hymns in block form as they are printed• Following is a list of choral arrangements included in Hjmnarj 0 Popular of 1932 and 1955* The title» number in the hymnal and composer are given. This list is based on the ones we have heard most often* Maestro s© encrespan las aguas 70 Bendecido el gran manantial 71 Ven pródigo a Cristo 99 Arrolladas las neblinas 230 Si estás tú triste 243

H, P. Palmer H. S . Perkins c. H. Gabriel Ira- D. Sankey M. González

19 En Cruenta Cruz Al huerto Van a Visitar Es el Tiempo d© la Siega Dignó es el Cordero Usa mi Vida Siembra que Hicimos Cantad del Amor de Cristo Maravillosa Gracia

64 271 382 38I 372 343 309 309 167

John R . Sweney J, Lincoln Hall Charles H. Gabriel Frank Davis G. S, Schiller P* P* Bliss E, D. Wilson Harold Lillenas

The last six hymns are from 19551s edition of Himnario Popular* A last comment on the use of hymns by the Puerto Rican churches is what we may call "social purposes”•

This

is the use of hymns with non-worship purposes« One of the traditions in Puerto Rico in the matter of folk music is to sing at the funeral wakes (velorio) of infants. The ceremony is more festive than religious or sad. ..*In the development, of the ceremony there are songs| stories are narrated and dramatized, riddles are said f etc * ».*The festive atmosphere or mood is justified because the infant died Without sins• Besides that, the child will be ^n angel ^ at heaven to watch for his relatives and friends• When an adult dies, the tradition is to sing the Rosary. They call it the "Rosario Cantao de Difuntos"» Xt is sung during the nine days following the funeral and at the anniversary of the death.

The Rosary for the Dead

is sung three times during each of the nights• Protestants do not follow the tradition of the "Rosa rios" because of its theological implications•

Protestants

sing at the "velorios", either of infants or adults *

Among

the Pentecostals there is the practice of singing hymns on the way to the cemetery. Instead of the "Rosario Cantao". Protestants have a memorial service a week after the funeral and every year on.

The sadness atmosphere is

Francisco L<5pez Cruz, La Mdsica Folklórica de Puerto Rico. (Sharon, Conns Tr 0utmas Press, 19^7)# p. 164•

20 combined with some sort of festive mood» ©specially if the dead was a convert, who is suppose to go to live with the Lord in Heavens in eternal peace *

The life in

the heavenly home and the hope of resurrection from the dead are stressed*

Comfort is given to the relatives and

friends by singing hymns that emphasis® these two ideas* In this way the funerp.1 is conceived as an evangelistic occasion*

In the following list we give the the most

frequently used hymns at the "velorios" and funerals» Notice that most of them are from gospel song composers * Cuando suena la trompeta Hay un lugar do quiero estar En presencia estar de Cristo Hay un mundo feliz Meditad en que hay un hogar Voy al cielo, soy peregrino En la mansión do Cristo está Gloria sin fin Alguna vez ya no estaré Cerca de ti. Señor

J* M* Black J* M* Black G* C* Tullar J* P* Webster T. 0 *Kane Italian air C « H. Gabriel c* H* Gabriel G. C* Stebbina L. Mason 4

Some temperance hymns have been included in the hymnals* El Btminario of 1964 has two*

The women*®

Society for Temperance has published word pamphlets with temperance hymns to be sung with the tunes of t*ell~ 1 known gospel songs* One of the hymns in the book mentioned before uses ST* ABAN *S tune, a melody arrange ment from F. J • Haydn« In some other hymnals this hymn uses Sullivan*s ST* GERTRUDE because the text is a paraphrases of "Onward Christian Soldiers"• hymnal Lluvias de Bendición hymn.

In the

there is one temperance

It is sung with the melody of "Oh Christmas Tree"* Another occasion in which hymns are used with social

purposes is the celebration of Mother *s Bay in the churches•1

The best known of these song books is Cancionero de...Temperancia by Liga de Temperancia de Puerto Rico, with 2A temperance hymn®*

Many of the hymns are addressed to the mothers instead of God#

Few of them are addressed to God in thanks giving for

the mothers•

Of the first type we can find:

Un cant o para mi madre^^ Los años dg mi infancia A mi madre « Cantará oh madre m í a J Hogar de mis recuerdos^ Of the second type, these are some: En tu templo 3 „ Fe de las madres"' « Oh Dios por nuestras madres*' There arc some others which have been printed in pamphlets, to be sung with familiar hymn tunes*

Most of them are

paraphrases of hymns* Hymns have been used also just for the reason of doing something while the service begins *

The hymn tunes were used

to gather the people into an evangelistic meeting.

This

was the practice of Ver® C • Carpenter, a missionary of the Disciples of Christ who "carried an old fashioned gramophone with a few records to call the people together,

His wife1s

folding organ also interested them, and usually the music 4.

attracted the curiosity of a number of Puerto Ricans7

Another interesting account of the use of hymns9 just for fun is recorded in the minutes of a church1s assembly#

In the hymnal Lluvias de Bendición ^In the hymnal Himnos de la Vida Cristiana * 196 7 3 In the hymnal El Himnario Mooret Puerto Rico para Cristo, p. 2/49•

A singing service was held in order that the congre gation had something to do before the worship service started *3. Evangelicals in Puerto Pico use hymns everywhere| at home, at work, in a party or on the street*

They prefer to

hum or whistle a hymn rather than a popular song or folk tun©• Hymns are part of their lives and not only for church services» Describing the evangelistic and educational work of Rev. J * L. Santiago Cabrez”a , a Sunday School Missionary in the Presby terian church, Dr* Odell says s munity *sings 1•

”At night there were com

By the time he (Santiago) had passed a few

months in a locality the people were singing gospel hymns 2

at their work and play”*

42*

Association of Baptist Churches of Puerto Rico * ”Actas de Asamblea de Iglesias Bautistas”• (San Lorenzo, Puerto Rico, 1926) , 2

The influence of the hymn tunes is also evident in the pamphlet of hymns of the Respetable Logia Sinceridad No. 9686 (Odfellows), where k o f the 5 hymns included are sung with Protestant hymn tunes:AMERICA, BRIGHT1N THE CORNER, ONWARD CHRISTIAN SOLDIERS, LET THE SUNSHINE IN* 3Edward A * Odell, It Came to Pass * p* 5 6 *

Criteria for the Selection of the Hymnal1s Content The criteria used for the selection of hymns were based on two main needs % hymns for evangelistic purpose© and hymn® for the worship service# Two types of melodies seem to b© roughly associated with each one* For the worship service, tne classical or traditional hymn tune, and for the evangelistic service, gospel song tunes * This does not mean that gospel songs are used exclusively for evangelistic purposes, because many of these tunes have been used also for the worship service.

Most of the hymnals

have selected the hymns to be included according to the evangelistic point of view. Robert Stevens on describes very well the content of the hymnals in Spanish, when he says: i The gospel melodies of the Sankey-Bliss-StebbinsDoane type ha © been the staple of evangelical hymnals published for use in missionary areas• ••.Hymnals published during the first half of the twentieth century in China, Japan, Mexico and Latin America, designed for evangelical situations (unfortunately or fortunately depending on one1s point of view), have specialized in ngospel hymns.fI^* According to the editors we may classify the Spanish hymnbooks in three kinds. First, those which have been edited by interdenominational committees; second, those edited by denominational committeesj third, those edited by individuals• Although they are very similar in content

Robert M. Stevens on, Patterns of Ppotestant Church Music, (Londons Duke University Press, 1 9 5 3 )* PP* 1 5 9 ~l6 0 .

v# may point out some of the different criteria used for the selections of hymns included* Hymnals prepared by interdenominational commissions are the best in Spanish, except for the Lutheran and Episcopal which are also good in their content. These hymnals follow a topical arrangement and selection of hymns departing from the liturgical year*

Having

representatives from several denominations, the selection tends to be more inclusive in terms of hymn tunes.

The

first hymnals used in Puerto Rico, Himnario Evangélico and Muevo Himnario Evangélico were of this type. In 1931♦ the same editors, American Tract Society , published another hymnbook called El Himnario * requested by the inter denominational committee ’'Comité de Cooperación en la América Latina” and representatives of the denominations working in Spanish speaking countries.

The following

words are taken from the preface of El Himnario * 4

•».The texts have been submitted to the rigorous exam?nation of various experts in music and language• ..,All the hymns that long experience has proved to be good and appropiate for evangelical work are included in this hymna1 ....... it includes the best of Spanish hymnody, .specially those which seemed to be more popular and sung with more enthusiasm. ...We have tried hard to satisfy all the needs of religious life •A Although they were very careful in editing a broad hymnal and took into consideration the best translations and music, they depended somewhat on the popularity of the hymns as criteria for the selection. This Was the last Interdenominational hymn in many years,

The next

„__ v American Tract Society, El Himnario (Hew York, 1931), pp, v-vi.

on© was Himnario Evangélico of 1943, edited in Argentina by three denominations , but it was not used toy any denomi nation specificly* It was used by the choirs. In 1 9 6 2 was e d i t e d what we consider the best interdenominational hymnal• This hymnb 0 ok is Cántico Nuevo.

It was prepared in Argentina

toy a commission representative of the Methodist, Disciple of Christ, Mennonite and Waldense churches.

Their aim was

to revise the book of 19^3 but at the end of their work the result was a new and different hymnb 00 k.

They took

into consideration doctrinal, poetical and musical qualities, the %©w concept of the church and the worship service.” These factors extended the limits of their xvork.

They tried

to include the best of the different hymnic traditions of the Church, no matter if they were popular or not. A hymn contest was held among the churches in Latin America to seek contemporary hymnsf the best being included• No hymn was included or excluded without the consideration of the com mission.

The hymnal was edited by on© of tl£e best church

musicians in Latin America, M r • Pablo D . Sosa.

For the

first time we have in our hymnals the best of the Latin melodies, German chorales tunes , Genevan psalm tunes 9 and the contemporary hymn tunes from Europe and the Americas• The main difference between this book and those edited by the American Tract Society is that in the latter the selection of hymns was made to include mostly gospel songs and Victorian tunes»

In Cántico Nuevo gospel songs gave

their place to other hymnic source© as the German, French, old English and contemporary* El Himnario'of 1964, edited by "The Council in Spanish American Work" was the last of the interdenominational hymnbooks• It followed, in a way, the criteria used in Cántica Nueyo,

El Himnario is the result of ten years of intensive work by the editor and the committee^ during these years many groups of ministers and laymen from United States , M e x i c o $ Puerto Rico and South Central America were interviewed and consulted, The hymns were selected carefully according to their theological and musical value, and their popularity through the years* It offers a complete variety of appropiate themes for the different seasons of the Christian Year,^ The hymnal commission was composed of representatives o f the Council denominations and the editor was Rev* George

p* Simmonds, who has translated many hymns into the Spanish language.

This hymnbook (El Himnario) consists of h k j

hymns; 157 translatíons of gospel songs and standard hymns were done by Rev* Simmonds•

The hymns selected

in this hymnal seem to have been selected according to the church service•

The melodic material has more variety than

in other hymnbooks, except Cántico Nuevo» It has a better balance between gospel songs and the standard melodies. There are two types of denominational IiyiiAals i

those

for the liturgical churches and those for the non-liturgical ones•

About the first we will comment later *

The best

known and the most used hymnal in Puerto Rico belongs to the second type»

It is Himnos de la Vida Cristiana * which was

published in 1939 and revised in 1 9 6 7 • This hymnb 0 ok was published by the Christian and Missionary Alliance, with offices in New York for the Spanish speaking churches * has been adopted by many other denominations *

According

to A, C * Snead, the 1939 edition of this hymnal was a response 1 0 petitions of pastors from this denomination in Latin América*

They asked for a new hymnal in which were :-6M

^The Council of Spanish American Work, El Himnario. (Winonalake, Indiana: The Rodeheaver Co, 1 9 6 5 ) , p, 3 •

27 included the best old and new hymns* so that the evangelical message would be represented in a more effective way la the Spanish language#

A committee was appointed to collect the

hymns#”^ As this was the reason for editing the hymnal * most of the melodies included are gospel song tunes * and 16 refrains of those used in the evangelistic campaigns• The revision of 19^7 does not show too many changes; the refrains were eliminated and some standard hymn tunes from English hymnals were added *

About the criteria used for

the revision* Jorge S « Constance * Secretary for Latin America for the Christian and Missionary Alliance says s I sent a questionnaire to all our customers and friends in all Latin America * asking for their opinion* ideas and selection óf hymns for the new edition; which hymns we should eliminate and which ? we should include» We also asked for some suggestions** In another letter announcing the publication of the revised edition he listed some of the criteria used.

Among

them were* to Include more hymns * to eliminate those which were not used * to include more hymns by popular demand * to include hymns from Latin American origin and more hymns for special occasion*»3 The result of this revision was 35° hymns; 68$ are gospel song tunes mostly by Bliss * Gabriel* Kirkpatrick* Stebbins* Bradbury* Sweney* Doans* Simpson and McGranaham.* 3 2 *A, C. Snead* Himnos de la Vida Cristiana. (New Torkí Christian and Mi sa ionary Al1lañoe * 1939)* P • ill* 2 f Jorge S. Constance * personal letter* July 21* 196?* 3 Mime ographed letter* May 1 * 1 9 6 7 *

There are 17 Latin American melodies«

Eight of them belong

to the hymn writer from Guatemala, Alfredo Colomj most of them are in gospel-song style* There are only 12 melodies not published previously in any other Spanish hymnbook* Other melodies called new are taken from previous hymnals in Spanish* A group of hymns known in Puerto Rico with melodies, as EVENING PRAISE, GALILEE, MARTYN, CANONBURY, HIDING IN THEE (Sankey), MEET ME THERE (Kirkpatrick) and ZION were dropped* However, 57 melodies which were not used by the congregations were dropped; unfortunately, some of them good hymn tunes * Other denominational hymnbooks follow more or less the same criteria.

The Nazarenes published in 19^7 Lluvias de

Bendici6n* "to offer to the Christian world a group of hymns with spiritual themes, and that at the same time could bring out the doctrines of the evangelical faith and present the essential of the Spirit1s life which are indispensable requirement to enter in heaven* i

In this hymnal, most of the melodies are of the gospel song style * About 40 of them are used for the first time in a Spanish hymnal*

Harold Lillenas, editor of the hymnal

includes 2 3 melodies of his own and 14 of Mrs• C* H. Morris * The rest of the melodic material is taken from gospel song collections as Cantos de Triunfo * Himnos de Gloria * and Arpa X V°z de Salmodia * edited by Henry C* Ball* The Methodist, Baptist and Presbyterian hymnbooks are very similar in their approach and selection of melodic mate±ial«

Mo 1

It is very interesting to read how the Methodists

^From the Introduction, Lluvias de Bendición (Kansas, Lillenas Publishing Co*,19^7)#

g,ade the selection of hymns* The hymns included in this hymnal were chosen by many persons: ministers, and laymen from the States of Texas, New Mexico, Arizona» Colorado and California; also from Cuba and Mexico, In 1940 a blank was sent to more than 800 persons in these places asking them to list their 20 favorite hymns and the hymnals in which they could be found• More than 5 0 0 sent the list, The hymnal included 300 hymns, The Conference1s ^ Christian Education Board published the hymnbook. The Presbyterians in Mexico published in 1961 the hymnal Himnario. Evangélico Presbiteriano recommended to be used in the Spanish speaking churches in Latin America• The two main criteria were: 1, "Selection of hymns in which the doctrine contained be the genuine, biblical, according to Presbyterian Theology, 2,

The exclussion of any melody with secular rhythm in order to preserve the spirit of genuine reverence in sacred song.

The selection of hymns was very broad with a total of 5 0 0 .

However, half of them are gospel song tunes•

miso includes 46 Latin American melodies, also in gospel song style, The other melodies are the standard English and American hymn tune s , As we pointed before, the only denominational books that have a more balanced selection of melodic material are IMl-tp Cris tiano of the Lutherans and El Himnari o de la Iglesia B.pisc opal>

According to the preface of the Lutheran hymnal

published in 1964, the book tries to avoid regionalisms in the words of the hymns• The editorial committee was* 2

Texas: 2

From the prologue, Himnario Metodista. (San Antonio, Methodist Building, 1955.)

, The Commission, Himnario Evangélico Presbiteriano, VMexico, D , F ,: Publicaciones ElFaro, 1961)» p. 3

30 composed of musicologists and experts in liturgy, and Spanish «peaking writers and journalists#

Among the musicologists

and experts in liturgy were Walter Edwin Buszin and Ulrich. S# X^opold, In the adaptation to the liturgical service and to the eclessiastical calendar, this book is similar to the other Lutheran books•

A very critical study of the tunes

was done and in some cases the tune of a hymn was changed in order to fit the text better# "The editorial committee is conscious that not all the hymns and tunes accepted have excellent merits".. *.#It has made a great effort to achieve adequate metrical corresi^ondence between mus leal and grammatic accent«”1 Concerning hymnals edited by individuals we should mention at least two.

One is Himnos de Gloria« the second

most used hymnal in Puerto Hieo and very well known in Latin America•

Most of its melodic material are gospel

songs for evangelistic and group meetings # were translated by the editor# a topical arrangement *

Many of them

This hymn a1 d-ées not follow

For many years this has been the

official hymnal of the Assemblies of God, although it is 2

widely used by many denominations, mostly pentecostals«

The only criterion used by Mr# Ball in the selection of hymns for his hymnbooks is that the melodies have light and martial rhythm, which will be easily caught by the people in the Sunday Schools and revival services»

He seems

to follow the criterion that "although musically the gospel2

From the preface, Culto Cristiano (New York: Publicaciones El Escudo,'' 1965), p# vii-x. 2

Himnos de Gloria is published now with the addition Cant os de Triunfo #

31 s o n g a are of inferior quality, they have proved to be 1

effective for evangelistic purposes.,r

It 1b a pity that many churches use this as their only hymnal and only know these kind of hymn tunes• Another hymnal edited by an individual is Himnos Selectos by Vicente Mendoza, from Mexico* The development „of this hymnal is traced from 1904 to 1 9 5 2 , when the last edit!on was published. According to the editor, the hymnal vas intended for the Sunday Schools, Youth groups and revival services *

The last edition was intended to be more

inclusive and for the use of all the meetings of the church. This hymnal seems to be the personal collection of the editor, .Out of 286 hymns, 149 were translated by him, and 35 were of own»

It does not follow any topical arrangement,

This

Ibices its use very difficult, Erik Routley writes about the evangelical hymn $ he points to the reasons for so many gospel sorfg tunes in our ^■hymnals,

A message that is to be forced home to individual men can be immensely strenghtened by simple, melodic music i this is especially true of a message which proclaims certainty and safety rather than answers to sophisticated intellectual problems * Exuberant melody is the natural accompaniment and expression of that ecstatic individualism,2

Ireas, 2

Joseph Ashton, Music and Worship»(Boston % 1943) , p . 116 .

Pilgrim

Erik Routley, The Music of Christian Hymnodyt (London: Independent Press, Í957Tf PP*'' 91-92»

32 The Learning oí* Hymns Most of the hymns known in Puerto Rico were taught t>y the early missionaries and pastors* There were few trained musicians and instruments* Some missionaries played the piano for hymn singing accompaniment and the portable reed organ was part of their equipment*1

The

piano or the Eatey harmonium was reserved for the larger churches who could afford them* Missionaries * wives who could play the piano also did accompaniments and hymn teaching in the early congregations * Presbyterian missionary Edward Odell» speaking of his wife Irene» a graduate from New England Conservatory says: "Her innate love for music and her excellent training were to prove 2 helpful in Puerto Rico*" The guitar» which is a widely used instrument in Puerto Rico was not used because of its secular association*

Pentecostal churches» however» adopted

the guitar as their principal instrument for áaymn accorapaniment since their beginning#

They also use the "cuatro"*

a Inserto Rican variant of the guitar with 5 double strings» Pentecostals also use the clapping to keep the rhythm* The main place for learning hymns has been the evangelistic meetings* Usually inthese campaigns there is a singing leader» soloists» or a choral group who sing the "special hymns" which are learned by the people*

A vivid

description of this practice is given b y Rev* Odell» quoting the impression of a group of North Americans who visited Puerto Rico and attended one of the Presbyterian evangelistic services * I ”

"The singing of hymns begin and it is a wonderful 1

----------

See supra * p. 22*

Edward A* Odell» It came to Pass * p* 42 3 Called "cuatro" because originally it had four double strings *

33 thing for us to experience.

Mr. Bidot lead the singing*.*

we all sing a hymn together and Mr. Kitchen accompanies us on the flute”•^

When the campaign is over* people continue

using these hymns in their churches. This has been the method used in the ”divine healers” campaigns * the ”Latin American Mission” evangelistic crusades which were held in Puerto Rico in the 195®fs and later the ”Billy Graham Crusades”. From the Latin American Mission crusades we recall the participation of Anton Marco, as soloist * an ex opera singer.

The singing leader was Juan Isáis from Mexico.

A song book was printed for these crusades, which included

many of t oday1& favorite gospel songs and choruses.^ Marco used to sing a hymn with the tune OH SOLE MIO* One of today*s favorite hymns, ”Cuan Grand© es El” (How Great Thou Art) was learned during the first Billy Graham Crusade in Puerto Rico.

It was included by popular demand in the

revised edition of Himnos de la Vida Cristiana in 19&7• Some other places where new hymns are learned are pastors * conferences * youth camps and denominational assemblies held every year *

Church choirs have also

contributed to the learning of hymns. Most of their repertoire has consisted of four-part hymns * which were taken from the various hymnbooks.

For example * the

repertoire of the Choir of the Christian and Missionary Alliance Church of Santurce consisted of 7® hymns| 57 of them were also sung by the congregation.

Most of

the congregations began to organize choirs during the years 193® 1 0 19^0* especially under the influence of Masa Coral of the Polytechnic Institute * the Presbyterian 1 Edward A, Odell, Op. Cit., p. 6 9 * 2 ^ This was a word edition, Cantos de Campaña9 with 69 hymns * The Billy Graham Crusade Committee published another with music printed, Himnos Evangélicos8 with 62 hymns•

This data was taken from ”Libreta de Tonos”where they quoted the first two measures of the hymns in their reper toire » No date is given, but probably it is from the 1 9 5 ® 1® •

undergraduate College in the town of San Germán*

Xt is

now called Universidad Interamericana (Intersmerican University).

Many of its members organized choirs in t h e i r

congregations,

Choir leaders in many churches were not

musicians or had little training in piano playing. had learned the parts mostly by ear*

They

However, in this

way they contributed largely to the learning of new hymns•^ Another way of learning hymns has been with the use of records.

A series of 78 rpm 'records published in

California and called "Buenas Nuevas" were used in the churches , mainly with evangelistic purposes and before the service start.

We recall their use in our church in

a rural community.

In this way our congregation learned

many hymns.

Later, records of Antón Marco and Ray Robles»

soloists of evangelistic crusades, were available ; also productions by "Difusiones Intei-amoricanas" of San José. /

Costa Rica, Records have been used largely'in churches , homes, and in radio programs presented by churches * Because of constant listening to these records 0 people have learned some new hymns 9 especially the gospel song type. In the local church program the "hymn singing services" have contributed greatly to the learning of hymns• Some of these singing services are conducted by ^Choir hymn festivals have been very helpful* In May 10, 1942 1 the Evangelical Seminary sponsored an Interdenominational Choir; they presented a hymn festival• Another hymn festival with the participation of several Baptist Choirs was held in October, 19^3• It was sponsored by the Evangelical Council and the Baptist Convention to introduce in Puerto Rico the Genevan Psalmhymns of Cántico Nuevo. 2

See supra * p. 18,

the choir director or the church song leader * A brief story about each hymn is given and the congregation is better motivated to learn the melodies* There has not been a systematic way of teaching new hymns nor a planned hymnic program in the churches* Melodies are learned by their constant use and popularity* Besides the limitation of trained musicians and adequate instruments, there are some other factors which contributed to this situation*

Before 19^0, illiteracy in Puerto Rico was

roughly

of people from 10 years and over,^especially

among the lower classes from which most of the churches * membership came» Most of these people depended on the rote learning for their singing*

Music education program

in public schools consisted only of song singing, except for some high schools that had choirs and bands as optional offerings *

Free schools of music were not

created until 19^6 in the cities of San Juan and Ponce * Music education at present in our public schools consists only of organization of instrumental bands', choirs, chore©graphic groups and ensembles of plectrum instruments• There is not a systematic music education program in the public school, although there is a music curriculum gu ide^ published by the Department of Public Instructiont conceived for the purpose of that kind of program ** 2

xPuerto Rico; Around the ¥orld Program* (Nelson Doubleday Inc*,1973)* P* 38 • 2

See the Manual y Guía para Maestros de Mdsica de Escuela E l e m e n t a l Depártamento de Instrucei6n Pdblica, Estado Libre Asociado de Puerto Rico, 1970•

As few persons in our congregations could read music9 the use of music edition hymnals was limited. All hymnbooks in Spanish were published in two editions, words and words with printed music,

This practice is still done with Himnos

de la Vida Cristiana t Himnos de Gloria^ SI Himnario t Lluvias de Bendición and Cántico Nuevo,

It was not followed

by other hymnals as Nuevo Himnario Popular of 1955? Culto Cristiano of 1964 and Himnario Metodista, 1973« El Himnario de la Iglesia Episcopal combined the two editions in one, printing the music and the words separated.

Since the

beginning, people in our congregations have showed prefer ence for the words editions of the hymnals.

The main reason

is the lack of music education and perhaps the high index of illiteracy.

It is difficult for many persons to follow

verses underneath the staff; the division of words in syllables is difficult for those who are not good readers, Music editions have been used mostly by pastors, pianists, organistsj choir members and music directorsj also members of ihe congregation who can read music.

Recognizing the

need for instruction in this aspect, the editors of Nuevo Himnario Popular Included a guide for the use of the music edition of this hymnal, We can find also local editions and compilations of hymns for the use of particular church groups, associations and ecumenical activities•

Among them are:

El Misionero

Cantor by Juan Ortiz Le6n t in 1931» & compilation of hymns taken from other hymnals; Himnos Evangélicos by Editorial Puerto Rico Evangélico; Salmodia Evangélica and Nueva Salmodia Evangélica by Virgilio I, González _________ 1

and

This guide is printed in the opposite side Df the title page of the hymnal under the title "Cantando con Entendi miento" , (Singing with Understanding),

Himnarlo de la Juventud by the Presbyterians J . L. Santiago and huis Angel Toro.

This pamphlet is a collection o f hymns

f o r the youth.

All hymnals used in Puerto Rico by Pentecostal churches have been published in word edition only. The most known is H lomar!o Voz de Júbilo y Salvación.

Its fourth

edition was published in 1964.1 An old way of learning and singing hymns has been introduced recently by the Himnario Cristiano 1974 of the Church of God in Christ (Mennonite) of Kansas and Mexico• This is the only hymnal in Spanish f as far as we know, that is nrinted in shaped notes notation, a system that has been used in the United States since colonial times in order to make music reading easier.

Each scale degree is represented

I II III IV V by a note head with a distinct shape.

VII

Ke have pointed out that most of the hymns learned in Puerto Rico are of the gospel song type.

It has been

accepted that this is the best kind of hymn for our evangelical congregations•

One of our pastors, speaking

about the role of hymn singing in the evangelistic work of the church said: I know of a rural community in our Island.••lively songs...are the best accepted. We should notice their way of singing. Many people will feel offended if we try to correct them. We should teach them revival

■ Methodist Church published Himnos x Coros rt>r the «Cruzada por Cristo”, 1948-49, One hundred eight lymns from different hymnals and 30 lfc or it osn were included •

38 hymns and asked. them to learn the hymns by heart and memorise Bible passages« This is part of rural evangelism*

This type of rationalization probably give© the reason why so many gospel songs are in our h y mnody*

The repeated

verses in the text and the refrains undoubtedly made their

For this same reason the "corito” or refrain became a favorite type of song in church services * learning easier*

H o w e v e r t many of these corit os and gospel song tunes are not very easy to learn* incorrectly*

Most of them have been learned

On the common argument that these songs are

not so difficult to sing as the standard h y m n s , there is an interesting comment by the hymnalogist Hubert McNeill Poteat: That statement, made so often in defense of trash, is wholly false and can be proved by anybody who knows enough music to sit down at the piano and. play over songs of both types• 9Onward Christian Soldiers * is very much easier to play and sing than 9The Fight is O n 9 » The lovely harmony/of 9Oh J e s u s , Thou art standing9 is infinitely simpler than the cumbersome waltz measures of 9Let Jesus come into your h e a r t 9* * **The cheap song, with its jingling, jigging verses and its rantankerous chorus requires considerably more musical (not to say acrobatic) ability for its rendition than does a devotionalf worshipful h y m n * .* ”The Fight is O n ” is a melody by M r s • C . H. M o r r i s « It is found in any Spanish hymnbook*

This is one of the

hymns which people have learned incorrectly*

Usually they

sing measures 5 to 8 in this way:

Milton D á v i l a , ’'Enfocando la Obra Bautista desde el punto de vista, del Bvangelismo” t Actas Asamblea Iglesias Bautistas de Puerto Rico * Barrio Obrero, T. ü * , 1944* Sí Hubert McNeill Pote a t , Practical Hymnology* (B o s t o n : Richard G* B a d g e r , The Gorham P r e s s , 1921), pp. 77-78.

—

...

bat in tii® hymnal® the correct melodic line for these measure® is: -V „ - n - A H— C ' " / Vs IJ ^

-i----------

f ,v -\ f/

T*PH

[—rfh— ^ „z ^

...J r

U y

.. 4— r #■< V L>==d

__ ____ f ' ’ N. J

The same thing happened with the melody of HI will go where you want" by Mrs. C. E. Rousefell in the last phrase of the chorus #

X -h s L l

p is pi

— y i f>

Hf — tf--v--------------- \

f J. J

* __a«

Qe-etr

The original is i

io íju« tjcJiCiras Se - ñ o r

[/ ... L

|ío

■*— v - * sr

---------------------------

cscjue Quieras cjueüe-a s e - r e ,

In most of the congregations they make some changes r as follow! /

—hr ^ ...V ~ IVw 1 kU 7r I --------:b— m * / | * * + & ^ ^ — ..—___ — ------- jt.-----------£~ZJ

y - p - X_Js ,,sff r j*—1 * - y ---------------- --_

& -i P

Another example of this is the melody of "More like the Master" (HANFORD) by Charles H. Gabriel» music it goes for the last k measures»

In the printed

40 tout the popular version among the congregations is changed to:

¥u—

'/rn-we Soy

■ ^> -------¡ V \

-Q_i --/L-----------3--------------------sz P-—u X W1v/ hh-.c;----- £----- ”--___ A ---- L— L -pp y u ¡

----—T =d {

p a r /de~itr-Y)l

This seem© to support Mr* Poteat1© statement with vivid examples taken from our congregational learning and singing of some gospel song tunes* Others believe that people like and learn better and with more interest gospel song tune© because they think there is a relationship between the rhythmic patterns of these tunes and the £*olkloric popular tunes* Probably the rhythmic patterns of*, gospel tunes have some relationship or similarities with those used in some of the musical forms of the Puerto Rican folklore*

The most

frequent combinations used in gospel tunes^are: ^

—

-0 — W~

f "1 d-0 -- ^

+—

3)— The güiro accompaniment for some of the "seis” and ”guaracha”folkloric musical forms follows patterns like these:

— 0—

■ s ) .n

—

JI2— ^

The Puerto Rican raasurca and polca with the combination of two eijpht notes in each beat are very similar to the use of those rhythmic patterns of the gospel tunes*

Let

us compare the refrain of the gospel tune ”Vagaba yo en ij-k oscuridad” by ¥. S* Weeden9 and the rhythm of a Puerto Rican polca.

4l RfifmiVu

H m ea su res)

-f)-----n ^— 0 ...p— 0 "V— ~sr — f* rw v / b

si: -AE<* p — *^ r 4—\ L”----- I/—1I_

M tr"T" W--0 ^

—A

~s~

TT~

P *

In some of the "rosario cantaon melodies we find also some of this rhythmic combinations. in honor to Virgin Mary» • frrr # 2

t£ a?—

f ' r ..... f

For

y } / .. y - f c k S

£¿d-re¿ de, ios i

t—

example , in this o n e

c í(¿ -

¡os ^

Réti^3jr7<¿in-pQ - va ~ bles r> A

Súl-vC ide

bom -bres

Q -ino-ro-Sa

{Z=?

yn 3 - d r c ^

The 6/8 rhythm which Is used frequently In gospel song tunes is also very frequent in the melodies of 11ros ario canta o11 and "baquinéa* * In spite of these similarities we think, that it is the martial beft and rhythm of these hymns that appeal to people, especially the pattern that according to Lorens, was probkbly originated by William A, Odgen in his Silver Song of 1869» 1 Francisco Li5pez Cruz, La Mdslca Folklórica de Puerto M e o . p. 134.

2Ibid. p. 150 3Edmund S • Lorenz, Church Musics What a minister about it« (New York: Flemming H. Reve 11 Co., 1 9 2 3 ), p p . 3 3 7 * 3 3 8 ;

kz We have also heard how a congregation changes the rhythm of AURELIA.

ill

This was heard in an urban Baptist

Church* . — | ¡ ---1----; -V . P /* a — k t b ( I .I 1 A 1] it*F “a — j — » — ¡p~~ /O1* * -I.» |JP b y H1 ° o

1 t _¿3---J— 1 -i I __ i__r— tl— ® — o - - 1— -----

.... —

—

Del cuMoeHiempo lie- go_ co-m ieft-za IcLO -rcL -ción^

111 CORRECT

VERSION

IS-.

-- --------j---- —

WM i

§;i> !§! \\

U .b ^ I I 1 -K— i r r r 3 — -A1 m nl P by l ^liag*-- j^fp—-- --0 ---- 0 a--- ^ ---0 0 -— ---------

■ [ 1 * --- &

t ^ .í z t t z : \ # .... ^ ----- 1-4 ___r f-___ * * ___ -- Q - * --# --- *-----1----------

Many of the hymns have been poorly translated into Spanish, keeping the original melody.

Sometimes the

syllables and poetic and musical accents do not corres

■I

liSsSyi: lf®B ■II B ilig 111

pond or match.

People singing seem to do their best to

fit them as the following example shows i

(”To the Work

by William H. I)Dane " )

77 T-

r— t

v V

i ra.~h>d - j j d ira -hd -JaJ So-Mor ster'VoS cU Dios se-gut- Y<?Corred Vnarsto^

i-J- I J ' j U1 q r r - n , ^ )l£ t -

i J / l1 y ¡3 fen-ao* tjued Ha-es-íro fya-zo .

JCZj L.

— ■ — ---------- — ----

Só-moi sier~m áeb\oí fc-guf -k - biof / a

7Va-b¿)-jscl fva-lu-jaei ÍV /

1 — i_

(jued Maedre -ira-zo

! In the following one they drop the syncopation to fit the words.

These are the first two measures of the

refrain of ”Bright *n in the Corner” by Charles Gabriel.

I: W------- i.------ 1 p ?* ■ y = i n r ~ £ - - ___ ------f . ----- ------- fL--- ..' Í7 LA___ u __ 3 = J JE ----- 3J ---- :---- 1 Í ~ ---U----- H---------- ---------lw i Q -----------------!----------------- c-- ¡¿------K----- ! ----S'ri - I\cl en el si- fio don-de es-fe?.

~ki r b— ... P s------1 ..7* -____i ........ n ------1 ------r m -T— --- t----- w -f=Hv•s- m ------b — ___ J ___ J ------- !-----r------ ^ -------¿9 \y » .................

L4\ne. conv ner —

—

ujhedc you aXe •

There are many ether tunes where the notes of the melody are changed in different places probably due to fflisie & r n in g *

Measures 5 to 8 of "Es Jesús el Mejor Amigo51 by P, P* Bilhorns —

te:

Z =Z

Tu coi--fa - dc> &* >

Es Je-¿us el loie-jor a-vnt-go /

co ~ r¿-’ 2,¿>ru

r" 'y

iz=£

First phrase of "En la Mansión do Cristo está", by s ---- £ FPi-i t,a

, y do CviV-TO tíj-ta iy

y a iR Z Z Z — = Vr "V -C-d-- iC__ ¿a A J ------L.... f ¿ W ^ - : ----- 1—^______ \------ y ----x :

---- J é£

. Is iv

f e í

-5-------- iT M rrp — mr ---- 3*1 4* ... p -------

The indicated measures of the "Sicilian Song", n , I 29 U H |2l*f l jiti . i'> , IV__k Vurrh i I — f--?--- n— s . , i i T > ~I~CZ ' Z Z = B lx — fM id-,, „ < <3-A— AIL O rr~ a > *^ ^ T* - A 4~ >• *^------------1 j, *— J X A--J -] ^ —;-----------j y-^X iJ"N 4 ^K—----

Gabriel

O h 3 3 1 1 -4 \~S\~Yno j -f)i m a n d ó pen-di - d o Ciristb Hah4 - c i -

3 - l ^ ri

Measures as indicated in "Guiame, oh Salvador" by Frank M. Davis are also changed.

C o r t e e ^ v e r s i o n ,'

~ T t k . 1t * * K—rb ____ __ — V7—for /.r.___ éí_A — Y ID __ R------0 1 ------ ----- ,

■■■■— ' ^ __ __ —f \ — i— — v~.---

Although there are better facilities and resources for the learning of new hymns nowadays, congregations are still afraid of using hymnbooks with many tunes. An exception to this are the congregations with official d@nomin.ational books like the Lutherans and Episcopalians. Moat of the churches stick to Himnos de la Vida, Cristiana which is a compilation of the best known hyifhs • Many of the 137 "new hymns" included, almost 100, were published in previous hymnals, especially Himnos de Gloria.

All of

these hymns were included by popular demand. Very few churches are taking seriously the learning of new hymns * Some of them have changed to a better hymnal like El Himnario or Cántico Nuevo« taking interest in the liturgical hymns and following a Hymn of the Month frogram.

Young trained musicians are doing their part

accompanying congregational singing.

This is done mostly

on electronic organs of the Spinet Type, and on pianos, Some churches do ^not use any particular hymnal at all, but take the best hymns from different sources and print them in their Sunday bulletin. Interdenominational and denomination music workshops hav© been held f where volunteer church musicians are

^5 trained in the learning and use of hymns.

The first of

these was held in 1958 by Luis Rosario Nieves at Yuquiyd Conference Grounds•

Others were held by this author at the

same Conference place and for the Baptist Churches during the 1960’s.

The Disciples of Christ have been holding their

own since 1 9 6 9 . We still have to struggle with the problems of hymns incorrectly learned, as the following examples show. heard this one in a rural Baptist Church, they sing a cape 11a. Marsh,

In this church

The hymn is lfUn Día" , by Charles II*

The refrain, however, was sung correctly.

The following is the last verse of the tune MENDELSSOHN. Note how they drop the quarter dotted note and alter the melody. — .

~xzi

J—J

-iJl-

Cgw-Ííl la. ce-les-te. v o z:" En, los cte- Io s j

glo

tklcl

D/as."

& ' ** &

— -<g.

-&■

The same thing happens with tune SWEET BY AND BY from which we quote the first phrase• of

into

This conversion

is done in many hymns, probably

due to some laziness in their singing and the need of a good accompaniment•

; k6

-------- _--4^-^----J )> l> l~W rj 1. * J —J—---- y— 0 L¿r $

---- r

Pe- cúL-dóYjven

olCy is Íí

J e - sú s

y - f e - l h p a m Sien p r e s t-r a s .

A neglected aspect in the hymnic education in our churches is the teaching of* hymns to children.

They have

not been encouraged to learn the best hymns that are adequate to their needs and understanding. Almost all the hymnals have a section for children1s hymns but some of their melodies and texts are not suitable for children. The best-known melodies among children are j Jesus loves me HVC , CC, H M , IIG When He cosneth CC, HM Luke (Sweet Story) IIVC HM Praise Him CC , HM Little Stars CC HG I 111 be a sunbeam / HG Children Praises CC The best hymnal in Spanish for children, Himnos y Cant os para los Niños has been used by some churches, especially by the Baptists.^ This hymnal includes as hymn tunes, folk melodies from different countries and standard hymnic melodies as DIX, MUNICH, ORIENTIS, PARTIBUS, TERRA BEATA, GERMANY and LIEBSTER JESU.

Other

hymna1s and song books for children have been published by Casa Bautista de Publicaciones, in Texas•

One of them,

Cantos Infantiles, includes short songs and hymns that are adequate for children.

Another one is Alegres

Cantemos■ by E^fie Chastain de Naylor, published in 1953 by the Presbyterians in Venezuela.

A record, Himnos y Cantos para Niños. with selections from this hymnal was published by the Baptist Churches of Puerto Rico, with the purpose of helping the Sunday School teachers in learning and teaching these hymns.

! Wñ

47 j i

12.

La gratitud de un niño Bueño Qol&a

Por n& ni-B w ven-tu“ ro» s% Mil gramolassism-Jire t e d o y ^ S e ^ o ^ 2. Gra-cia$toÜoy por l a lu» na* Tara-bién m il g r a - c ia s t e doy(Se-ñor 3** G ra -cía s t e doy por mis p a -d re s , Y mis m a -e s-tro s y a -m i-g o s .D ic s ;

."S

te» &— m_ gc±rrrr j &zatz

f. khs^gaJ

rfrf^=t=zr~~---

Y t e ben-di-*goy t e q u ie - ro For ha~ ber- nos da*»d$ e l be - l i o s o l 9La Por l a s es-tre-U as á e l c ié - lo Qtue en ais vi-'vos re o -p la n -d o - r e s son Cual Y p s r la esxue-lay las l i - broa En que es-tu-dio a - te n - to mi la c - e i6 n , To

b e - lio e o -jo sd e u n ándoy m il g ra -c ia a por t o -

gel dos

Que m o-raen co-les-to raan-sion» Tus do-nes b en -d i-to e Se*ñor

1®-

S: 7

XZ f

Con permiso de Silver Burdett and Co.

This hymn-song is from Himnos y Cantos Para los Niños. The melody is by the Puerto Rican composer Braulio Dueño Colón (1854-1934), and the words probably translated by Manuel Fernández Juncos.

It was first published in

Canciones Esc glares in 1901•

It is also included in

Cristiano, Himnarjp Episcopal and Cantos Infantiles, These words are highly altered from the original *which is preserved in the other hymnals mentioned* version of the song in the next page*

See original

48 23

NUM.12.

L A G R A T I T U D D E U N NINO. B. D ueño Colón .

K ate L ouise B rown .

Andante mosso.

*-g-*-]-

Z'^—juZilfL V U i

' ?

1, Por rai ni-ñez vea*cu - ro - sa Te rin - do gracias, buen Dios, 2, Gra-cias te doy por mis pa - dres, Y tara-bien gracias te doy 3, Gra-cias te doy por los ss - res Qae vi - venen mi derre-dor,

___ __________ *_£555-^_**í3-*— ü— @

:-^ñzz^. Andante mosso.

■^r ry

.-¡V

"SZ 'SZ, Y te que-ro y te b en -d i - go Por ha - ber cre-ado ei sol. Por la es-tre - lia de la tar - ás De tan vi - vo res - pl&n-dor Por la es-cueia, por los li - broa En que a-pren - do la lec-cióuT

sz 0-

2=± llu - via que nos re - fres Co-mo los o - jos de un án Y te doy gra-cias por to

ca, gei do

La fuen-te, el a-ve y la ñor. De tu c e -les-tia l man-sión. Lo que a - ma m ico -ra-zó n .

—gP P 'S

’La Gratitud de un Niño” from the songbook Ganeiones Escolares, New York:Silver, Burdett & Co,, 1 9 0 1 ,

Note

the difference between the original use of the melody and the use of the accompaniment as melody in the arrangement in M a r i o s y Cant o$ Para los Niños. Himnario Episcopal and Cantos Infantiles also use the accompaniment as the melodic line,

The difference is in measures 4 and 8*

Children learn the melody in different versions depending upon the hymnal used.

The version in Culto Cristiano is the

most faithful to the melodic use of the original, although ihe accompaniment is presented in a four-part harmony style.

CHAPTER II THE HYMNALS AND THEIR CONTENT Brief Description of the Hymnals and General Content As we pointed out before, t h e practice among the evangelical churches in Puerto Rico has been the use of the same hymnbook throughout the denominational lines f even when the denomination has published its own hymnal. Liturgical churches as The Episcopal and Lutheran have been more steady in the use of their denominational hymnbooks, Although there are no official hymnbooks among the evange lical churches f sorne church related boards have published denominational books• The Presbyterians in Mexico published Himnario Evangélico Presbiteriano a Methodists in Texas and New Mexico published Himnario Metodistaj Southern J:

Baptists published Nuevo Himnario Popular. -and the Nazarenas published Lluvias de Bendici6n, and Gracia y; Devoción. These books were published with the hope that their respective denominations would use them. Howeverf most of the churches use Himnos de la Vida Cristiana, published by the Christian and Missionary Alliance Churceh. Some congregations, even the Nazarenos and Southern Baptists, adopted Himnos de Gloria. They found in this hymnbook the type of texts and songs that best fit into the evangelical theology of their churches, and the title of the hymnal was not an obstacle• The most accepted and used hymnal^ among the non-liturgical churches have been: Himnario Evangélico , 1893» Nuevo Himnario Bvangélico . 19^1 $ Himnos de Gloria. 1921 j Himnos de la Vida Cristiana. 1939 and 1 9 6 7 j and El Himnario. 1 9 6 ^,

Nazarenas use mostly

Lluvias de Bendición» 194-7; and Pentecostals also use local publications» as Himnario Voz de Júbilo £ Salvación and Lira Misionera» These two hymnals are word-edition ones 9 and include some of the best-known hymns from regular hymnbooks , and others written by native composers; also, . choruses which follow the gospel song pattern. Rayos de Esperanza, 195s $ is one of the few Pentecostal hymnals with music, It was published by the missions department of the Church of God in Texas, but it is not used by Pentecos tal churches as a regular hymnal♦ This situation has created what may be called an ecummenical repertoire of hymns among the churches, because of the use of a common hymnal and the similarity in content among the hymnals,

We made a list of the best-known hymns

among the evangelical churches and noticed that most of t h e m are common to most of the hymnals.

(See Appendix III)

With

the publication of new books during the I9601s , the churches are becoming more selective when choosing a given hymnal for regular use• Hymnals like Cántico Nuevo « 1962; El Himnario » 1964j Himnos de Fe y; Alabanza. 1966; Himnos Inspirados y; Selectos« 1965 and Himnario Metodista<, 1973 are being considered besides Himnos de Gloria and Himnos de la Vida Cristiana. Before considering the musical content of the hymnals , we will describe briefly those used in the last ten years. Himnos de Gloria Published by Editorial Vida f Springfield, Missouri f 1921, 1 9 2 7 * The last edition includes the hymns of Cantos de Triunfo« which used to be a separate book of 100 hymns• The hymnal does not have any thematic index and does not follow any thematic order»

The English title

of the hymn is below the Spanish title f indicating that most of them are translations•

The names af authors and

composers are given without dates, and in some cases are not accurate.

It does not include responsive readings*

In many churches it is used as a supplementary hymnal for prayer meetings , Sunday School and evangelistic services because of the wide selection of well-known gospel songs and many old favorites, which cannot be found in other hymnals,^ Himnos de la. Vida Cristiana Published by Christian Publications, Inc* , Harris* burgj Pa, 9 19^7*

This is a revised edition of the first

publication of 1 9 3 9 » which was adopted by almost all the evangelical churches, This hymnal takes its name from their English version Hymns of the Christian Life, I8 9 I , 1936,

Most of the hymns in the revised edition (about 9 5 )

are drawn from previous hymnals as Cántieo Huevo« Himnos de Glosóla < Lluvias de Bendición, Joyas Favoritas > El Himnarío and Himnos de Aspiración, Nineteen tunes from Latin American sources are included and twelve tunes from other composersy which are not included in other hymnals * Eiftyfive tunes which apparently were not used by the congregations were not included in the 19&7 edition• They also eliminated from the 1939 edition 27 tunes which were well-known in the Puerto Hican congregations. The hymns are classified under three main thematic headings;

1•

The Holy Trinity y Father , Son and Holy

Ghost; 2,

The Life of Christ; 3• The Church,

two parts are ms,inly composed of gospel s ongs,

The last The hymnal

Some of these are: "Las Pisadas del Maestroy"Cómo podré estar Triste", "Es Cristo la Roca", "La Cruz me Guiará", "Soy yo Soldado", "Sembraré", "No puede el mundo ser mi Hogar", "Brilla en el Sitio",

has about 220 gospel songs out of 350 hymns. There are 24 responsive readings from the Scriptures, and a thematic index. The names of authors, translators and composers are given hut they are not organized in indexes» El Himnario Since El Himnario of 1931 9 published by the American Tract Society, El Himnario of 1964 (which has no relation with the one of 1 9 3 1 ) is the first attempt for an ecumenical Spanish hymnal among the churches in the United States, It is edited by the Council on Spanish American Work, in Alburquerque, New Mexico *

It follows very closely the

format of the Presbyterian hymnal in English, The Hymnb 00 k of 1 9 5 5 * The first part is a section called Aids to Worship, and the classification of hymns is almost similar; Worship, God (Jesus, Holy Spirit, Trinity), The Holy Scriptures, Life in Christ9 The Church, Evangelism and Missions, and Special Occasions«

Finally comes a part

of Service music, called In Spanish liturgical music, which includes doxologies, introits, responses to the Scriptures, offertory and prayers, and Amena, It has 68 Scripture responsive readings and a complete set of indexes with authors and composers dates• El Himnario is used by some Presbyterian and Methodist churches« Lluvias de Bendición Published by Lillenas Publishing House, Kansas City, 1947 * This hymnal is u s e d by the Nazarene Church in all their Spanish~spes,king congregations in the United States and abroad. Out of a total of 2 5 3 hymns, 204 are old and new gospel songs. About 45 are published for the first time; most of them are translations, these are by the editor, Harold Lilianas,

Twenty^three of Some of them

have been published before in Joyas Favoritas, a series

53 of four pamphlet hymnals by the same edit.or, The hymns are partially classified, but no thematic indix is provided* Scripture responsive readings are also included, Hlmnario Metodista* 1955 and 1973 Published by the Methodist Publishing House, San Antonio, Texas, 1955* it is out of print* There are 252 hymns, most of them from other hymnals and El Nuevo Himnario Popular,

There are about 17 hymns which are not very

c ommon in the most-used hymnals *

Hymns are partially

classified but no thematic index is given. The denomi national character of the hymnal is given for the inclusion of the liturgical orders of the Methodist Communion Service, There are several responsive readings• The book was in use in some Methodist churches until the edition went out of print *

A new hymnal was published by the end

of 1973» under the editorship of Dr* Alfredo Nañez of the Rio Grande Annual Conference of Texas and New Mexico, and the Perlcins School of Theology. The hymns are classified under the following titles:

The Gospel and Christian

Experience, 217 hymns; The Church, 60 hymns; The Christian Year, J b hymns $ Special Occasions, 8 hymns; and Service Canticles; 29 hymns.

There is a section of resources

for worship and the Ritual for the main services. the Communion hymns is as follows:

Music for

Gloria (Old Scottish

chant); Sane this (John Merbecke ); Agnus Dei (Br aunShwe ig , 1528).

There are less gospel songs and more contemporary

hymns in comparison with the 1 9 5 5 edition*

We regret the

absence of tunes, composers and authors indexes, although there is a good thematic index, and detailed information 1 about each hymn is given, such as composer, author and translator, tune name and meter, and dates *

54 EL HUEVO HIMNARIO POPULAR Published by Ca&a Bautista de Publicaciones, El Paso, Texas , 1955 * for the Spanishespeaking churches of the Southern Baptist Convention, although the petition for the new publication came from the National Baptist Convention of Mexico, who were the publishers of the old Himnario Popular of 1927 and 1932* In Puerto Rico this book has been used by some American Baptist Churches and by Southern Baptists. Although there is a thematic index, the hymnal is not organized by topics.

Tune names are given in Spanish, and

indexes of authors, translators, composers and tunes are included, with 27 Scripture responsive readings * Out of a total of 3 8 9 hymns, 66 are translations and original poems by Thomas M* Westrup, 33 by Ernesto Barocio» 46 by Vicente Mendoza, 28 by Juan Bautista Cabrera and 22 by Georg© P* Simmonds. Horacio P. Westrup in Paladines del Evangelio en Mexico claims that this hymnal is the only one that keeps the translations of these authors in their original form. El Hiirnario de la Iglesia Published by the Seabury Press, Greenwich, Conn., 1 9 6 1 » This is the first Episcopal hymnal for the use of all their Spanish-speaking churches, ordered by the General Convention of the Protestant Episcopal Church of America in 1955• X This hymnbook follows previous hymnals as Cant os Sagrados de la Fe Católica.

It was edited by a committee of

bishops from Guba, Panama, Mexico, Dominican Republic and 2 Puerto Rico, using mostly the material of Cantos Sagrados. t Although the hymnal was intended to be provisional it has1 1From the prologue of El Himnario de la Iglesia Episcopal, p, v* 2

See supra, p« 13*

55 been in use for the last 12 years in the same original edition* The classification of the hymns follows the one of Hymnal 1940. The first 93 hymns are classified according to the liturgical year, followed by a group of hymns for the offices| holy sacraments, the dead, children and missions* The last group of hymns (95) are classified as general hymns, which means any hymn not included in any of the other sections. It is very difficult to use this section without a thematic index. The second part of the hymnal includes the music for the offices and the music for the liturgy of the Eucharist. It has the Ferial Preces, the Suffrages, Invitatory Antiphons, the Canticles and s ome Psalms.

All of the

using the plainsong formulas and Anglican chant for Psalms, which are taken from Hymnal 1940. Then follow five settings from the Eucharist music J 1. the John Merbeclce setting; 2.

the plains ong setting of Orbis Factor; 3•

setting in

A minor by Juan Cruaeta, adapted by Ignacio Morales Nieva; 4. a setting by H. Caballero, and 5• a setting of the main eucharist hymns from various foreign composers as T. F. H* Candlyn, S • Wesley, J . T. Harris and Donald F. Gowe. Besides the alphabetic index of the hymns, a tune index is given.

Names of authors and composers are not

given, although almost all of the music is taken from Hymnal 194-0»

Alternate melodies are suggested at the

bottom of many hymns. Culto Cristiano Published!by Publicaciones El Escudo, New York, 1964, for all the Lutheran churches in Latin America•

Following

the format of its English version, the Service Book and Hymnal, 1958.

Culto Cristiano includes the liturgical texts

56 for the Eucharist and the offices with its music. The collects , gradúala, introits f Psalter, prayers and the order for special services as wedding funeral, baptism and confirmation are included, with the general rubrics and lectionaries. The music for the liturgy is adapted from the early German lu the ran liturgies and fi^om the Roman and Anglican traditions• The one for the Eucharist was arranged by Walter E. Buszln, and the one for the offices by Ulrich S * Leopold. The first 108 hymns are classified according to the liturgical year; then follows a section of hymns on the Sacraments, another section of hymns on the Church, followed by a section of hymns about the Christian Life. There is a large selection of hymns for special occasions and a section of hymns and songs for children; perhaps the largest in the hymnal9 with $Q hymns t taking into consideration the Sunday School Program.

Special indexes are provided, including the

authors and composers dates and a very peculiar index of the original title of translated hymns, which listed hymns from 9 different languages. The melodic material is d r a w from different traditional liymnic sources • A anal! amount of gospel songs was considered. Two features in the music printing are the tying notes in the harmony9 more adequate for the organ accompaniment, and j the indication of phrasing by a comma in the melodic line.

page example is given in the following plate.

Viernes Santo

M.Muvilliinl.

I.K N T O .S S .S-í.aS .S-t. Ut'miñii Uuli'ríi, i». 1STf?.

-d——<g>—

T Jus So

F-

tos u - no - jos; un mi g u í - n

Lto - run tos o - jos Y mi u-le - gri - a,

Quo a - s i te Mi nor-te y

von. luz.

Bollo costado, En cuya herida Malla su vida La humanidad. Fuente amorosa Do un Dios elemente. Voz elocuente De caridad. 5

Tus pies heridos, Cristo paciente. Yo indiferente Los taladré; Y arrepentido, Hoy epic te adoro, Tu gracia imploro: Señor, pequé.

Crucificado En un madero. Manso Cordero. Mueres por mí; Por eso el alma, Triste y llorosa. Suspira ansiosa, Señor, por Ti.

Sample page of the Lutheran hymnal Culto Cristiano. Notice how the notes of the lower parts are tied for purposes of the organ accompaniment.

|8 Himnario Bvangálic o Presbiteriano This hymnb ook published in 1961 by the National Presbyterian Church of Mexico was adopted by very few churches (Presbyterians) in Puerto Rico* Its content is classified under 27 general topics, w h i c h include Steward ship, Evangelism, Children,Youth, and Choruses (coritos). The only index is the alphabetic index of first lines, which make it very difficult to handle the whole hynmbook which has a total of 500 hymns, The information about composers and authors given at the top of each hymn is not 1 accurate• Neither the composer1s name or music source, nor the author *s name is given. In most of the hymns only the name of the translators is given, but not the name of the original writer• The most interesting note of this hymnb00 k is that it seems to be the first Latin American hynmbook to include the largest amount of hymn tunes by Latin American composers, Forty six tunes are of Latin American origin, mostly Mexicans, and probably some other 9 melodies not identified are of this same origin. For the most part this hymns1 is a very comprehensive anthology of "gospel songeT and Victorian hymns, Cántico Nuevo Published by Methopress, Buenos Airea, Argentina, X9$2• Interdenominational* The hymns are classified under four main topics* The first is God, divided into the trinitary form? the section in Jesus Christ, following the liturgical year* The second is composed of horrans based on the Church, including the sacraments, The third is a very large one, consisting of hymns composed for special occasions, children, and service music * 1

i They attribute No. 18 to Franz J. Haydn, N o , 137 to S . Weber, No * 1^7 to Isaac Watts.

59 Authors, composers and translators* indexes are given, besides the metrical, tunes and topical indexes, Fortyseven Scripture responsive readings and a litany for the dedication of the hymnal are also given. The hymnal is widely used among the Disciples of Christ, Menonites, Waldensians , Methodists and Presbyterians in Argentina, Uruguay and some other South and Central American countries, In Puerto Rico it is used by some local churches•^ In our opinion this is the best hymnal in Spanish because of its theological, musical and poetical good standards• It has included the best of the various Christian hymnic traditions , and it is a hymnal centered in the whole church life and work.

Since 1963 it is used as the official hymnbook at the Evangelical Seminary of Puerto Rico, the theological school of the main Protestant Denominations•

Musical Content of the Hymnals Now we shall examine the musical content of the hymnals in terms of main traditions of hymnody sources} that is» plainsong, standard folk tunes v psalm tunes, chorales, English and American hymn tunes f gospel songs, Latin American composers, tunes from the master musicians1 works, and contemporary composers. We shall make reference to all the hymnals described in the preceding part and also to the early hymnal Nuevo Himnario Evangélico in order to compare its musical content with those of later or recent use • 1. Plainsong tunes are used mostly in the Episcopal hymnal and in Cántico Nuevo« Luther-ans use them for the communion service music and for the offices.

For the

purpose of our study, we shall divide the plains ong in three groups, that is, psalm plains ong formulas and ancient chants, the more florid gregorian melodies, and the later chants including the Anglican, The simple formulas for the chanting of Psalms and canticles are used in Himnario Episcopal for the canticles Venite Exultemosv Te Deum, Benedictus es Domine , Benedictos, Magnificat» and Nunc Dimittis,

In the Lutheran hymnfoook

Culto Cristiano, some of these formulas are used for the Offices, the Kyrie, the Litany Prayer, and two of the offertory hymns identified as TONO GREGORIANO NO* VIII 1 and TONO GREGORIANO NO. VI* An arrangement of the TONUS PBREGRINUS is used for the Gloria Patri• Ulrich S * Leopold composed some of them following the old patterns, like this one, for the dialogues of the offices,

Minister

The only chant formulas used in other hymnals are in Cántico Nuevo for the "Seven Last Words", adapted by William Monk? and another chant fragment identified as "Melodía antigüe", used for a Scripture response in El Hironario. Both harmonized as follows:

m......

* __ _____ 0

nr— 7j IT---1Tf-------- O lLD_J— __ —__ _

Another chant given in EWL Himnario for the Lord1s Prayer is identified as "canto llano gregoriano” , harmonized in the Anglican chant form. of Mode I Ending I*

This one is based on the form

i *......~«.........T

W ~~' o A o i y\ V — s*i i Sl l A___________ ZZJ2

------ T ~ \ it? _

a. 4 1 I

Tiie more florid * non measured plains ong melodies are used with their original latin hymns adapted into the Spanish language use. The following are used in Himnario and Cántico Nuevo. Those marked with asterisk are in the Sarum rite form as they are given in Hymnal 19^0» ♦SPLENDOR PATERNAE ♦PANGE LINCTA ♦ V E X I L L A REGIS ♦VENITE CREATOR *0 LUX BEATA TRIMITAS *ECCE JAM NOCTIS GOLDEN SEQUENCE JAM LUCIS DIVINTJM MYSTERIUM YEN! EMANUEL

HE HE HE HE HE HE HE HE HE HE

CN CC

Three melodies in Himnario Episcopal« ANIMA CHRISTI, CHRISTE AUDI NOS, and CONSOLAMI POPULE MEI are also in plainsong style» The origin of the melodies has not been traced, but it seems to be arrangements of gregorian chants and chant forraulas, Examples of the last two are given here• Another use for the plains ong in the music of the Eucharist hymns, the John Merbecke *s setting and the Orbis Factor. Th e

t h ird g r o u p

the h y m n a l s

are

of p l a i n s o n g m e l o d i e s

which mark

to the m e a s u r e d th

hym n

and

have

the

transition f r o m the plains ong

in the E u r o p e a n

L u t h e r a n R e f o r m a t i o n d id p l a i n s ong t u n e s ,

have

those l a ter t u n e s , e s p e c i a l l y the F r e n c h

Church melodies

d u r i n g the

that we

Roman Catholic

c e n t u r i e s , s i m i l a r to w h a t in G e r m a n y w i t h

A m o n g the h y m n tunes

hymnodv the

some of the old

of this

type we

the f o l l o w i n g :

iFr om here on, capital letter abbreviations will be used to identify the localization of tunes in different hymnals• HE-Himnario Episcopal« CN-Cántico Nuevo»• CC-Culto Cristiano, H-El Himnario. HG-Himnos de Gloria, HYC-Himnos de la Vida Cris tiana, NHP-Nuevo Himnario Popular« LB-Lluvias de Bendición, HM-Himnarlo Metodista,

63 CHRISTE SANTORUM 0 FILLI ET FXLIAE

CN CM

0 QUANTA QUALIA ROYEN {ISTE CONFESSOR)

OEXBNTIS PARTIBUS DEUS TOURUM MILITUM

CN CN CN CM

MAINZ (STABAT MATER) AGNUS DEI ADESTE FIDELES

CN CN CN

Among the chorales derived from plains ongs there are three that should be mentioned *. ”Christ ist Erstanden11 (CN, C C ) fr om an Easter Sequence j "Allein Gott in der Hfth" (C N f C C ) f r o m a v e r s i o n

of G l o r i a

in E x c e l s i s D e o f and

"Veni R e d e m p t o r G e n t i u m ” (C N ) p r o b a b l y a r r a n g e d b y M a r t i n Luther•

The Anglican chants developed also out of psalm-tune formulas, but emphasizing the harmony rather than the melody* Himnario Episcopal includes 48 of those for the chanting of psalms * thi?ee of them composed by the Puerto Rican Victor Burset* Cult o Cristiano uses them f or the Gloria and the Offices canticles * In the early Nuevo Himnario Evangélico were included two Anglican chants for the Lord 1s Prayer and Psalm 23*

Venite, exultemus Domino 271

273

V. Burset

Tone V,¿

—!—f-i \

t/ <y

■Á- -A

I xx

f PP

i t .1 J ,7/77 J> f!

1 Venid, celebremos alegremente al $u- iinr; * cantemos con júbilo a la r tw de nues tra sala j- uón 2

Lleguemos ante su acatamiento con a-ta- banca; * acia- mé-mos- le con cánticos.

Porque el Se- ñor es Dios grande; * y Rey grande sobre to-dos los dioses.

-1 Porque en su mano están las profundidades de la tierra; * y ¡as alturas de los mon-tes son sus as. 5 Suya también la mar, pues HI la htao: * y sus manos for- marón la tie-rra seca. 6

Venid, adoremos y pos- tremónos; * arrodillémonos delante del Señor mies-tro

Porque El es el Señor nues-tro Dtos; * nosotros el pueblo de su dehesa y o- sc-jas de su mano,

Adorad al Señor en ¡a hermosura Je su san- m ano; * temed delante de El, toda Ja tierra.

Delante de! Señor que vino, porque vino a |ur- g a rla tierra: * juagará al mundo con justicia, y a los pueblos con su s e r - r dad.

Ha-ce- dor.

Gloria al Padre, y al Hijo. * y a! Es- piri-tu Santo; Como era al principio, es ahora, y se-rá siempre. * por los siglos de los sí-glos. A- mén.

Anglican^ chant psalmtunes for Psalm 95 from El Himnario Episcopal, 1 9 &1 , No, 2 7 1 , by Rdo. Victor Burset, a Puerto Rican priest*

Two plainsong hymns from Himnarlo de la Iglesia Episcopal. 1 9 6 1 .

Cl ARESMA Y PASION CHRIÓTE. AUDI NO>

Lentamente

Escúchanos.Señor,fenclemencia Porque pecamos todos contra ti. 1 Ad Supremo Redentor del mundo. Con lágrimas, los ojos dirigimos Escucha ;Oh Cristo! estas nuestras preces.

Coroí Escúchanos, Señor, ten clemencia, Porque pecamos todos contra tí.

2 Diestra del Padre, Piedra yFundamento Senda de Vida, Puerta de los Cielos, Limpia las manchas de nuestros pecados.

Coro

Notice that some melodic motives are from "Missa de AngelisM

CONSOLAMINI, POPULE MEUS M a e sto sa m e n te Coro

Estrofa 1

Coro: Desciendan ios cielos desde lo alto, v derramen las nubes rectitud, 1 ¡Mira, ohSeñor! la aflicción del pueblo tuvo v envía nuestro Salvador. Envía al Cordero a gobernar la tierra, desde la roca en el desierto. A! monte de la Hija de Siún, y a quitarnos el tugo de nuestro cautiverio.

Coro 2 Consolaos, consolaos, pueblo mío. se aproxima la saltación. ;Por qué os conmueve la pena y qué os causa este dolor? Te salvaré. Nada temas. Yo sov el Señor tu Dios, tu Salvador, el Santo de Israel. Tu Redentor, Coro

Q\ 0\

67 2

Secular and folk tunea Since the early hymnals there have been secular and

f oik tunes from different countries to be sung as hymns *

Many of these tunes have been used for non-religious texts, but after being adapted or arranged they came to be hymn tunes. Others, kno xm as religious folk tunes have come through oral tradition, preserving the rhythmic and melodic pattern of the folk secular tune» Very few of these secular songs used as hymn tunes have been composed by known authors* The borrowing of tunes from the secular sources and from folk tunes is nothing new in the church hymnody* Many chorales of the Lutheran Reformation were developed in this way #

The secular son "Innsbruch ich muss dich las sen” was

transformed into the chorale "0 Veit, ich muss dich lassen", and the song "Mein G*nmth 1st mir verwirret von einer Jungfrauzart” by Hans L* Hassler, came to be the chorale n0 Haupt veil 31ut und Wunden"» From Italy cornes the "Laudi spirituali", which were religious popular songs , some of them as ALTA TRINITA BEATA (CO) adopted for liturgical use. In order t o have a broader idea of the 3 ounces of the many secular and folk tunes in our hymnals we will list them by countries, giving the hymnals in which they are us&d and commenting some of the most interesting ones. United States of America NETTELTON CLEANSING FOUNTAIN

NHE

1,3

BATTLE HYMN

NHE NHE

XHP NHP

VHP

HAPPY LAND \

NHE LB

NHP NHP

AMAZING GRACE DE FLEURY

nhe

AT THE CROSS (HUDSON)

NHE

HUP

iw c

uvc

H H

H HVC

I WANT TO BE A CHRISTIAN LET US BREAK BREAD BOURBON

CN CN

CON CRISTO TENGO ELLESDXE BN LA VERGONZOSA CRUZ CRADDLE SONG( AMERICAN CAROL)

NHP NHE JIVC CN

Tune NETTELTON which is ascribed to Ashel Nettelton in El Hlmnario is from "A Repertory of Sacred Music” of 1813, published by John Wyeth, Although ascribed also to Veyth 9 it is supposed to be one of the earliest American folk hymns. Mettelton , who was an evangelist, probably used very often this tune• CLEANSING FOUNTAIN (Hay im precios o manantial) is another th American foik tune of the 19 ~ Century, It was arranged by Lowell Mason, DE FLBURY, also CONTRASTE and GREENFIELDS , til is from the 19 * Century American collection of folk hymn tunes, HAPPY LAMB or HINDOO AIR is, according to H o m \

Hindoo Air which was arranged by Andrew Young from Edinburg, in 1800, This tune is associated with the American folk hymnody because of its use in the original Severed Harp of 1835, The tune was used for the popular "Old Soldiers Never Die”, during World War II, or DISCIPLES appeared for the first time in Christian Lyre t I8 7 O and later, Hubert P. Main made an ELLESDXE

arrangement* Although in some hymnals is identified as AIR MOZART, indicating that it belongs to W , A, Mozartt but Dorothy D. Horn, Sing to me of Heaven. p, 287•

69 GREENFIELDS

or D E F L E U R Y

------ ---- * ------ _____ _fc=— \ ¡T......... - M --------- ------- i ------- ------------------1-------- -5-.......... -j---------- "*■ . ... ------- 9--------------le - d io u .s and ta ate - less the m u r a When J e - a us no p r o s - p c c t s sw eet bmis :jiuJ sw eet flowers Have lost ail iheir

í j r~"“ 3---How Sweet

Y ¿ r ¿~~r.------ -—

™

(siso C O N T R A S T )

—1 1• *

long - e r sw eet-ness

[ to

I— »-!*► ------ :------ » p -------------- p -----------—r !* ■----- !-------F-----r*------------i------1------- 1 -------- ;1------------------------ ~ If—ri ------- r-i

see; me

The

m i d - sum - m e r sun

sh in e s

but

-i-iThe

fields s t r i v e

hap - py

vain

Him

De -

look

gay

e e m - b e r ' s as

But

hap -

when

May.

'‘Greenfields," NH 16

GREENFIELDS is a North American folk hymn and all about it may be found out in Jackson’s Spiritual FolkSongs of Early America. No. 60.

HAPPY LAND or HINDOO-AIR

(OSH, 35*0

E\. 157. ¡lupp\ Land. Tin* last section is mude up of one phrase from Section f and one phrase from Section II.

v There is Where s a i n t s

a in

h a p - py glo - ry

land, stand ,

far, far a b right, b rig h t as

way day

0- <9-m-a-■y— y— i -0

how

they s w e e t - l y sing,

w orth - y

- y i —*“----- *------h--- « S ÍÍ 7lt p i* r ' V r----H---vy-— Loud

These

le t

His

o r i g i n a l f o r m s are

p rais-es

ring,

m r

our

Sav- tour,King,

«-■.. -jS’—"— 'ft *__ LJl

Praise, praise

fo r

aye.

t a k e n f r o m the b o o k S i n g to me

of H e a v e n b y D o r o t h y Horn.

C o m p a r e w i t h the p r e s e n t f o r m

in Spanish language hymnals in the following pages

Jesús Es AA¡ Pastor } lti f i ft y ' f - .ü i u l . O ! . (>•! . í t t ) . (i -/

El CrisTumo

Meludía

‘l'rtiiujail'i

sns

2. Cuan -do o» 3. Jil es ‘4, La le

1. fe

su mi «pie

T ~ r ini Las - tor. led el mal did te 1u>, me dio él j

da sús, ios jos -

Se • in ■ mor tie su sati - to y

con Dios pies to,

. vi; ;. v J iz:. - - é-- ■

■

Con * mi Me mu Mi sal Me sal

-I t

ñor ial, cni/. fiel

f■

■—t Í ” ..••j 0 __..¿J

•

i-i.

B° rS n vu

V('), (ión: ni;

Vil

J . ' ._

L «; 'i

~r: P

or*

lal ta res - <a ló; Un per dón; <am Ida - rá,

Me Me Ha Me

_ J __ i-. J''~ r-

-f! ^

?rJ Íl-T:*i iL ' ¿L | do to - ta /<in, ta ta -ri ■ dad; vil pc ea tint, re ■ su - riee tiñu

-J--~—J—~

j---- (J.— J.

jg?

V7 Con Por Mis La

él

r de

V ' so etil - pas pa/ con

n r

P no ta ■ re it, !e a ma pa ■ KÓ: él Dios me dio,

-p-»

tro

"Oo*••cv

La ten ta ■eión. Dios de iron dad. i d o - i ia a) St ñor! Vi - da y per ■ dón.

:nr“ f=f Í 7 /W

C R ISTIA N A

HAPPY LAND

or H X N D O U A I R as it a p p e a r s in

C á n t i c o N u e v o , 19^2.

-*v

Cristo* Quiero Ser Cristiano

165

Himno Americano Folklórico Tr. por J. N. de los Santos, 1876-1944

1. 2. 3. 4.

F F -ío, quie - ro

Í-WANT TO BE A CHRISTIAN Irregular Himno Americano Folklórico

*--

Cris ser cris - tia Quie - ro ser más ca - ri - ño Cris - to quie - ro ser más san Quie - ro ser más cuai mi Cris

- no, - so, - to, - to.

W De De De De

co co co co

ra ra ra ra

zon, zón, zón, zón,

•" siN I

One of* the best-known "Negro Spirituals" in Spanish. From the Himnario Metodista. 197***

119

Jesús Es Mí Amigo The L ily o/ the Valley

E, de S.

S. J u a n 15: 13, U

A r r . p o r T n o r .o H a k s i ®

1. Je - sus es mi a - mi - go, mí buen a - mi 2. A - li - vía mis pe - sa - res mi buen a - mí 3. Si cum-plo sus maa-da - tos, vi - vien-do por

go go la

fiel, A mi fiel, En la fe, En mis

LN > ■5zh<z:2z

-s-—v—

1/ al - ma es her-mo-so y sin par; Mi Sal-va-dor yG u í-a, enten- ta-ción sua-mor es mi so - laz; Los í - do-los del al - ma por prne-bas to-das él me sos-ten - drá, Ro-dea-do de sus bra-zos, yo

cuen-tro só-loenél, La vir - tud que trae per-íec-to bien-es-tar; él a - par - ta-ré, V las f-jl-tas que me pri-veu de la paz; na - da te - me-ré; Con sus hues-tes el Se-ñor me g-uar-da-rá;

.V_—p----p—r a—x — --s_ s-g! «----------- 5---- r— r---- y—« —g— — ¡>—b Mis pe-nas y mis cuí-tas las lie-vo siempre a él, Por-que él me ha Aun cuan do me de-ja-re a - mí-go te - rre-na!, Y Sa - ta- uás tra* En-ton-ces a la glo-ria, i - ré yo a contemplar, Su ros-tro, y el .y

K ú

mandado ha-cerlo así;(A - le-Iu- ya;) En to - do es - te mun-do no hay ta - re de triun-far; (A - le-lu- ya;) Yo que-da-r¿ con - stau • te al cie^-lohe - re-dar; (A - le-lu-ya;) Y a - 1H con los sal-va-dos y el

otro a - m í- go tal, Pues Je - sus es vi-da y di - cha pa - ra mi. la - do de Je-sús, Y con él po - dré vic-to-rías al - can-zar. coro ati-ge - li - cal, Can - ta - ré sus a - la - ban-zas sin ce - sar

Hymni^ version of the "Lily of the Valley" in Himnos de Gloria.

Only the treble voices are

quoted here. Compare with "The Little Old Shanty" in the next page.

——........

tt -d •

tff d

3 e 13* ©

H ro Vjl H o < t*1 3 © ¡.i. ca H Ut H cn • o O ,3 W} n c* w id* Q © O K < «* P H S5 H © © *1 wj O 2 © ÍC f—i o a td p H H P id etH* id ©

THE LITTLE ©Li> »fi> SHAMW Steady, in 2

1. I’m lo o k in g rath -cr seed - y noww hilohold-ingdownmy 2. I ra th -e r like the a o v - e l - t y o f Jiv-iog- lo this

way, though mybill o f fare is-n’t al-ways o f the b e s t,___

but Pm

p. D

05 td H* © <í o © !d ©

•* H* H vo 1^-3 vn lis* VJ |©

mice play 3hy-Iy roundm e as I n e s -tle down to re st In my U ap-py as a clam on the land o f Un- cle Sam in my

â&#x2013;

T h e labors o f the pioneer w ho sta ked a claim a n d tried tob u ild a hom e were little sung. H e often built several homes, m o vin g w est a s the n ext class o f em igrants took h is la n d . CHORUS:

-si -p"

no Mozart source has ever been located, Some hymnolegists think that the original melody is from the English composer Joseph PhiIp Knight * AMAZING GRACE is another early American folk hymn which appeared first in The Virginia Harmony, 1831. The arrangement now used was done by Edwin 0. Excell, (1851*1921) a gospel song composer• The best known part of BATTLE HYMN in our hymnb 0 oks is the refrain used for the hymn "Gloria a Ti Jesús Divino"• Although the tune has been attributed to William 3teffee, there is no evidence of this authorship. It is a variant of an old camp-meeting tune , "Say brothers, will you meet us1!, •,•"the tune apparently originated in South Carolina,,* 1 ••.before the Civil War" The complete version of the tune is used in El Himnari 0 , AT THE CROSS or HUDSON conies, in part, from a folk-hymn tune arranged by R, E, Iiudson, a gospel song writer who ad opted for his arrangement of a hymn by Isaac Watts , "Alas 1, and did my Saviour Bleed", for revivalist use♦ According to Jacks on, in White Negro Spirituals» the stanza part of the tuns is from Sacred Harp, of negro origin and not from Hudson, Muds on added the music of the refrain, The Spanish version is "Me hirió el pecado fui a Jesús".

Also from the Negro

Spiritual heritage of religious folk tunes we have LET US BREAK BREAD and I WANT TO BE A CHRISTIAN, which were published at the beginning of this century, BOURBON is from the Hesperian Harp, 1848« The origin J of EN LA VERGONZOSA CRUZ is unknown but probably is from a cowboy ballad,V V rM Carlton Young, Companion to the Hymnal< p. 287•

Brittleh folk tunes The following tunes como from Brittish countries , including the Irish and Welsh tunes, LILT OF THE VALLEY

HAPPY BAY

HG JIG

NHP NHP

HVC HVC

fí NHE

PRINCE RUPPERT GREENSLEEVES

HE HE

THIS E N D R I S NIGHT

KINGSFOLD

CN CN

LEV TRENCHARD

KING’S LYNN EAST HORDON FIRST NOEL Welsh it ,.....

tunesm

CM CC H

..................

BLAENHAFREN

DECK THE HALLS llangloffan

MALBWYN

ST * DEN10

TUEFAENAN MXilRlONYDD

CM CM CN

LLANSANAN LLANFYLLYN

I r i s h tunes

ST * COLUMBA SLAKE

CN CN

The tune LÍLY OF THE VALET used for the Hymn "hallé un buen Amigo" probably is from an old English melody used

77 in the United States♦X In some hymnals is identified as arranged by William S . Hays and Ira 0. Sankey, but in another hymnal is ascribed to Thoro Harris* related to the Salvation Army*

The tun© has been also

HAPPY DAY is a secular tune from the English composer* Edward F * Rimbault (I8 1 6 -I8 7 6 ) f or a song called "Happy Land".

A refrain was added to the original hymn of P#

Doddridge and adapted for revivalist use, KINGBOLD, LEV TRENCHARD and KING1S LYNN are English folk tunes taken into hymnody by Ralph Vaughan Williams when he arranged them for The English Hymnal in 1 9 0 6 . The tune THE FIRST NOEL is identified in El Himnario as a traditional French melody but there is no evidence of this. Millar Patrick thinks that this tune was originally a descant to a tune of Jeremiah Clark, " A Hymn for Christmas Day". Erik Routley also points out that the tune fits as a descant 1 0 the carol "Rejoice and be Merry"* So the melody is probably a traditional English melody rather than a French tune * It was harmonized in Christmas Carols. Old and New, by Bramley and Stainer, in 1871. TERRA BEATA is identified in CN as "melodía tradicional inglesa" arranged by Franklin L* Sheppard * lie insisted that he learned it as a folktune during his childhood *

Probably

it is the same that appears in The English Hymnal« of 1906 with the name RUS PER« Most of the Welsh hymn tunes used today come from the th revival period of the last half of the 18 Century. They were introduce^ by the English Hymnal of 1906 and by Songs of Praise in 1926 and 1932• Describing the beauty of these ^The tune is used for the gong "The Little Old Sad Shanty"« Compare examples in the preceding pages.

fine

t u nes , E r i k R o u t l e y s a y s :

Tli© chief and inalienable quality of Welsh tunes is their intense rhetorical power. This is derived partly from their remarkable sense of melodic form and architecture, partly from their harmony, which is always inseparable from them* and partly from an external cause in the quality of the Welsh singing voice. .* «The tonality of Welsh tunes is * as one would expect from their origin, nearly always orthodox, with plenty of use of the melodic minor* Modality, in the rare cases where it occurs, is a survival from ancient tunes * 1 Tune St * D E N I O is found in the folk song "A Hundredth Years

f r o m N o w ” w h i c h was v e r y p o p u l a r e a r l y in the

th 19 ~ century in that country, LEANG-LOFFAN, another Welsh folk hymn is taken from the Daniel Evan*s "Hymnau a Thonay", 1 8 6 5 , and it is a typical Welsh tune, especially when it is heard in the minor mode version called LLANFYLLIN* Another of this kind, although composed by William Lloyd(1 7 8 6 -I8 5 2 ) is the tune MEIRXONYDB The composer uses through it the folklore idiom. In this same character are also Pritchard•5 HYFRYDOL (CC, C N , H E , H Hughes« C m RHONDDA (CN, tí) $ William’s E B E N E Z E R (CN, HVC} Arfon1s LLEF (CN) and Parry’s ABERYSTWYTH (CN). Only two Irish tunes are known through the hymnals; ST, COLUMBA is identified as a ”hymn of the ancient Irish th Church1' in a 19 Century Welsh hymnal. SLANE is from an old Irish folksong, 11With my love in the road”. Other European folktunes

From the Northern countries of Europe come the following tunes 8 KREMSER

(Dutch)

IN BABXLONE (Dutch) 0 STORE GUD (Swedish)

"hsrik R o u t ley, M u s i c

HVC

HE IÍVC

of C h r i s t i a n H y m n o d y , pp.

I6 I-I63

ALL THINGS BRIGHT

(Banish)

The hymn text for the tune KHEMSER was written by an unknown author for the celebration of the Dutch freedom from the Spain sovereignty at the end of the 16 th Century. The tune was originally used with a folksong namscf. "By wilder dan wilt”* IN BABILONB was found in a collection of Dutch Peasant Songs and Country Dances published in 1 7 1 0 * Other folk tunes from the Central and Southern European countries ares SICILIANS MARINERS CRUSADERS HYMN (ELIZABETH) PICARDY

HYC H

O FILI ET FILIAL GLORIA

cc cc

NHP

NHS

HE HE HE

ON ON CN ON

RIEN EST COMPARABLE POLAND HVC H EN EL SILENCIO (Polish)

NHP HE

SICILIANS MARINERS is probably an Italian folk tune published in Germany in 1807 •

It was made popular in

Catholic circles set to "Osanctissima, o piissima", nprayer of the Sicilian mariners”,

In Spanish it is best Jenown

as a Christmas tune related to a Christmas 'hymn, by johannes Daniel Falk, (1768-1826) and translated by Federico Fliedner (1845-1901)♦ CRUSADER*5 HYMN is not a crusader1s hymn, neither its text nor its time* Liszt was the one who called it "an old pilgrim song” when he used it in the Oratorio "St* Elizabeth"• The tune was published by a German editor in 1842, who stated that he heard it among haymakers in the district of Glaz*

80 GLORIA is a French traditional Christmas tune; also From the French folklore are PICARDY, RIEN EST COMPARABLE, and O FILII ET FI L I A L , POLAND comes from the Catharian f o l k s o n g " Y e r l a s s e n hini11 adapted by Thomas Koschat and arranged as a hymn for Psalm 23 by Edwin 0, Excell• Another Polish tune is "En el S i l e n c i o 11 used for a Christmas hymn. Germany, besides the two melodies already mentioned, (PASSION CHORALE a nd INNSBRUCK) the following From

tunes are aiso from secular or folklore s ources, BAVARIA

HVC

0 TANNEBAÜM SPRING SONG

LB HG

PUER NOBIS

IN DULCI JUBILO QUEM PASTORES SOVIEL STERNE (HEIST D U W I E V I E L ) ES 1ST DAS HEIL GOSHEN

CC HE CC

H E CC

CN CN

Culto Cristiano includes BR E S L A W , Z UR W I N A C H T S Z E I T , GOTT DIE L I E B E , NUN BITTEN V I R , NAR J U L D A G S M Ü R G O N .

SPRING S O N G is attributed to W, A , Mozart in Himnos de G l o r i a « but there is no evidence of this, We think it c o mes from a secular German source« Spanish tunes ESPERANZA JUANITA AUTUMN (OTOÑO) 1 MADRID

NHP

PUEBLA

almost in all hymnals

NHE

HVC

NHP in all hymnals

HG HG

Juanita, fo r m a n y y e a rs a fa v o rito , w as w ritte n l>y th e g ra n d d a u g h te r o f R ich ard R rinsley S h e rid a n , th e Irish w it a n d p la y w rig h t. T h e H o n o ra b le M rs N o rto n , a s sh e w as called, a d a p te d her text in an old S p a n ish a ir, a n d re a rra n g e d it m uch in its p re sen t fo rm . n >

Mrs. Caroline N orton

pzfc— ISíJl,_ _ d . W .

S panish

r K--j— K t---- rt—1--8♦ ;-S “ ® t—

-K

a ir

h. .

2. W h e n in thy dream in g Moons like theseshallshine again, And daylig-ht b e a m in g ,

.Breaks the day ^oosoon! In thy d a r k eyes,splendor,Where the warm light loves todwell^ Prove t h y d r e a m s a r e v a i n , W l l t thounot,re lent i n g , Fop thfpe absent lov e r si_gh? r ■1 , - \ ' . ’ 3

Í W ear-y lo o k s,y et te n - d e r , S p e a k t h e ir fond fare-w ell, In thy h e a r t con sent in g To a prayY gone b y ? <3

rhi-rA

\=$

A sk thy soul if we should p a r t! N i-ta ! J u a - n i - t a ! L e t m e ' l i n - g e r by thy sid e ! N i-ta! J u a - n i - t a !

165

N i- ta ! J u a N i- ta ! J u a

ni - 1a ! n i-ta !

_i i II

— SH

L eu n tn o u ó n m y h e a r t . Be my ownFatr Bride,

¡Oh, C risto Mío!

I sa ix l P. B alderas

M elodía E spañola

lx'!) L ti----1 n ------fr-pr-l--N..ni.1 :---r™ ! \ ---.-.r~! i ----kr— rrt...t---K v *r r-1*— “d----*) M—’— I— f'Vy ' 'at. rj j¡f • *— “•S---ar _ Jl—. 1. ¡Oh, Cris-to mí - o! 2. Cuan-doenb no-che 3. Cuan-does-ta vi - da

c - res í ú mi A-mi -go fiel; ve - a yo es-tre-llas mil :ni- g.i yo que a-han-do-nar

í U--------1----- 1— ---------- v : ”■ i “ ■Jr -ts-.------------------------ 1— I— t------ >—i— a

jj- d —

só-loenTi ten- dre. pue-da mial-mao-ir. Tú me ce - ñi - ras;

Se-gu-roaro-pa-rn Tu voz her-mo-sa Co-ro-naher-mo-sa

C— i, :...... " J n .... — __ a ...... ^ — p ^ — i— r r g - r — « -t o

-------------

f*n mis j - Atono-nes, buen je-stis, i - r¿ ,t T t, Ha/, que yo me-dt-re <m tu tier-noy dul-cea-mor. 't cimdul -ce can-tu tubon-dad a - la-ba-re.

Coro f^\ ,—fl-i h ,J r ty.'.L TflF p

|--- ----------- 1-------- í------- — s—í------ ------------- 1— i-----¡-----f—i -t-r—{----1--v—¡ i —^-rí* ?ti-& — r:----r-r v -d r - í----- H— i-----f~ r?---- r-&' *eu^S----- H— i---- a :— !— d— d—r J q j i s j 1

Y corv*ue-loy dt - cha me da-rás, oh sí. Y que yo Te a-la - be, lie-no de fer-vor. Yenman-*ión de glo - rsa siem-pre mo - ra - re.

Cris-to, ven más cer-ca;

Paz per-f«c-o«fimial-ma pon; Cer-ca, sí, más cer-ca

De mico - ra-zón.

The old Spakish Air used in the song "Juanita^ is the same used Tor the hymn "Oh, Cristo Mío", which is probably a paraphrase of the love song. in Himnos de la Vida Cristiana.

It is No. 166

82 -i

'í JUANITA^ 5 i d e n t i f i e d as " m e l o d í a e s p a ñ o l a ” is from a n ¿

old S p a n i s h s o n g w i t h the

the hymn ” Oh Cristo M í o " , by Isabel P# Balderas«

same n a me*

The

tune is u s e d f o r

Xt is a sort

of paraphrasis of the song in which the author substitutes Christ for Juanita• What is known as MADRID # HIMNO ESPAÑOL and SPANISH HYMN used to be a popular parlor piece in the United States, early th in the 19 Century* The arranger was Benjamin Carr of Philadelphiaj who in 1825 published a version of the melody with variations for piano, and in 1826 published it with th© title " S p a n i s h hymn arranged and composed for the Concerts of Musical Fund S o c i e t y of Philadelphia, by Benjamin Carr, The A i r f r o m an ancient S p a n i s h melody”* AUTUMN

(OTOÑO) or SPANISH AIR comes from the song

”Belerma and Durandarte”, of the French violinist Francois H. j:

Barthelemonj probably based on a Spanish Air, according to a

;

publication of Benjamin Carr. The arrangement of the melody as a hymn tune in a reduced version was done by Robert Simpson

-j

of Scotland, in 1833* hymnals

Probably this is the reason why in some

identified as a Scottish melody.

Th© version u s e d

in Spanish hymnals is the complete one by Carr. Nothing is known about ESPERANZA, except that the !

identification given in the hymnal is "melodía española”. Its rhythmical patter and martial air are similar to PUEBLA, which according to the hymnals comes from a "Colección española”• Latin American tunes It is u n b e l i e v a b l e that the rich South American

^*As far as we can trace, JUANITA, ESPERANZA and PUEBLA are used only in the hymnbooks In Spanish.

f o l k l o r e h as n o t b e e n u s e d in the h y m n a l s , tunes this

i n c l u d e d are n o t is d ue

in part,

and

the f e w

the b e s t r e p r e s e n t a t i v e s *

Probably

to the b e l i e f f o r so l o n g a c c e p t e d

among the historical denominations, that folklore music s h o u l d n o t be u s e d in c h u r c h s e r v i c e s b e c a u s e

non-religious a s s o c i a t i o n s . from recent hymnals« GUIDE

of its

T h e f o l l o w i n g tunes a re m o s t l y

NHE

MELODIA SURAMERICANA

LE HVC HVC

HAY UNA SENDA GRATITUD (Con qué pagaremos) GRACIAS PASTORES A BELEN

CN HE HE

VENID PASTORCILLOS ai

GUIDE is an adaptation from the national anthem of Chile, being the main characteristic its martial rhythm which is repeated throughout,

1\"

iv-

--■Ip— -

GRATITUD is given as "melodía latinoamericana" but no source has been traced. It is a very interesting melody of four different phrases (A B C D) 5 the last one repeated with the same words,

The melody range is with the 7 ^ from DO to

SIb in F major.

The words are anonymous.

HAY UNA SENDA is also probably an arrangement of a folk tune, It has some of the syncopation c o m m o n to the folk tunes,

84 D

major and the melodic range goes from RE to DO#* T h e l a s t t wo t u nes l i s t e d a b o v e

are C h r i s t m a s

c a rols

from the Puerto R i c a n folklore included for the first time in a hymnal* Polk tunes from other countries LUKE is a very well-known hymn for children* Its tune is from a Greek melody arranged b y William Bradbury. It is almost in all hymnals * LEONI or YIGDAL (HVC, CNt H, HE) « m a y be an old Hebrew melody based on an old folk motif common to Jewish, Spanish, Basque and Russian music.«* sinagoga®

ALOHA pr LILUOKALANI is from a Hawaiian melody arranged by Thoro Harris, an American gospel song writer* 3*

Psalm tunes In this section we include those melodies which have

been composed or arranged for the metrical versions of the Psalms as they come from the European psalters» Most of them except for the Genevan psalm tunes, are no longer used in these hymnals for the original Psalms, but for other hymn texts *

The same thing happens in the United States hymnals *

Very few of the Genevan tunes in the hymnbooks in Spanish are used for hymns• We w i l l deal with them separately fromi the ones which are used with the French metrical versions The following include those P s a l m tunes most frequently used* DARWALL 148* H NHE NHP HVC CC HE EASTER HYMN

NHE

MARTYDOM (AVON)

NHE

ST* ANNE

NHP

HVC

1 TRURO

NHE

1 Carlton Young, C o m p a n i on to the H y m n a l * P . 356.

271

Hay Una Senda

A utor

DíaseoNoetno

A rut'.oi.aho

!. Hay ti - na sen-(¡a qm <1 mtiiwlu im n> - nu - re, 2. Las a -mis-fa - tit s v to tics mis pa-neri - tes .L A-tjtiol ea ■mi - nn tlf tan-ios mi - fri-mien - tos

que yo pu-de en-ctm-lrai. que yo in - la - fin - iió; (¡tico! cu' - lo mi' ira- /o,

Kn ( ’ns-ln ten-go

R. C, Savaor

por

Hay it - na son - tía í'itc-tnn las j;rn ■les A-qiirl ra - mi - no

ja sal - va-cjón tic mial*

Me a-bn-rte - cic-nm porcait-.sa de su nom l'ue it.ms-for-ma-do en n-nuc! fe* - liz nio-inni -

m;i, Cris-toes ia st'ti . d.i (¡nt mi pin- tic sal - var. lire Catan-do su - ¡ni'-v<mt¡ut‘,t( "i t\-t o me en-i re~gué. to Cuan- do mi Cns - to al tie - lo nu lia - ruó.

EmiCi Í\-Io Itn (¡u Me a - bo-rre cíe -i on J*tie trans-for-ma-do en

la sal-va-dón de mi al - ma, ( Yis-tnes la sen - da que me puede sal-var. porcau-sa de su nombre, Cuan-do su-píe - ronqueaCris-tomeen-tre-gué, a-quel fe-liz mo-men - tn, Cuan-do miCiis - to d cíe-lo me lia-mó.

From Himnos de la Vida Cristiana. 196?. The words are by Tomás Estrada, according to HFA, No. 1 7 2 . Melodía traditional latinoamericana

Amor anónimo

Ayin. P. D. Sosa

Af(iíítO(ii/r)‘-mi apurar

„ i.

3 — r=r— le

j s.1

da - mus

: .j£

-p—

gra - das, olí

Por

.Se ■ ñor.

- tas

.1_J_ -

r 1 c r *-i1'=^---ifR— -------- 1> - * — r ¿ í j 9—— o-fg^-r— f

y f f prue - bas

ggU ^ T

tu a - mor.

Ven

mies- ti'a

vy r

me - sa a coin - par - tir

^ -A ~

n r= p

" i a---J. —Jl—-il—Jil

r r pp

mies - tra

r r r

y:|

y y

vi - da a beu - de - d;\

A n

=¿__J ^ -F-~r

- 0 0

------

O—

mén. —O—

p ^

The tune GRACIAS from Cántico Ntaevo. No. 3^1

86 Alza Tu Canto, ¡Oh Lengua Mía! H. M.

M elodía S u d a m e ric a n a

4 i— d = J— Jl rfir í= -gr *r 1. 2. 3, 4,

A! cíe - lo vue-Ien los e Ya sien-to el fue - go de los P a -d re , en tu re - gia, s a n - t a Oh Pa-dre, im -p á r-te - rae tu

de del no yo

mi l a - ú d ; grato E~ dén; tie - ne fin; e s p e - ro ya;

* KL_

Que arran-co a - le De los a - mo Don - de la di N a - d a en la tie -

Al cie-lo vue-len mis dul-ces _can-tos, Ya no rae ac ó -san a - quí do - lo-res, A - iíí mi pa - tria mi ro es-mal-ta - da Y h a z q u e p u e - d a e n - t r a r al cie-lo,

gre res cha rra

M is d u l-c es por-que con de be - lias Que allí tan

S— S— i:

9-b—*-

eos s a n - to s a - mo - res. m o-ra-da, con-sue - lo;

f=rf C oro

-rn----- ~-p*

— a— £>■ _

can - tos tem-ploa J e fio - res so - lo

±J>

de de mi

gra ru tu di - cha

ti - tud. s a -ié m . ja r-d in . es - tá.

. — 9ii--0 h» -..« 1111W-* *li.if r ant ygá--1 r=f -

ü v

¡Al - za tu

can - to, oh len-gua

-Í-SIe e b S t^T

ai - ma de a - l e - g r í - a ,

Con a - le - grí - a

eB e W=±*

je. J!. B

de--vo-ción.

-■*- _-g--g-__ -g--p-__ -*--£■

This is ione of the few Latin American melodies in the early Spanish language hymnbooks.

It is

used in Cantos de Triunfo and Lluvias de Bendición, It has not been possible to trace its origin

391

¿Con Qué Pagaremos? ORIGINAL IN SPANISH

A nónim o

G R A T I T U D : Irre gula r

M elodía latino am ericana A rreg . po r Ethel W inn

' r-tf-i— : ~ T zzl~ "1----1-----fT — r~— t t L--- : 1 t f M r v --- í ~m —an—m t ~ W) r---- — t “S—£ • "9 , _i !__ 1, y „ . — aV J ? r^ i — 1 — * La o-írtin-c a hu * mil-de, Se-ñor je - .su-cris- 0 , Le nsi co - rj - zón, e - lias Cual Pa-dre a-mo-ro * =o T ú ve-!as p<sr mí, S é qile tras Ye nú co - ra - zón, Ro * c i-be es-t e can-to Mez-cla-do con llan-t 0 , #~* A _j ► _ í.j_ a__ _ 1 19 f * f » -P—p ------ y— — ------

-9 0~ 3 Lao-fren-da hu-mil-de, Se-ñor Je - su-crisolo, De, mi co*ra-zón. Yo sé que tras e*llas Cual Pa-drea-mo-ro-so Tú ve-las por mi. Re * ci-bees-te can-to Mez-cla-do con Ilan-to, Y mi co-ra-zún.

A rran g em en t @ C o pyright, 1 9 ó 4 , by G eo rg e P. S im m onds. U sado con perm iso .

í Latin American melody GRATITUD from El Himnario, 1 9 6 ^; also in Himnos de la Vida Cristiana, 19^7 * No* 3^1*

88 ST. THOMAS

NHP

YORKSHIRE ST. FLAVIAN (John Day's Psalter 1563) DUNDEE

NHP

HVC

HE HE

HE HE HE

From the Geneva Psalter OLD HUNDREDTH DONNE SECOUR TOULON (OLD 124th)

HVC

O ESCA VIATORUM OLD 134 (ST. MICHAEL) FREU DICH SEHR

NHE

HE CC CC

All of them are also in Cántico Nuevo»

ST* ANNE and

ST, THOMAS are used for paraphrasis of the Psalms * The tune MARTYDOM is used for six different hymnst and the tun© DUNDEE from the Scottish Psalter of 1 6 x5 , is used for five different hymns* Perhaps this is because of the common meter of the tune, wich can be adapted to many of the 8* 6* 8* 6 * meter of many of the hymns• Other Psalm tunes less frequently used in the hymnals but included at least once are the following, with the original source given« BANGOR *SOUTHWELL

(Scottish psalm tune) (William Damon's The Psalms of David, London, 1579) TALLIS CANON (The Whole Psalter, London 15611567) OLD 124th (THOMAS ESTE PSALTERY, 1592)

In Cántico Nuevo we may find: SERUG

(European Psalmist, 1872)

ST, ANDREW

(Tansur Coll*

"New Harmony of Zion")

HE H HE CC

89 ♦WHITE HALL

(Henry Law** for Psalm 8 )

WINDSOR (Damon Psaltery, 1591) WINCHESTER ODD (Este’s Psaltery) ST* MATHEW ♦ROCKING-HAM NEW 113th

(Supplement to New Version of Psalms, 1708) (Supplement to New Version of Psalms, 1708) (William Hayes)

CAITHNESS

(Scottish Psalter, 1635) ♦ST, MAGNUS (Jeremiah Clark) PSALM 138th (Heinrich Schütz) BEDFORD (William Wheall, 1723, for Psalm 84) ST. STEPHEN (William Jones, 1789• for Psalm 2 3 ) Those marked with asterisks are used in Spanish for metrical versions of the Psalms• As the preceding list shows, most of the Psalm tunes come from the English and Scottish Psalters, The best known of them are the Scottish Psalters of 1615 and 1635? the Whole Book of Psalms, collected in the English version by T, Sternhold and J • Hopkins, known as Old Version, 1562*

It was published as John Day*s Psalter, 1563? Daman

Psalter, 1591? Este Psalter, 1592 and New Version of Tate and Brady, in 1691 (New Version)» To distinguish the tunes of the 1 5 6 2 version from the new version, those from Old version came to be known with prefix OLD, The Genevan Psalm tunes One of the most important characteristics of these Psalm tunes is the metric variety.

While Sternhold in the

English Psalter almost used only the ballad meter (8 , 6 * 8 • 6 ., originally 14• 14 or 14. 14• 14. 14,) j Genevans used about a hundred different meters.

Calvin*s first Psalter

with music was published at Strassbourg in 1539, consisting of 18 Psalms by Clement Marot*

Later on Loys Bourgeois set

to music some others by Marot, and published the Clnquente Pseaulmes in 1547*

He did his last edition in 1551 with 83 Psalms.

Another edition was done in 155& with the additional metric version by Theodore Beze• The Genevan Psalter was completed in 1562 by Pierre Dubuisson, who succeeded Bourgeois as Cantor in St. Peter Church in Geneva.

A four-parts edition

of the Psalter was published in 1 5 6 5 hy Claude Goudime}., although Calvin insisted on the union singing of the Psalms at the liturgy. Goudimel1s harmonizations were more accepted than Bourgeois * ones• These French metrical versions of the Psalms have being translated into more than twenty languages and dialects. The meters are mostly iambic with trochaic variations.^* About the musical significance of Bourgeois1 harmonizations , Routley states that; ..,”he is the architect of the modern hymn tune because he anticipates the modern principle of harmonic melody, melody whose pivot is the common chord.* 23 Cántico Nuevo is the only hymnal of the ones used in Puerto Rico and perhaps in South America, which gives a large amount of Genevan Psalms with the Marot and Beze versions translated into Spanish with original music from the Reformed Psalters•^

The original music version has a

For the historical information and commentaries of the tunes we have consulted The Music of the French Psalter of 1552 by Waldo Selden Pratt? pp* ^5-^^ * 2Erik Routley, Op. cit., p. 33* 3

Some of these tunes were taken from the French hymnal "Lounge et Priáre11 of the Protestant Federation of France. In 19^7 the Editorial Foundation of Reformed Literature, Rijswije (Z,H.) published an experimental edition, Libro-,de Alabanza which consists of 19 Genevan Psalms in Spanish with the melody only. In Mexico, the Reformed Presbyterians included some of these in their hymnal Cantos Bíblicos.

91 rhythmic design consisting of a whole pulse, two-half pulses , a double pulse for closing notes and a syncopated pattern J J J

for variety.

Most of them use the

1/2 time signature• An example is given in the next page• Following is a list of the Genevan Psalms in CN, using the tune name given, which in most cases are the first words of the original Psalm version in French. 1.

XI faut grand Bleu (Psalm 138) Boys Bourgeois based it on a secular chanson.

Mon Dieu, raon Dieu (Psalm 22) Tune by Bourgeois. Used for a hymn in Cántico Nuevo.

Dieu tout puissant-Boys Bourgeois Originally for Psalm 8, but used in CN for a hymn by B. Tersteegen and for the Genevan version of “The Magnificat».

Seigneur, qui vois la peine (Psalm 6) boys Bourgeois The same tune used in HE as 0 ESCA VIATORUM

Aux paroles-Boys Bourgeois (Psalm 5) In the doric mode• a secular chans on.

First phrase perhaps from

Seigneur, ,1e n 1ai pas (Psalm 31) Boys Bourgeois In A minor with a ¥ ending.

Coniine un cerf (Psalm k 2 ) Boys Bourgeois In CC appears as FREU DICH SEHR. No time signature is given because of the constant syncopation.

Re 1veille toi (Psalm 33) Melody by Boys Bourgeois and harmonized by Claude Ghudimel, Dorian mode.

LlOmnipo.tent Originally for Psalm 110, Tune by ^Bourgeois used in CN for a new Batin American hymn, "Danos tu pan, Señor»•

Genevan metrical psalm and tune in Cántico Nuevo» 1962, Salmo 6 C le me nt M aroc . 141)7-1314 Valentin C omsart , 1603 - 1675

Tr. D,

Seigneur, (¡ui uois la peine, 7 7 6 - D

Loyn Boi-rurois, h- 1510- h. 1561

Moderada

1- , ñor no me 2. fen pues mi - se 3- £ - tér - no Dios

' re ri de

- j>ren cor gra

das, día, cía,

.. . J— J iJ— J i J .i-J-

"^r- r

f=*=

J-

j = Ej = t Ni en tu fu . ror me a-Fli - jas: Ya que en mi gran mi - se * ria Di rí • ge a mi tu ros - tro

A - plá - ca • Me a -co - jo a Y cal- ma

J-

J J

P V i ^ .^

-J-

' V--- Jt

En tu sen - ten - cia jtis Mis hue .sos se con • mué No nbs - tan ■te mi de 1¡

nor. vor, mir.

.- r

3=^

FF^F

J i

No se * as Mi es . pt - ri Por tu mi -

- ca - ven, - to,

-----J-- —■ <------ U----h*— íJ ^■Ac-1 " !u>..^— ..r |i— -ii-----a L ...i ii— im—.... ir —p i—f1---------

se - ve tan cur tu se se - Ii - cor

r Cual

r i

soy me • re inie-do y de Do Con - cé - de - me

ro. ba dia

J- ^ A

ce pa vi

J rJ-J---- J

J- J_

vor. vir.

-J.. ___L

'+lS

¡^r r dor.

-£----- ~s— _— L¿?—

— tz-------- ---fe-ti—j®— p—

te, Se tu fa . mi ge -

Original iform of the melody as quoted by Erik Rout ley in The Music of Christian Hymnody, p. 200, 4*r4 4'Tt* &

4 P * PJ 22

SJ?b

c r-^

O -O

22 Zt

~pp

£ CJ

£7

^ T^

10*

Donne S e c o u r s ~Orinitially for Psalm 12,

The version

given in C N is metered in Common Time and used for the h y m n 11,

"Hope

of the

Old 1 2 4 th (TOULON)

World” ,

O r i g i n a l l y f o r P s a l m 124,

E n g l i s h and S c o t t i s h P s a l t e r s u s e d it f o r the same Psalm. In C N it is used f o r a h y m n and it is m e t e r e d in 2 t i m e .

12.

0 Dieui~Ce*st dans ta Sion

13*

Psalm 65* Toys Bourgeois Old Hundredth-Loys Bourgeois^ O r i g i n a l l y fo r P s a l m 134'k*1, It was u s e d in B r i t i s h P s a l t e r s f o r P s a l m 110, T w o v e r s i o n s are given* The m o s t use d in S p a n i s h h y m n a l s is the one in Q u a r t e r n o t e s . CN g i ves a l s o the one w i t h h a l f n o t e s *

In m o s t of the h y m n a l s the tune is u s e d f o r a d o x o l o g y (text a d o p t e d from T h o m a s K e n ) e x c e p t in H E and H w h ere it is u s e d also for W i l l i a m K e t h e *s v e r s i o n of P s a l m 100, 14,

Señor de lo P r o f u n d o C l a m o -» O r i g i n a l l y fo r P s a l m 147• Th e m e l o d y is from C a l v i n 's Psalter, p u b l i s h e d in S t r a s s b o u r g in 1539* T h e or i g i n a l p h r a s e s order is A B A B C ; in CN, A B A C , U s e d f o r a f r a g m e n t of P s a l m 130, D o r i a n mode *

15,

Ml C o r a z ó n - O r i g i n a l l y f o r P s a l m 140 (L. B o u r g e o i s ) T he v e r s i o n in CN is a l t e r e d in m e l o d y and meter, p r o b a b l y as it was u s e d in B r i t i s h P s a l t e r s , N o w it is u s e d for a h y m n b y Gonzalo B á e z - C a m a r g o , from M e x i c o ,

xn some h y m n a l s as N H P , H V C a nd H G w r o n g l y a t t r i b u t e d to G u i l l a u m e Franck,

the

tune

94 16.

Old 134th (st. Michael) Originally for Psalm 101 by Bourgeois♦ It was used in British Psalters for Psalm 13^* William Crotch revived Its use in England (1 8 3 6 ) in the very distorted form used in CN and most of the hymnals.

First phrase from secular chans on» IS,

Je ChdTnterai» Seigner-Originally for Psalm 8 9 * u Used in CN for the Benedictas•

According to Pratt , in many of these Psalm tunes there is evidence that Burgeois "made use of many first lines of secular chansons t f olloxved by an independent develop ment , ...this use of well known motto lines * being a common practice of the time". 4.

Chorale melodies

Chorale melodies were unknown to most of the hymnals t except for the use of EIN PESTE BURG, PASSION CHORALE and ROSA MYSTICÁ.

Before the publication of Cántico Nuevo in

1 9 6 2 1 only Lutheran and Episcopal hymnals used more chorale

tunes than the other hymnals»

Cántico Nuevo introduces them

to non-liturgical churches« The following are used in some new hymnals used by evangelical churches: LOBE D E N H E R R E N

LASST DNS ERPREUEN

H H

ELLACOMBE

PASSION CHORALE MUNICH

H H

HVC

EIN FESTE BURG

H H H

HVC

ST. THEODULPH DIX

HVC

Most of the chorale tunes are used with the original German text translated * but many others are wedded to different texts, according to the practice in the English and American hymnals.

For example, the hymn "Mirad al

Salvador J esd s " , known with the gospel tune by Silas Vail (HVC $50) appears in CN with the tune ACH GOTT UNI) HERR, harmonized by J . S * Bach * In CC the well-known gospel song "A los pies de Jesucristo" is wedded to the tune DURCHBRECHER from the Preylinghauaen Hymnal,

Some other examples of this

practice in Cántico Nuevo are: NEANDER-for ’’Del Cielo Descendió" (Cennick-Wesley) CRUGER-for "Oh pan de Peregrinos" (R» Palmer) EISENACH-for "Oh profundo Amor" (T. Kempis) HEINXEIN, AUS DER TIEFE-for "Padre puede haber perdón" (V. Mendoza) O MENSCH SIEH- for "Perdón oh Dios" (J. G. Whittier) SOLL1S SEIN-for "Señor Inspira" (i. G* Rodríguez) CHRISTUS DER 1ST MEIN LEBEN-for "Venid a Mí" (H. G. Jackson) Culto Cristiano and Himnario Episcopal follow also this practice.

Many of the chorale tunes in CC are used for

more than one hymn; even to five, as it is done with the tune VALET WILL ICH DER GBHEN (ST. THEODULPH) Chorale melodies included in these hymnals come from a very wide span of time, since the pre-Reformation melodies adapted as hymns by the Lutherans, like the following; CHRIST 1ST ERSTANDEN IN DULCI JUBILO

ALLEIN GOTT IN DER HOH ES 1ST DAS BEIL 0 WELT ICH MUSS DICK LASSEN and chorale melodies from other countries after the Reformation period ANGELUS O CHRISTLICHE HERZEN LASST MICH GEHEN CASWALL (F. Filitz, 1807-1876) SCHONSTER HERR JESU Following is a list of the most-used hymns in Cántico Nuevo, Culto Cristiano and Himnar1 0 Episcopal, *STUTTGART (C. F# Witt, l660-17l6) WACHET AUF (p* Nicolai, 1556-1608) *HEINLEIN or AUS DER TIEFE (Martin Herbst, 1 6 5 A-I6 8 I) *ST. THEODULPH (M, Teschner, 1584-1635) *HERZLIEBSTER JESU (Johann Crüger, 1 5 9 8 -1 6 6 2 ) *PASSION CHORALE or O HAUPT VOLL BLUT (Hans L. Hassler) *NUN DANKET (J, Crüger) *EIN FESTE BURG (M. Luther, 1483-^1546) ALLEIN GOTT IN DER HOH (Publ« Leipzig, 1539) *ELLACOMBE (Publ. Würtemberg, 1784) *LASST UNS ERFREUEN or VIGILES ET SANCTI (Colonia, 1 6 2 3 ) ^MUNICH (Meiningen Gesangbuch, 1623) *JESU MEINE ZUVERSICHT or LUISE (Publ. Berlin, 1653) *EST 1ST EIN ROS ENTSPRUNGEN or ROSA MYSTICA {Praetorius) The ones used in Cántico Nuevo and Culto Cristiano are: GOTT IS GEGENWARTIG or ARNSBERG (J. Neander) ¥IE SCHON LSUCHTET (P. Nicolai) LOBT GOTT, IHR CHRISTEN (Nikolaus Herman, l480-156l) VOM HIMMEL. HOCH (M. Luther)* 1 ■1

T h o s e m a r k e d w i t h a s t e r i s k s are i n c l u d e d i n t h e s e three h y m n a l s • T he H i m n a r i o M e t o d i s t a ♦ 1974 includes a v e r y good s e l e c t i o n of c h o r a l e s , See N o s . 242, 2 3 8 , 213,

2, 11, 1 6 , 18, 2 9 , 3 2 , 1 3 0 , l W , 2 1 6 , 279. 309, 3 2 0 , 3 6 2 , 3 7 0 .

415

Cristo S e a la S eñal St.MMOL.CK. Jr>72 - I73y C. ! !. S c h m i d t . ¡ ‘>¡7

[íf-NJ \ \ t I \ Ti

Max

i SE

Jesus soil d ie L o s u n g sehi, 7H\ 7 S . 7 7

Arm. ¡. S liven, Ifidá- !7ú(i

A turna*U*

-- ¿-- j.

2. F.n

MOltl

bre

Ij la do

M. £1.

de!

imm

sal

i . Cris * lo

1 0'

-2 T.~—!9no si bio

so Jo va

- ñal Cuan -do un ■ sús Núes - tras - ción,Y de

4 j _ j

tPSi

eran pue -

pui> te

■ ta. Cris ■u> el nom - bre tras o1 •mos, Si é l nos ^uí ■ a con iti * ia; Del ho - ^ar su • pro * mo

nuc - vo sen • das núes - tro g

, „ . _

U ü

cual La con luz A su don. Que nin -

_a 1

---# —

J-4

-{—&-

td-tf

lian io'> pa

-P-

■ ;a es- tan Y ■ plan -dor Nos ■ rn lea!. S e.

r— a

por a a

E f i One of the Bach *s chorale harmonies from Cántica Nuevo.

Notice the interesting movement of the

bass part

98 I.:',-.

Martin MVtilW. Trti'i, ;.-.r ,r ,r,., I;,i*,ti^.i i

I. EIN" FEPTE B O R O , S 7,S 7. S 6. ti fi.7, ¡

:T i

' í'RtMERA

-g- jj; * ■y 1 1 > I Con fu - ria y con ¿Sa - béis quién es?

Martin ¡,¡¡¡<Tn. US.tiSni.

TONADA

p—p "S p ! 1 a-fán Jn-stis.

^ ^ 5 p i5 J f5 r£Í- P ^ 3" i i I I • 1 i t i f t A -co-sa-nos S.\*tan: Por ar-mas dr-ja v er El que ven-civen !a cruz, Se - ñor de Sa-ba-ot,

r <

Aun ''i están demonios mil Prontos a devorarnos. No teme remos, porque Dtos Sabrá aún prosperarnos.

Que muestre su vigor Satán, y su furor Dañarnos no podrá; Pues condenado es ya Por la Palabra santa.

This is the original version of the Ein* Feste Burg as it is giVen in Culto Cristiano»

Notice the

absence of time signature and the up beat beginning of the phrases.

AUS TIEFER NOT (M. Luther) EIN FESTE BURG

(M.

Luther)

HEUT TRIUMFHIEHET GOTTES SOHN (B. Gesius, 1555-16X3) CHRI3TUS DER 1ST MEIN LEBEN (Melchior Yulpius, 1560-1615) LIEBSTER JESU, WXR SIND HIER (Johann R* Ahle , 1625-1673) ZU NIMM DEN MEINE HANDE (Friederich Silcher, 1789-1860) LOBE DEN HERREN (stralsun Gesangbuch, 1 6 6 5 ) ES 1ST GEWISSLICH (Vittemberg, 1529) MACHT HOCH DIE TUR (Publ# Halle, 1704) 1ST E R S T A N D E N (Witt e m b e r g , 1533) MEINEN JESUM LASST ICH NICHT (Johann Ullch, 1634-1?02) CHRIST

♦ACH GOTT UND HERR (Neu Leipziger Gesangbuch, 1682) The following deserve to be mentioned, although they are included only in one hymnal: NUN KOMM DER HKIDEN HEILAND WIR GLAUBEN ALL

CC CC

(Wittemberg , 1524) (Langenbls, 1742)

WAS MEIN GOTT WILL

WERDE HUNTER

FROHLICH 30LL

(Publ. 1529) (Johann Schop, 16001665) (J. Crüger)

SCHMUCICE DICH EISENACH

CC CN

(J . CrtSger) (Johann Herman Schein, 1 5 8 6 - 1 6 3 0 )

ALLE MENSCHEN MUSSEN STERBEN

(J, Hintze, 16221702)

GELOBET SEX GOTT

(M, Vulpius)

♦SALZBURG EIN KIND GEBORN

CN CN

(J , Hintze) (German carol, igth century)

♦ICH STEH AN DEINER KRIPPE

(Joseph Klug, 1535)

*0 GOTT DXJj FROMMER GOTT

(A. Fritsch, 16291701)

♦DU MEINE SEELE SINGE

(B* Gesius)

WEIMAR or *JESU, KREUZ, LEIDEN UND TOD

(M. Vulpius)

100 *JESU SOLL DIE LOSUNG SEIK

*DAS m JOEBORNE KINDELEIN

VER NUN DEN LIEBEN GOTT

(Anon,) (M. Vulplus)

(G. Neumark16211681) Those marked with asterisks are given in CN with the harmonization by Johann Sebastian Bach.

The only Bach*s

harmonizations in Culto Cristiano are HEINLEIN or AUS BER TIEFE and PASSION CHORALE« Two other harmonizations by Bach in CN are POUR REPONDRE and SANCTUS . Many of these chorale tunes have their original rhythm altered by the substitution of even note values for the different combination of values in the original• There are few which are given in CN and CC with the original rhythm.

The short up beat at the beginning of each phrase

is preserved in VGM HIM MEL HOCÍI (CC), AUS TIEPER NOT (CG, CN), EST 1ST DAS HEIL (CN).

This is also done with one

version of BIN PESTE BURG (CC, 1st tune) in which the rhythmic urgency of the Lutheran tunes is evident with the half note values. --d~~ - d ~~d _

- J -

. J .--

---- —

------

Other examples of this kind of preservation are MACH HOCH DIE TUR (CN, CC ), ALLSIN GOTT IN HER IIOH (CC, CN)# HER NUN DEN LIEBEN GOTT (CC ), AUP, AUF, MEIN HER2 (CN)# CHRIST 1ST ERST ANDEN (CN, CC) , 1’ /ACHET AUF (CC) , VIE SCHON LEUCHTET (CC) , NUN BITTEN WIR (CC)f ÁCH GOTT UND HERR (CC) , st and the alternate 1 tune version of PASSION CHORALE in CC. Some of them are in 6 time to make possible the

net

measure of the quarter a half note values , like in the rhythm of PASstoN CHORALE.

% <d— d —d —d —J - \-d d d -\-d - d —d —JOthers do not have any time signature, although the 6 is t

suggested by the bar lines, except in the CHRIST 1ST ERSTANDEN and BIN PESTE BURG in CC in which no bar lines

101 are given* EXN PESTE BURG (See example in the preceding page) CHRxbi 1ST ER STANDEN -¿ji— 5.

J J JyJ>_

English tunea

Under this heading w© ax*e including the Wesleyan and the so called Victorian tunes. It should be said that many of the plainsong tunes and chorales also cam© through English arrangements and adaptations. Prom the Wesleyan sources we have three tuness WINCHESTER NEW (CN, H E § CC)# ST. BRIDE by Samuel Howard (HE, CN) and the well-known MOSCOW or ITALIAN HYMN by Felice de-Giardini, used in all hymnals for a hymn by Vicente Mendoza, 11Oh Padre Eterno Dios"• In Himnario Episcopal9 measure 13 is given in its original repetition of the same note in the melody. All these tunes are from -f-Vj the 18 * Century. One of the most important Roman Catholic hymn-tunes composer of this century in England was Samuel Webb© 9 who composed MELCOMBE (CN ) p ST. THOMAS (CN 9 HE) and CONSOLATIONy also called ALMA EEDEMÍPTGRX5 (HE , NHPt CC). The Oxford Movement of the 19 Century in England contributed to the enrichment of hymnody. It was born of the conviction that the Church of England must re-think and re-assert its authority as the repository of Christian doctrine, the keeper of public conscience and the chosen channel of the Gospel to the new England. They gave a new interpretation to the history of the \

Church t revised the attitude of reserve toward the* Erik Routley, Op. Pit, p, 115.

------- .------

102 Reformers of the 1 6 Century, an appreciation of respect for the medieval church, and emphasised the importance of liturgy* They looked back to the Greek and Latin hymns , and to the German chorales, but refused in some way the florid and popular hymnody of the Methodism. This also opened the way for a new type of hymn that is known in hymnology as ,rVict or ian tune” • The hymnal that took these ideals was Hymns Ancient and Modern edited for many years by William Henry Monk. The first music edition was in 1861 and it went through many revisions until the edition of 1950. This hymnal influenced other English hymnals and also American and Latin American hymnbooks• This influence is evident through the many hymns translated and adopted i'roni this hymnal into ours, even in the most recent ones as Cántico Nuevo and Culto Cristiano« Perhaps we have had in our hymnals some of the best hymns of this type. In part, we share the opinion of Austin Lovelace, who states: It has been fashionable for many years to condemn all Victorian tunes of the nineteenth century but to do,is musically dishonest. While it is true that their tendency toward saccharine melody and harmony is typical of ”the f 11 ght frooi reason, and from the tensions and controversies to which reas on leadsn, it is aiso true that some of their tunes are eminent by singable and right for the texts which they serve.1 The best represented composer of the Victorian group in our hymnals is John Bacchus Dykes (1823-1876).

The

following are the tunes most used. DQMINUS R¿GIT ME MELXTA

(CN, C C , HE, K) (C N , H , HE)

BEATITUBO

(H, HE)

Austin C • Lovelace, Companion to the Hymnal« p« 48.

103

VOX DILECTI

(h , (h ,

he, c c , c n ,

nhp , hvc)

ST.

(H,

H E ,C N , CC,

NHP)

NICEA

(in

all the hymnals)

LUX BENIGNA

( nhp , h , h e , hc ) ( nhp , h e , h ) ( cn , h , he ) ( cn , h e , h , cc )

ST,

DROSTANE

AGNES

ST.

SYLVESTER

ST.

OSWALD

HOLDINGSIDE

cc , cn , he )

Besides these, there are eight more tunes among C C , CN and HE•

Nuevo Himnario Evangélico included 13 of his tunes•

Henry J ♦ Gauntlett (1805-1876) who was the most prolific of the Victorians is known in our hymnals almost by two tunes, ST, ALBINUS (CC, CN, HE), and IRBY (H, HE). Four other of his tunes are in other hymnals, ST, FULBERT, ST. GEORGE, ST. ALPHEGE and LOAD AL GRAN REY. Samuel Sebastian Wesley (1810-1876), according to Routley, the "ablest church musician of the group", was the composer of the well-known AURELIA (CC, CN, HE, HVC, NHP and H ) , which is used for five different hymns. WRESTLING JACOB and SERUG, two of the best from Wesley, are in CN. The famous English operetta composer Sir Arthur Sullivan (l84l~lROO) was the composer of one of the most used hymns in Spanish, S T • GERTRUDE ("Firmes y Adelante"), which is included in all hymnals. LUX EOI is in C C , H, CN, HE % and HOMELAND, in CN and H E • Included only once among the hymnals are eight more tunes; one of them, ANGEL VOICES (CC), which is considered by Routley "secular and vulgar in its rhythm". The rhythm is intricate for congregations not familiar with the syncopated rhythms, but not in Latin America where this kind of rhythm is characteristic of the popular music•

10** Austin C • Lovelace, a contemporary hymnologist has softened the syncopated rhythm with the adaptation of* the tune in Í2 meter for. the Methodist Hymnal . 19^4. ^2

——

...___ ..—&

— J— ^— j—^— ¿J-

— #1— 0 — J— 0-

Joseph Barnby (I 8 3 8 -I8 9 6 ) is known mostly for S A R U M or P R O O M N I B U S S A N C T I S ( C C , H E , H ) , P E R F E C T L O V E or S A N D R IG H A M

(HE,

CC)

and M E R R I A L

and

HVC,

CN)

CC,

CN),

S ix

LAUDES

D O M IN I

(H ,

more tunes are among

CN,

HE,

C C , CN

William Henry Monk (1823-1889) arranged two well-known tunes: HURSLEY (HVC, HE, NHP, CN, C C , H), from a German Catholic chorale:

"Grosser Gott wir Loben dich", given in

the original form in Cántico Nuevo♦ The other is VICTORY (HVC, HE, NHP, CN, CC, H) adapted from a Gloria Patri by Giovanni P. da Palestrina. The Alleluias were added by Monk. In these same hymnals is also included the best-known tune, EVENTIDE.1 MERTON and UNDE MEMORIES are in HE and CN; CORONAS, in HE, CN and CC, Seven more tunes are used in other hymnals; one of the WALTHAM , which probably is one of the best melodic lines of Monk. Henry Smart (1813-1979) composed REGENT SQUARE, included in almost all hymnals, and LANCASHIRE (CC, C N , H, HEO and REX G L O R I A S (CC, CN) which are melodies full of energy.

Six more tunes are used in CN and CC,

Edward J , Hopkins (1818-1901) is known for ELLERS (CN, CC, H) and ST. ATHANASIUS (HE). EPIFANIA, CULFORD, and GRAND ISLE, (used for a children's hymn) are found in Cántico Nuevo.

An interesting version of this tune with an altered rhythm is found in Misa y Juventud of 1970, No, 81, This is a Roman Catholic publication. Example given in next page.

i . jvi. westruj), 1 8 )7 ■19ÜV 'N o

1. 2. 3. 4.

illia m

H. Monk. 182*3 -188‘ J

muv le n to

r ñor loz pre do

Se Ve Siem Cuan

-r~ je

la la cia jos

SÚS,

va gra o

se tu mis

~ r T ~

luz del vi - da he yo cíe - tren

sol con me a

se su a nes • la

fue; fán: ter; luz.

rW~rp— ---- ¡----------y ----- j-.— che ría, tro te

O' nr “T " — r~^ r sé; con . mi tú rra; cíe go pa . sa . rán; en • sue - ños sus ten - ta • dor ven . cer? de al pue tu cruz; de ría la mí

La Su ¿Quién Se al

no glo o ce an

No hay

o . tro am ' Pa dan - za y muer . só -lo en Ó som sen las

-t£L ET

f=íf Mu Tan Pa

ro. te mí bras.

ten. ve guí triun

pues com o en de a en - con fe al fin

con so . li - ’do da Y al des va ben di - to Sal sé, Con mi g° Se -ñor. con mi sol, En som bra y Je - sus, con - mi go en vi - da y muer-

‘la va g° te

pa . sión, rre - dor; tra - ré; la fe:

J—W — ción. dor. sé. sé.

ir A - mén.

Q U E D A T E EN MI

Si en el combate Tú nos abandones ei enemigo nos dominará que tu poder nuestro valor encienda: danos la gracia de vencer por Tí.

Y cuando al íin de nuestro incierto vi: nos llames Tú al encuentro eternal ayúdanos oh Dios en aquel día, danos la gracia de llegar a Tí.

An interesting arrangement of EVENTIDE found in Misa y Juventud. edited by Joaquín Sánchez, S. J #>Editorial Pax, Bogotá, Colombia, 1970, p. 1^3. melody at the top of this page.

Compare with the original

106 George Elvey (1816-1893) Was the composer of ST. GEORGE WINDSOR, which is found in all hymnals for a Christmas hymn by Juan Bautista Cabrera, "Gloria a Dios en las Alturas", It is ais o used for other hymns* DIADBMATA is also a well*known tune included in HE, HVC, C C , C N . Other Victorian composers who must be mentioned are Sir John Goss, composer of LAUDE ANIMA (HE, CN). This is known as PRAISE MY SOUL in Culto Cristiano and ARMAGEDON in H and CN. Sir John Stainer has EVENING PRAYER (CN, C C , II) MAGDALENA and GLORIA • These and two "Amens" are found in El Himnario.

One of the worst examples of the

Victorian age, according to Routley, is IRA JUSTA or ST, ANDREW, by E. H* Thorne.

This one is included in CN,

STEPHANOS, by Henry Baker is found in almost all hymnals, 6.

American (U .S .) tunes Besides the large amount of gospel song tunes of the

last part of the 19

Century and early in the 20 u

Century,

we have also the traditional American hymn tunes. The classic ones from the early American hymn-tunes composers are LENOX (NHP, H , CN) by Lewis Edson (1748-1820); CORONATION (H, HVC, NHP, CC, CN) by Oliver Holden (1765-1844), and WINDHAM (H, NHP, C N ) by Daniel Read (1757-1836), The first two were fugal tunes in which there were alternated parts, one of more voices being silent for a time and then each taking up a line and repeating it in succession. Some of Lowell Mason1s (1792-1872) tunes, as ANTIOCH, were also of this type, Mason was a very prolific composer and arranger of hymn tunes• Most of his tunes follow the English model th 1 of the 19 Century hymns. The most used of his tunes in our hymnals are: SABBATH MENDEBRA3 DENNIS MISSIONARY HYMN WESLEY HAMBURG AZMON

HARWELL

WORK SONG BETHANY OLIVET LABAN HEBRON ANTIOCH

107 UXBRIDGE

(ON),

w h i c h are hymnals

ZERAH

in C u l t o C r i s t i a n o *

was v e r y strong.

15 o f hi s t u n e s . Catholic

( NHP)# ARIEL H is

(HVC) a nd

o t her f i v e

influence in our e a r l y

Nuevo Himnario Evangélico

B E T H A N Y is

tunes

included

a f a v o r i t e o n e , e v e n among Roman

circles,

Another early composer, very well known in our Spanish hymnals is Thomas Hastings (1734-1872), His tunes TOPLADY, ORTONVILLE, ZION, NEW HAVEN, RETREAT and ASILO are used especially in H , HVC, NHP and some other hymnals• The best hymn-tunes composers of the 19

Century are s

Simon B, Harsh (.1798-1895)

MARTYN (almost in all hymnals) Marcus Wells (1815-1895) FAITHFUL GUIDE (almost in all hymnals) William F. Sherwin (1826-1888) BREAD OF' LIFE (almost in all hymnals) Louis M # Gottschalk (1829-1869) MERCY (in all hymnals) George Webb (1803-1887) Ithamar Conkey (13X5-1867) William Walter (1 8 2 5 -I8 9 3 )

WEBB (in all hymnals) RÁTHBURN (HE, H, C C ) FESTAL SONG (H, H E )

GORDON (H, HVC, C N ) Adoniram Gordon (103^-1895) Charles C . Converse (1832-1918 ) CONVERSE (in all hymnals) Spencer Lane (1843-1903) PENITENCE (almost in all hymnals) George ¥, Warren (1826-1902) NATIONAL HYMN (H, HE, NHP) Henry S. Cutler (1824-1902) ALL SAINTS NEW (Hf HVC, GN) Joseph A, Jeffrey (1855-1929) Joseph Yates Peek (1843-1911) Arthur Messiter (1834-1916)

ANCIENT OF BAYS (HE, ON } PEEK (H) MARION (HE, H)

An interesting fact is the I n d u s si on of a tune by Horation Parker (1863-1919) in Cántico Nuevo, called PARKER.

108

Andrew Law, T h e R u d im e n ts o f (Cheshire [Conn.]: William Law, 1783), p. 16, and

Lewis Edson (1748-1820)

M u sic

S u p p le m e n t to T h e A m e r ic a n Singing B o o k (NewHaven: Daniel Read,

1787), p. 1

isisgsg j

Ve.

tribe*

A * djm

Join,

With

hcav'n and

earth and

teas,

vine

your

Ctc -

a ■ u>Ci

plane,

it .

ho * ly throng Of

an - gel f

an -

Is bright, Vc

. in

ly throng Of

W ’Oflilj

throng

( .r r

ln> -

throng

an ■ cel* bright,

tiwln.

an * gd* bright, In

worlds of light,

Be *

yin

the

jong.

-J J ’

l>« ■ tv tlm'iiB Of

jn ■

titsjln. In

worlds

*lk - yin

light.

the *ong.

Thomas Hastings, C h u rc h M e lo d ie s (New York: A. D. F. Randolph, 1858), p. 230 (no. 703) t .. r

v -r-r

triho of A dam JoUl. .-■y J - - j ~ - A —*1—r J— Ife

of * fer notes

ho* ly throng

•A H •thJ— r . r~ * T -f~- r - f * lt> yeiif L,r a - im’> praiid. J 1 A A J. Aho ’ ly throng

Iso -

throng

gets

brighr

an - gclj £<Ij bright

worlds

light,

an - geL bright, Ye

angel* bright, Vc

Iso* ly thtong

The well-known LENOX as it appears in the indicated books* Notice the melody in the tenor part in the top example* These examples are taken from Stevenson, Robert M* , Protestant Church Music in America, New York, W* W* Norton, 1966, p, 6 7 *

109

Four Christmas hymn tunes were composed by t Lewis Redner (1830-1908) (almost in all REDNER hymnals) Richard S. Willis (1819-1900) (almost in all CAROL hymnals) (almost in all MULLER James R, Murray (18^1-1905) hymnals) John Henry Hopkins (1820-1891) KINGS OF ORIENT (H, HE) MÜLLER was for a long time, erroneously attributed to Martin Luther and to an unknown Carl Muller, Four gospel-song composers wrote some tunes in the traditional hymn tune fashion! William Bradbury (1816-1868) WOODBURY or "Just as I Am" OLIVE*S BROW SWEET HOUR REST Robert Lowry (1826-1899) SOMETHING FOR JESUS William Wr0 odbury (1819-1858) DÜRRNANCE SELENA

(in all hymnals) (h , c n ) (almost in all hymnals) (CC)

(n h p , CC ,

(H,

hvc,

)

NHP)

(CC, CN)

George C , Stebbins POLLARD or ADELAIDE

(H, HVC, NHP, C C , C N )

EVENING PRAYER

(NHP, C N , H, CC)

Most of the 2Ó "* Century tunes from U, S, in our hymnals are of the gospel song type, except for a very few; among them, two tunesjby Calvin Laufter (187^-1938) included in El Himnario,

HALL and FIELD, "Jesús Maestro y Señor", and

the choral benediction "The Lox”d Bless You and Keep You”, by Peter C # Lutkin (1858-1931)• Other later composers will be considered under the contemporary composers topic,

lío 7*

Latin American tunea

After the publication of Nuevo Himnario Evangélico in 1914 which included 19 tunes from Mexican composersf there Were scarcely one or two tunes by Latin American composers in ..,Mm following hymnals, until the publication of Cántico Nuevo in 1962* El Himnari & in 1964, and the revised edition of Himnos de la Vida Cristiana of 1967# Mexican hymns in Nuevo H ^^ario Evangélico followed Mason’s type of hymn* Following is a list of the hymns which are included in more than one hymnalincluding five which were not used in Nuevo Himnari o Evangélicoj two of them are recent compositions* MI REY Y MX AMIGO

Vicente Mendoza

LENTO

German Lüders

VEN PECADOR

Modesto González Wesley Flores Valderrama

VALDERRAMA MENDOZA LUDERS AGUAS CALIENTES

Vicente Mendoza German Lüders Ricardo Villalpando

(almost in all hymnals) (almost in all hymnals) (NHE , H)

( nhe , cc) (NHE, HEP)

( nhe , ( nhe ) ( nhe )

cc , hep )

TE LOAMOS

German Lüders German Lüders

BERTA COYOACÁN CRUCIFIXION

Epigmenio Velasco Epigmenio Velasco Guillermo Boomer

( nhe )

VEN A CRISTO GRATITUD PIEDAD

Cosme C* Costa Braulio Dueño Colón

( hm, (h e ,

Marcelino Montoya

(h v c , H) 1964

MIRAD A LOS CIELOS

Robert Leegstra

(cc, CN) 1 9 5 8

CARVAJAL

(

h e

n h e

)

(CC, CN) hep ) hep)

All of them a¿e used for original texts in Spanish, except two which are also used for translated hymns• VALDERRAMA is used for Thomas Ken’s ”Loor a Ti mi Dios”, and COYOACAN

for "Despliegue el Cristiano"• C u l t o Cristiano. German

Both hymns are f o u n d in

Lüders wa s a n a t i v e of G e r m a n y but l i v e d in

M e x i c o f o r a long time*

His best*-known tune,

LENTO,

is %

melancholic one in a m i n o r mode, for a G o o d F r i d a y hymn* Vicente Mendoza

(1875*1955) was a M e x i c a n Methodist bishop,

a u t h o r and t r a n s l a t o r songs.

composed many melodies

Epigmenio Velasco minister,

a nd h y m n t r a n s l a t o r ,

l e a d e t h me",

f o r his

and g o s p e l

own h y m n s *

(1880-19^-0) w a s a M e x i c a n M e t h o d i s t

b e t t e r k n o w n fo r his He

of m a n y w e l l - k n o w n h y m n s

a u t h o r and com p o s e r *

translations

and A c h a r g e

are n ot v e r y a t t r a c t i v e ,

sequence

of m e l o d i c

patterns*

of I Love T h y K i n g d o m " ,

to k e e p I have"*

melodies

His

being very dependent

A n o t h e r M e x i c a n wa s M o d e s t o

González, whose "Ven pecador" is a gospel s o n g for s o l o i s t (baritone or alto) a n d chorus, a l t e r n a t i n g in the stanza and refrain; and Wesley Flores Valderrama, whose tune VALDERRAMA for "Brille o no el Sol" by Joaquín de Palma, is more adequate for congregational s i n g i n g because of its melodic flow* Braulio Dueño Colón (185^-193^) was a Puert Rican composer for piano and ensemble music, who devoted a great deal of his talent to writing school songs* GRATITUD is one of those, with words translated by Manuel Fernández Juncos• Argentina.

Roberto Leegstra, b. 1927, is f r o m

He composed "Mirad a los cielos" in 1958 for

a poem by Juan Burghi, b. 1899•

The hymn was one of the

awarded hymns in a hymnal contest seeking new hymns f o r Cántico Nuevo *

It has a very strong rhythm, almost

martial, repeating the ^ | d & ^ pattern* The m e l o d y i very well constructed, having a good climax in the last phrase with a rhythmic change and reaching the high E ,

y«v-D :^ .f /V

.!1..< ^ '. <5 _____ _* __L.... _iy_. ---- —.-----

112

Another tune by Leegstra , also for a Burghi1s Christmas hynm Is ESTRELLA DE BELEN, another hymn awarded in the Cántico Nuevo contest * In Nuevo Hininario Popular there are hymn tunes by the Mexican composer Enrique T # Uestrup, composed for original poema written by his father Thomas Westrup. These are JESUS TE NECESITO, NUESTROS PASOS, and VERE TU FAZ• There is nothing worthy in these tunes* The best represented composer in Himnos de la Vida Cristiana is Alfredo Colora, from Guatemala•x This hymnal includes eight hymns for which he wrote the music and the words♦

The best known are:

POR LA MAÑANA, MANOS CARIÑOSAS,

and PIES DIVINOS * (See examples on the following pages)• EL QUE HABITA AL ABRIGO BE DIOS is by the Puerto Rican hymntunes composer Rafael Cuna, although his name is not given in the hymnal. The tune is altered with the meter in 6, different from the original in ^ which appeared in the composer’s collection, ”Cuna de vloresV Two other less known tunes by Latin Americans in HVC are MORIR CON CRISTO by José Barrueto, and OH SEÑOR RECIBEME, by Juan Isáis.

In El Hlmnario there are two tunes by

José Arregüín, b. 1918» both in gospel song idiom. The same influence is evident in the Mexican tunes included in Hlmnario Evangélico Presbiteriano.

There is nothing worthy in these

tunes to be pointed out as a significant contribution to hymn tunes• Most of them are in martial rhythms or in gospel song style•

"Seguro se halla el Aprisco” by E • B*

Vargas sounds like a ncorrido”*

The new hyiSmbook Himnos de Fe y Alabanza, of 1 9 6 6 , published by Zondervan Publishing House and edited by Robert Savage includes 31 hymns by Colora; most of them arranged by Savage « More about this will be discussed in the last part of this work.

113 .Juan llurglii, n. IBSíp.

M l [¡AO A LOSCriiLO-S, 12 11,12 13.

Holirrtn I.i'fj'Blra, n. 1P2T.

—fi_[...... „...............

...

4$~~--------¿— —O ------ a ---- J 1. Mi 2. 0 -

riui id

3. G uk - t:id

..... C

-----j---- ----— ------j--J---f - ® —c L .—k -s -----»— vcs - ti - dos' ■ In1 - rni - c a s ;

per - Tn - me-

A c o n t e m p o r a r y h y m n f r o m L a t i n A m e r i c a as f ound

in Culto Cristianot f i r s t published in C á n t i c o Nuevo.

114

Estrella de Belén ¡•Air-li ft tit' H r l r t t , !i> I ! .

11' a n

B u r u i i i . ll lñ ti

Ill I !

i\(l!',KU I O I, I.K H .M K A ,

A! itm.uitw, tranquilo

* if"

1. 2 .

Its I 'll

uc cn -

Ikt id

tic te -

líe* le u , les - u ;i l

,'C

Its -

ire -

ll;t

ti c

Be *leu.

f T T

f —f

Ya A

1<> a in

Y - 't

mm lul

I íJf>S

r In/; t in,

goi.

ijm

p ------

n -.m r*- t? ■ r Yo

(juic* id

lús *

Con

icm

vei

um- bit’ll

por-

ial

üuii ■

bien.

pit1

ni i

C i is ■ io Co /o

A _ A _ ,J _ ,_ j

*•

(,m

i nr

i t1 p to

po lu n

sa l do;

y~A

r;,.

:á z

11 v.i - d m el

m 11n •. d o den !<e

J. jI

MIS.

Ido

1 !‘J

\ id

I’m Su

ill

to t.

■j

-: r

Que IV In

el -

S = d s

I lie n ,

DIO

■i-

f >

ii o ■ n o la / a

( in -

'4,11.11.

R<-\

pm 1

A A r r 1

A‘

-f---

lia I

i.in ■

ifi

la C m /. vi - n a l bit-

a-iuor.

tin Y

(¡lo

K ti un

■ im gin

del

tci - tin m ini

no s;t do

One of the few Christmas hymn of Latin American origin included in our hymnbooks. Cántico Huevo, 1962.

This one is from

115 SALMO 91 AL AMULO DLL ALTÍSIMO

14 Luz K Cuna

Rafael Cuna

Introduce»'»

^-==?Í=l=é El

Rey,

Dios,

mi a - bri - go i n -m o r _a_

IN ín IJiU morL "- U taH l

—r:— p^~~p!^r|^c| fjTCiiEj i - El 2- El 3 - El

que lia que ha • que ha -

Jk m

ÍM

bi - ta al a bi - la al a b í . - ta al a

- yo - yo - ¡;o

(¡e de de

Dios, Dios, Dios.

Mo - ra En sus C icr - ta

r á de su a las se m e n - te se -

JNJ- é ___ A J > d: É ^ E E l E ^ Por s i e m - p r e

ra les - ta quid-,(por do !ud, (su sa

bri bri bri

rá) quíer) tud)

a - ti n - y o ,

De los Mas a Y su

ta el pií:

a -bri-yo

zos (let no von nun - ea

fiel.

vil le» ta dnt mor tan res - ha - la -

d»r. dad. rrt.

Ohyo

Original version of "Al Abrigo del Altísimo", by the Puertorrican hymn composer Rafael Cuna, from his Cuna de Flores» Compare with the arrangement in the following page

116

154

E l Que H ab itak*Á1 A brigo De Dios n Q1

1. 2. 3.

El queha-bi-ta al a- bri - go de Dios El queha-bi-ta al a- bri - go de Dios El queha-bi-ta ai a-bri-go de Dios,

Mo-ra-rá ba-jo som-braadewnor Muy fe-liz cier-ta-men-te ee-rá. Con-sa-gra-do a su vo-lun-tad,

Sue*-p«-ran-zaycaa-tí-líoJeho-vá se-rá,Yensus a - las fe-liz v i-v i-r á . Dios da- rá, con sus án-ge-les, pro-tec-cÍón,Y sus pies nun-cares-ba-la - rán. Pues-to en al- to, sa-cia-do en su pie- ni-tud,De Jfeho-vá go-za-rá la sa- lud.

C oro ...pp"|¿

--------- ------ r^ -1--------

... —

--------- p p -‘ ■ [r “ ------- — Oh, yo quit - ro ha - bi-tar al t

™-------*

a - bri - g o *

de D os,

S ó-lo a-

(= í r~-—

=r$.

----- h

f f

Uí en - con-tra-rc

paz y pro-fun-doa-mor. Mi de - li-ciaes con Ei

9~*

e W

co-mu-nión

dis-fru-tar,

- W

Y por siem-pre su nom-brr a - la - bar.

The hymn Abrigo del Altísimo" arranged by Robert C. Savage as it appears in Himnos de la Vida Cristiana. Notice that no credit is given to the authors * This hymn has been translated to the English by Dennis Byler and published in Festival of the Holy Spirit Song Booh; Goshen College f 1973# P • 3Í*

117

PIES DIVINOS

A lfredo C olom M.

¡^ f 1. Píes di - vi - nos, 2. Pies di - yi - nos, 3. Ved-los frí - os 4. Van lie - van - do 5. i Cuán her - mo - sos 6. Pies di - vi - nos,

pies di - vi - nos, pies di - vi - nos, y des - nu- dos por Ju - de - a y cuán san - tos, pies di - vi - nos,

Pies ''di - vi - nos, pies di - vi - nos Pies di - vi - nos, pies di - vi - nos Ca - mi - n an -d o / ca-mí - nan- do Del ben di - toE - van-ge- lio De Je - sus el Na - za - re - no Ho - ra - da - dos por mi culpa

pies pies por la cuán pies

de de] sin del son sin

di - vi di - vi los cam se - mi ben - di san - gran

nos; nos; pos, lia tos, tes,

=^EBñ Je Re ce a los i

Queen la Quean-duPor las Y cal i Olí yo Nos li -

=r£~C-

iia iü É

f J I ji h. _i ■H— J ---- j---4 . i r )---- gj--- O— --£) )4

cum-bre vie- ron cum-bres, man - do quie - ro bras-teis

del Cal - va - rio por Ju - de - a por los va-lies, del en - fer-mo que a la tie - rra del pe - c a - do . - ___ A

L -3É k -1 á

g i a i A

f í A

los cía - va - ron en la cruz, de- rra- man- do paz y a - mor. por la o - ri - Un de la mar. las tris - te - zas y el do - lor. o - tra vez! gain pron-to del jui-cío e - ter - nal.

i É

Queen la Quean-du Por las \Y eal i Oh yo Nos li -

li -

va- rio de- a va-lies, fer-mo tie - rra ca - do

los cía - va de - rra - man por la o - ri las tris - le ven-gan y del jui -

ron do lia zas

*"t C

cum-bre del Cal vie- ron por Ju cum-bres, por los del en man-do quie - ro que a la bras-teis del pe

ció

en la cruz. paz y a - mor. de ‘la mar. y el do - lor. vez! o - tra e - ter - nal .

IS I A hymn by Alfredo Colom from Himnos de Fe y Alabanza» Notice the continuous repetition of the rhythmic pattern.

1X8

¡B endito el R ey que V ie ne ! l . ü , 7 6 . 7 6 -Jj H o m e r o P er er a , I960

F ederico J. P acor a . 19(50

j -----J---

¿ --- j 3ZZ¡¡jr—

¡)ucr- tas - í - dos. ■mil ■des - sa -dos

¡Al - /ad, al ¡A - ten - tos Que mucs-tra Que o • fre ■ce a

- -rjO

Del

-j¡>c<> v:\ -

/.ó n 1

• ten

to s

voz!

faz.

del

san

D ios;

Des

ta n

to va

■ so

sa l

don.

=£3 No vie Pues ¡ay A quienje Es man ■

nc re - ves delque or-su lian si do so y es hu

- u - lio da ■mil

t do De so No quit: - re per - ci - bir das La glo - ria y el po -tier, de Y en su ser vi - ció es- lá

Y . 1 ni * ni - ea es

.Cris' to pro - me al fin de las e yu - (fo que nos

sier ti da ¡le

•

From Cántico Huevo, 1 9 6 2

vo, do des va

-h

Su te - tro de iui-mil - dad. Que vie - ne a ve - dí - mir! Los pue • idos |);m de ver. A c ter - na . lj - her - iad.

u s

Pablo D. Sosa, from Argentina and editor of Cántico Nuevo, contributed the following tunes to this hymnal t CENTRAL, composed by Nicolás Martinez for the hymn "Cristo Vive”# a tune highly descriptive in its melody, rhythm and interesting harmony using consecutive fourths and fifths• CAMACUA wa» composed for ”Si fui motivo de dolor”, a translated hymn which deserved a better tune than the original one• The diatonic and simple character of the melody and harmony fits quite well with the words# STOCKWELL, another of Sosa*s tunes is more classical in its character# A# Delbert Assay, from Argentina, contributed with the following tunes 5 LA SANTA PRESENCIA, ORACION, WARD, and a Christmas canon called ALLELUIA, ROSARIO, a tune by Jorge M# Punch, used for a hymn by Isaac Watts is in a more folkloric character# in 3 time using the rhythmic motif of

#eJ

It is through

the hymn# Homeroro Perera composed the tune LIL (CN) for the hymn ”Bendito ©1 Rey que Viene” with an interesting phrase structure of A A B C . In general, South American composers follow the anglo-saxon hymn-tunes pattern#

The rich rhythmic and

melodic resources of the folkloric music waits for the composers to use them with more imagination and creativity# 8#

Hymn tunes from the Master composers Although many of the great composers such as

Beethoven, Schumann, and F# J, Haydn never composed tunes for hymns, editors of tun© collections have arranged as hymn tunes melodies from their works• One of these famous collections is William Gardiner*s "Sacred melodies from

1,20

Haydn, Mozart and Beethoven”, London, 1815#

Routley

explains the English practice which apparently had some influence on American arrangers such as Lowell Mas on# th "During the early years of the 19 century we pass the opening of a curious by-way in hymnody which has turned out to be a blind-alley, but which makes a not uninteresting field for explotation* The adaptation of instrumental classics for use as hymn tunes *. .became a popular fashion* *,"3Instrumental tunes from the classics were used as hymn tunes, as well as melodies from the oratorios, and adaptations from the secular operas * Foilowing is a list of the composers and the tunes, with a brief explanation about the melodic source• Felix Mendelssohn CONSOLATION

(REYNOLDS)

II, CC, H M

MENDELSSOHN

in all hymnals

OH PADRE

TRUST

(CONFIANZA)

CC,

HE,

HOLY CROSS MUNICH

NHP II

WXE S C H O N L E U C H T E T

The tune CONSOLATION is from "Song Without ¥ ords", Opus 30 #3, arranged in 1880 by Adolphus Levy for the hymn "Brightest and B e s t M E N D E L S S G H N is taken from "Festgesang” Op* 68 $7» the theme of the second chorus "Vater Land in deinen Gsuenw , It was adapted as a hymn by William Cummings in 1837» although Mendelssohn thought "it will never fit to sacred words". OH PADRE is one of the themes of the oratorio ELIJAH *

TRUST Is taken from

^Erik Routley, Op* Clt*, p* 112*

l2 X

the "Psalm 13 for Mezzo Soprano* choir and organ", X 8 4 0 , MUNICH and WIB SCHON LEUCHTET are German chorale tunes harmonised by Mendelssohn for his oratorios "Elijah" and "Christus"• Franz Joseph Haydn HAYDN AUSTRIA CREATION

HE CN CN

ST. ALBAN'S

HVC

The tune HAYDN is arranged from the Symphony 93 in D first movement. It was introduced first in English hymnal3 , AUSTRIA was composed in 1 7 9 7 as the Austria National Anthem * probably based on a Croatian folk song, Later he used the nd tune in the 2 movement of the "String Quartet in C" (Emperor)• CREATION is an adaptation from the chorus "The heavens are telling" from the oratorio The Creation, MANOAH, a tune which is attributed to Haydn in NHP and HVC, and to Rossini in El Himnario» is from the "Collection of Psalm Tunes”, of 1851* by Greatorex. tune is given.

No source for this

George Friderick HSndel ANTIOCH

CHRISTMAS THATCHER JUDAS MACABEO

CN CN

HVC HVC

NHP

MESIAS

NHE

Actually, HSndeX wrote three hymn tunes for Charles Wesley* s texts, but none of them CANNONS , FITZWILLIAM, GOSPAL) are usfed in our Spanish hymnals• According to Carlton Young, tunes from his operas and oratorios were reworked and used extensively in the evangelical timebooks of 1 8 ^ and 1 9 ^ centuries,

The tune MESIAS, an

122 adaptation of the Pastoral from ’'Messiah.” * used in old Nuevo Himnario Evangélico is evidence of this practice» ANTIOCH is an arrangement by Lowell Mason* using the opening phrase of the Messiah chorus "Lift up your heads”* and the introduction phrase "Comfort Y e ." CHRISTMAS is an adaptation of the soprano afia "Non vi piacque inguisti Dei” in Act II of the opera Siroe* which appeared as a hymn tune in James Iiewitt1s Harmonía Sacra, 1812, JUDAS MACABEO is also an adaptation of the chorus "See* the Conquering Hero Comes" from the oratorio "Judas Macabeus". Ludvig Van Beethoven The best known hymn tune arranged from a Beethoven work is HYMN TO JOY* taken from the last movement of Symph ony /f9 •

It was arranged for a poem of Van Dyke *

The first hymnal to use it was the Presbyterian Hymnal of 1911 * The tune SARDIS (CN, C C ) comes from the Romance in G, Opus 40 for violin and orchestra« OFERTORY (All Things Come-CN, H) is attributed to Beethoven * The use of the pi ano "Minuet in G" as a hymn tune in Himnario Popular of 1 9 3 2 is of special interest * W olfgang A. Mozart HP

HANOVER ARIEL

HVC CM

NOTTINGHAM OH PADRE OMNIPOTENTE ELLESDIE

NHE HVC

Henry Mason in "Hymn and Tunes of Lowell Mason" lists Mozart as^the source for the tune ARIEL* but no proof has been found.

The tune does not have the elegance

of Mozart *s melodies• ELLBSBIE * which in some hymnals is ascribed to Mozart * was used as hymn tune in the

12 3

Clirigtian Lyre , I8 3 O,

It was the editor of Winnowed Hvnm«

in 1873 who identified it as "Air Mozart” but no source has ever been located# Robert Schumann is represented by the tune CANONBURY (H, C N , CC) which is an adaptation of the theme of "Nachtstucke in P for piano”, Op, 23 #4, 1839• Franz Schubert lias a tune called SCHUBERT (CN, H) for which no source is given. Beside Handel1s tunes there are some others taken from the operatic repertoire, GOULD and SIMPSON in Nuevo Himnario Evangélico are from Louis Spohr (1884-1859) * being the first one from the oratorio “Das Heiland*s letzt® Stunden”. PRESTON, also in Nuevo Himnario Evangélico is from the opera ‘’Alessandro Stradella” by Flotov/,

The tune VERDI in NHP, arranged for the hymn

”Ven al Maestro” by B, McKinney comes from the opera ”11 Trovator©” (Act IV) of Giuseppe Verdi, PAULINA in NHE is from an opera by Donizetti , and a tune identified as “Aria Italiana" probably comes from an unknown Italian opera (KG, NHP, HVC}. Prom the operas of Carl M* von Weber we have SEYMOUR or WEBER (II, NHE} which was drawn by Greater ox in 1851 from the opening chorus of OBERQN, JEWETT (H# NHE, NHP) also from Weber was arranged by J, P, Holbrook in 1862 from the opera ”Der Preishutz”, Johann Michael Haydn (l737~l806), the youngest brother of Franz Joseph, was a church musician who wrote some hymn tune if for Catholic congregations. Three of his tunes are in some of our hymnals: LYONS CC, NHP, HVC, H GREENLAND HP BIL SACH 1ST DEIN

12k

110

L.V3n Bee1 ven

y All*

f-s=

Ü f! Vj

-------- :“t ----1--vS-«-- L-*=rf=r :Ér~5E -V---------- ^ .. ^ ^

^V*OF“: -„S;

rtr -■O—~* • vV

j2_

©i PI . O y o d o J o s ú s In i n v i t a c i ó n :

"Ven n mí, j>neadnr’\ S<>ío on ó! p o d r á s Iml l nt 1 p e r d ó n ; N u d a (unt as, ven, Pío,-, os a m o r . C o r o — Di os ni m u n d o imiíi D o ínI m a n o r i t <ih <' (lió A s u H i j o , r j n i n t n o s r od i n t t ó . N u e s t r o Di os es nmoi*.

QuiVn c r o y u r o en C r i s t o v i v i r á : V i d a olurnn. t u n d r a .

Cn‘(' y salvo sé hoy, parador; Vuii y tfoza d o osl o ”-rim a m o r . d. T a n jíloriosit m i u v a p r o v l n n t a t l : N t m s í r o l í i o s os a m o r . K) n o s l i b r a r á d o t o d o m a l ;

C a m i o n on <jo*/,o y p a z miost. ro d o l o r ,

K, Ii, Beethoven's «Minuet in G« used as hymn tune in the number 110 of1 Himnario Popular, 1932*

125

LYONS appeared in the William Gardiner *s Collection of 1315 f but no source has been identified, it is wrongly attributed to Franz Joseph.

In some hymnals GREENLAND, also

called SALZBURG is taken from one of his "services for country churches”. The tune NEW YEAR (C N ) also called DULCE CARMEN or LEBANON has been sometimes falsely ascribed to Johann Michael.

It appeared as annonyinous in

a plainsong book in 1732 and in Samuel Webbe*s Collection in 1840. One of Bach *s sons , Philip Emanuel (171^-17^8) is represented by the chorale tune FELIPE EMANUEL 9 which is in Cántico Nuevo. Another German composer, Heinrich Schútz is represented by one of his Psalm tunes, PSALM 138 (CN), from his Psalmen Davids, 1628.

This tune, like FELIPE

EMANUEL, is in its original form as it was composed for the liturgical use• The same happens with SONG 13 (CC) by Orlando Gibbons• The tune WINDSOR (CN) although it came into the hymnals from the William Damon*s Book of Music, 1591, is similar 1 0 the tune that Christopher Tye composed for the third chapter of the Act of Apostles in his metrical version in 1 5 5 3 # The last tune we will mention is FINLANDIA (MM, II) from the theme of the Symphonic poem "Finlandia” by Jan Sibelius.

The arrangement was one in 1932 for the

hymnal of the Presbyterian Church in the United States* 9.

Contemporary tunes« composed in the 20

----------------------

Here we include those tunes Century.

In most of t|he hymnals very few contemporary tunes are found. The only hymnal where the contemporary composers are best represented is Cántico Nuevo. are:

The most interesting

HINMAN GOOD SHEPHERD SHIRLEYN ORA LABORA GARETH DE FAUW PURPOSE SINE NOMINE LONGDEN PSALMS 23, l4S, 150 ESPRIT DE VERITE LYTHINGTON ST. DUNSTAN* S MONTESANO CENTRAL LIL SEABURY RYBURN

Austin Lovelace Robert Miller Earl Enyeart Harper Tertuis Noble Vincent Persichetti Robert McCutchan Martin Shaw Ralph V, Williams Van Denman Thompson Joseph Gelineau Edmond Monat Sydney Nichols on Charles W. Douglas John Law Pablo Sosa Homero Perera Claude Means Norman Cocker

They are characterized by their melodic elegance and dignity, non-sentimental, and the strong and meaningful harmonies• In Cultp Cristiano, there are only two that we found worthy of mention: WILLAR, by Walter Buszin and ALEGRIA, by Fred J . Pankow,

Himnos de la Vida Cristiana

includes three new tunes by Erik H, Eck, HOY EN LA GLORIA, ES CRISTO DE LA IGLESIA, and SANTA CENA, but they are too traditional in their melodic and harmonic approach. other contemporary tunes ivritten by Latin American composers have been mentioned before in this work.

Some In

El Himnario there is almost nothing which we could call contemporary, except for the tunes by Calvin W, Laufer, INTROITO, HALL, and FIELD• Also, by W, Lawrence Curry, the tune GOD IS SPIRIT, The Benediction by Peter C . Lutkin is included in C N , HVC, and EH, but this is a choral hymn rather than congregational• In the new Himnario Metodista, 1973 there are some new ) — ~ tunes to our congregations, such ass ALL THE WORLD Robert McCutchan HINMAN Austin Lovelace ENTER HIS GATES P, R. Dietterich WACHUSETT Katherine Davis PASTOR TE BENDIGO Gonzalo Báez Camargo

269

Salmo 2 3

.\ilmo 23 D e -¡2 S a lm o s p a r a c a n í a r

Buenos Aires, í959 j

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-í^

#d“

E! me Ilesa a des- can - sp_r nin-tnnr mal te - me- re.

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twtf stanzas of the P s a l m 23 #

One of the

t h ree

Gelineau’s Psalm tunes in C á n t i c o Nuev o , 1962

128

124

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One of the best Latin American contemporary hymns* From the hymnal Cántico Nuevo* 1962*

X29

Although the tune BEACON HILL is not contemporary in its nature, it was composed in this century and for the first time in Spanish was included in NHP and then in HVC, EH and in the new Himnario Metodista* About the relevance of these contemporary tunes, we would like to quote a comment by Harold B, Hannum, when he says,

10,

"It is a difficult task to produce modern music which is acceptable to the congregation and which expresses adequately the faith of the believer. It takes a combination of tradition, simplicity, strong melody, harmony that is neither eccentric non commonplace,••• and a folk song appeal to make coatemporary „ hymnody acceptable, This is not a simple task, Gospel Songs

As we pointed out before, in spite of the different traditions represented in our hymnals, the main body of hymns are of the gospel song type, except in Cántico Nuevo and Culto Cristiano. However, there is a tendency to include less hymns of this sort in the new hymnals as in El Himnario and Himnario Metodista, which includes only 1 2 5 gospel tunes, in comparison to Himnos de la Vida Cristiana« which has 220, In Appendix I we may notice that most of the gospel 'tijllL songs are the ones composed by the end of the 19 century and early 20 century. In Appendix IIIwe indicate the tune names or titles of the best-known ones,

The new

Himnario Metodista of 1973 includes very poor tunes like the following: s Í1 1 Harold Byron Hannum, Music and Worship, (Nashville, Tenn: Southern Publishing Association* 19£9 )9 P* 6 9 «

130 WORDS OF LIFE PROMISES PRECIOUS NAME IN THE GARDEN CANSADO Y ABATIDO DUNGANNON BRILLA TU CARGA ROLL CALL BLESSINGS OLD RUGGED CROSS

P. Ra ¥* A. W. 0. A. J. £* r* U**

Bliss Kelso Carter Doane Miles Lorenz Kirkpatrick Gabriel Miles M, Black 0* Excell Bennard

A con temporary composer of* gospel s ongs is Harold Lillenas, whose tunes are in Lluvias de Bendición» His production follows the stereotyped melodic and rhythmic patterns of the traditional gospel tune, Evidence of this is his tune EL DIEZMO, in H¥Q> with overused rhythmic pattern of J ? J T J? J ~ J i However t the best of the gospel songs should be used in our hymnals and preserved among the classics of the hyinnic heritage 0 We suggest the foil owing to give an idea of those which have the strength and devotional qualities above the majority of the sentimental and Msweety” ones, OBREROS NEARER PASS ME NOT HANKEY TRUST IN JESUS ADELAIDE I NEED THEE ASSURANCE HE LEADETH ME MORE AND MORE

J. B, 0* Cleram c, H. Morris Doane V* G a Fischer V*** Kirkpatrick G. C . Stebbins Lowry ■P* P* Knapp W « Bradbury J. Ma Stilman

Observations on melodic and harmonic usages a . Melodies Almost all of the hymns translated into Spanish keep the melody Which is used in the original language*

There

are very few exceptions especially in the hymns recently

131

translated

or in cases w h e n the e d i t o r s

t h i n k that the

deserves a better melody* This practice is done in Cántico Nuevo and C u l t o C r i s t i a n o » An i n t e r e s t i n g e x a m p l e

hym n

is the h y m n ”A los pies de J e s u c r i s t o ” which in C u l t o with the G e r m a n m e l o d y K0 D u r c h b r e c h e r ” , i n s t e a d of the u s u a l g o s p e l tune w h i c h appears in other Cristiano

is to be s u n g

hymnals *

Episcopal s u g g e s t in m a n y cases a n a l t e r n a t i v e tune to the first given* For e x a m p l e s Culto Cristiano and Hjmnario

QUEBEC

Tal

HOREB

N u n c a D i o s Mia

PETRA

R o c a de la E t e r n i d a d

Hymn tunes

C omo S o y

are b o r r o w e d f o r n e w texts

with preference

and new translations

to the w e l l - k n o w n t u n e s •

This

is true in

the e a r l y h y m n a l s * but this practice still c o n t i n u e s in •5- m e d e g r e e *

For example s

FLEMMING THATCHER M I S S I O N A R Y HYMN L Y ONS ST. C H A D MERTON CARITAS PERFECTA T he

last

N u n c a D i o s Mío D e s p i d e h o y tu g r e y S e ñ o r y o te c o n e z c o Xgl esta de C r i s t o Padre Dios y Padre N u e s t r o ( C N ) E s t e t e m p l o D e d i c a m o s (C N ) Padre y E t e r n o D i o s (C N )

three hymns , original

poems

c o n t e m p o r a r y w r i t e r I s a b e l G. V. o t h e r o r i g i n a l s b y F e d e r i c o J.

in S p a n i s h b y the

de R o d r ^ u e z

and m a n y

Pa g u r a , a M e t h d d i s t b i s h o p

in C o s t a R i c a , w i l l be m o r e meaningful w e d d e d to contemporary tunes composed e s p e c i a l l y f or them * A n o t h e r p r o b l e m that we f i n d f r o m

one h y m n a l to the

other is the uáje of d i f f e r e n t m e l o d i e s

f n r the same h y m n

text. same

This text

authors

practice

is t r a n s l a t e d

also r e l a t e d to the f a c t that the in

different w o r d s b y d i f f e r e n t

in v a r i o u s h y m n a l s •

13 2

In Appendix IV we give a partial list of the hymns used with different tunes from hymnal to hymnal* Perhaps one of the most interesting is the hymn MCuan firme cimiento" which is well known to the tune ADESTE FIDELES, but in CN is with the tune MALDTOJ and in HM, 1973* with FOUNDATION* To have an idea of the problem of different translations for the same hymn we give a partial relation of this aspect in Appendix V, Editors of the most recent hymnals have given some consideration to the melodic ranges« In the old hymnals many tunes f especially gospel songs, went frequently to the high E *s and even G 1s . Two hymnals that have taken this problem very seriously are CC and CN; also in some degree f HVC. The following are some of those lowered a whole step in CN. New K e y 3 NICEA EIN FESTE BURG CORONATION ST.

GEHTURDE

D Ha j • CM FM E bM

OBREROS

LOBE D E N HERREN

FABEN

BbM

ST. T H E O D U L P H

BbM

Eb M

MORE AND

I n H V C , the f o l l o w i n g TRABAJANDO

( T o i l i n g On)

A CRISTO DpY MI CANTO E L MEJOR AMIGO

VOLUNTARIOS

BbM

TRUE HEARTED

Eb M

SUENEN DULCES HIMNOS

A^M

133

However, there are many hymn tunes in HVC that go to the high F ; among them: CUÁN DULCE ES ANDAR JÁ COMBATIR! OID, OID HAZME UNA FUENTE EN SU PROFUNDO AMOR ALELUYA, CRISTO ME SALVO MIRAD EL ORAN AMOR A LA BATALLA These are appropiate, at least in their range , for soloists or choral groups but not Tor congregational singing, except key lowering, b.

Harmonies

Basically there are two types of harmony in the hymnals: the gospel songs one, which stays on the I , V , IV chords and the more elaborated one o f the other hymns• Most of them are given in the four-part vocal chordal style,

The only hymnal that tries to avoid the Tour-

vocal parts disposition is Culto Cristiano where harmonies are used more like organ accompaniment to the melody. Few hymns have a Tree organ or piano harmony which are more interesting and challenging Tor the organist. Of this type we have: PICARDY MIT FREUDEN ZART ALL THE WORLD LASST TINS ERFREUSN CHRISTE SANCTORUM WACHUSETT SINE NOMINE CHARTERH01ÍSE ROVEN PURPOSE

CN, IiM HM HM, HM, HM CN, CN CN CN

HM CN CN HM

134

Less interesting, using arpeggios accompaniment are SI FELIZ QUIERES SER HAY QUIEN VELE MISPISADAS SAL A SEMBRAR EAST HORNDON EN EL TEMPLO ALONE

HM, HG, HM, HM IiM, EH

NHP HM NHP NHP

A related aspect to the harmonies is the choral fashion arrangements found in many gospel songs trying to make something more interesting from the pon harmonies in them* The hymnals most addict to this are NHP, HVC, H G , and EH* Perhaps these arrangements were conceived for the revivalist choral groups f but we do not see any reason t 0 have them in a congregational hymnbook* There is a very close relationship between these chox'al-arranged hymns and the so called gospel anthems which were published by the same gospel songs writers, in collections, during the end of 19 century and early 2 0 * century* Some of them were 2 The Diapason, i860 George Hoot The Leader, 187^ Anthems and Voluntaries for the Church Choir

Horatio Palmer Sweney and Kirkpatrick

Excell Anthems for the Choir, 1888

E* 0. Excell

The Choir Leader

Edmund Lorenz

According to Elwyn Vienandt, the style in these works is similar to the gospel tunes one * ,fA common criticism of these works is their reliance in cliches and devices that are more predictable in the musical vocabulary--repetition, sequence, reiterate^ short rhythmic patterns, and the rising melodic sixthâ&#x20AC;?

Cristo Acoge Al Pecador

289 E b d m a k k N e u m b is t b r LT» ii,M , JV1.. Wi W EÍTtU P It.

Jameb M cG ranahan jA M hs firiL.v.^KArtAfi/

1. Al queenbus - ca de la luz, Va - gue cié - goy con te-mor, 2. Aaus pies des-can - sa - rás; E -jer - ci - taen El tu fe; 3. Haz - lo, por-quca-sí di -rás: "Ya no me con-de - na - ré; 4. A - co-ger - te pro-me-rió, Da - te pri - saen a - cu-tlir.

Lo re - ci - beetbuen Je - sús En ¡os bra - zos de su a-mor. De tus ma - les sa - na - rás; A je - sús,tuA - mí - go, vé. Ya la ley no p¡ - de más; La cum-plíóje - sús, lo sé.” Ne - ce- si - tas, co - mo yo;Vi - da,que El teha-rá vi -vir. ■* -ft-

.fL.

f t.*

Se C oro *

5Es Vol - ve - re rnos a A can-tar voi-ved,

can-tar, Cris -toaA can-tar vol-ved:Cris - toa

ft-______

± i

É co gealpe - ca-dor; Cía - roha-ced lo co-ge al pe- ca-dor, Cria - to a- co-gealpe- ca-dor; Que re-sue-neha-ced,

fC-JK * É

ú re - so-nar:

Cris-toa-co

- geal pe - ca

2Z -

dor

Que re- sue-neha-ced:

1 ¿

)

Choral arranged refrain of the hymn ”Acogida da Jesús” from Himnos de la Vida Cristiana. 1 9 6 7 ,

m ijé

,fThe Lorens composers had found a convenient parallel to the popular ballad and the characteristic piece for piano by using formulas that were familiar to the public, providing them with words that had a familiar, confortable, and religious sound, and never disappoint ing a public that had grown accustomed to the diet. 1 Another interesting comment from Wienandt about this

relationship and the use of choral material in the hymnalss "When hymnals commonly began to be supplied for congregations, there was no longer a need to print books that contained both the hymnic and choral materials« Some of the best known hymns arranged in the choral fashion, with words repetition especially in the refrain are:

¡ 1

1mi tt.

Él

SOLEMNES RESUENEN GUIAME ACOGIDA DA JESUS MAS COMO CRISTO CUAN GLORIOSO EL CAMBIO TRABAJAD, TRABAJAD CANTARE LA BELLA HISTORIA ALABANZAS A DIOS DAD GLORIA SERA VIENE OTRA VEZ NUESTRO SALVADOR MARAVILLOSA GRACIA TIERNAS CANCIONES A LA DIVINA TRINIDAD PALMAS Y FLORES JEHOVA TE BENDIGA

HVC HVC HVC HVC H H HVC HVC HVC HVC NHP, LLB HM, H HM H, HM H M , HVC, C N , H

In NHP there are a few which deserve to be mentioned due to some unusual characteristics. the tempo marks,

ONONDAGA has a very particular bass line

(melody in that part), to a s olofe t.

The tune TINDLEY indicates

r,Al Huerto VanM gives the stanzas

PROM asks for the imitation of the marching foot

------ ----------,-------

Elwyn A, Wienandt and Robert H. Young, The Anthem in England and America, New York: The Free Press, 1970? p# 321, 2 Elwyn A, Wienandt and Robert Young, Op. cit,, p. 3lk

;

137

stamp with the words "prom, pon, pon" in the bass line* Another s o r t o f a r r a n g e m e n t is in “Escucha mi doliente voz " f "Cristo en vano no murid" and "A solas padedid" f with a duet for Sporano and Contralto in the stanza with piano accompaniments and a four-voice harmony in the refrain* A last observation about the musical content is the preponderance of the major mode in most of the hymnals• In HYC out of 350 hymns, only 9 are in the minor mode; five of them, by Latin American composers•

In the new

Himnar’io Metodista out of 39^ hymns, only 17 are in minor mode * The only hymnal that is well balanced in this aspect is Cántico Nuevo; and in some degree» Culto Cristiano and Himnario Episcopal % perhaps because these hymnals depend less on gospel songs which are written almost in major mcides«

)

CHAPTER III TOWARD A N A T I V E H Y M N O D Y In the Pentecostal Churches The first books to be examined concerning the native h y m n o d y are the h y m n a l s published by the Pentecostal churches» U n f o r t u n a t e l y , these hymnals are words edition only and all the information they offer about the music of these hymns is the corresponding title in the English edition for the translated hymns and the name of the composer, if it is a native hymn»

The best known of these

Ecos de Vida» Lira M i s i o n e r a » Himnario Voz de Jdbilo y S a l v a c i ó n and A l a b a n z a s a D i o s » hymnals

are

Most of the m a t e r i a l in these h y m n a l s is t a k e n f r o m standard h y m n a l s in S p a n i s h and c o n s i s t s of t r a n s l a t e d g o s p e l s o n g s . D i f f e r e n t f r o m the standard h y m n a l s , they the

i n c lude use

a large n u m b e r the P e n t e c o s t a l

main interest

of n a t i v e h y m n s w h i c h h a v e churches

for m a n y y e a r s *

of the n o n - p e n t e c o s t a l

stanza-refrain, a nd

in the use

of f o l k l o r i c

popular r h y t h m s and m e l o d i c p a t t e r n s . Pentecostals

call

original

own s o n g s •

f o l l o w the g o s p e l s o n g p a t t e r n

t h e y are

the

pentecostals have

b e e n d e v e l o p i n g a n a t i v e h y m n o d y w i t h t h eir songs

W h ile

churches h a s b e e n

t r a n s l a t e d a nd l e arn the f o r e i g n h y m nody,

A l t h o u g h these

b e e n in

are the f i r s t

group to use w h a t we m a y

"native h y m n o d y ” , w i t h n e w w o r d s

composed

b y people f r o m t h eir

have used widely hymnals

and m e l o d i e s

own c h u r c h e s .

of the A s s e m b l i e s

H o w e v e r , they of God *s c h u r c h $

Himnos de Gloria and Cantos de Triunfo» a m ong o t h e r s ,

139 Juan Concepción, a Pentecostal musician and trumpet player, in the preface of his hymnhook Ecos de Vida says that i »the purpose of the hymnal is to present a collection of hymns and spiritual songs which represent the sublime inspirations of the hispanic soul##* With the exception of some arrangements and translations of hymns, whose authors X do not know who they are, tlie other compositions are by hispanic composers inspired by God,»1 Only the words are given in this hymnal, leaving the music to the oral tradition as it has been with most of the Pentecostal hymns# Perhaps, the composers never notated the melodies, but these have been learned and sung by heart in many churches* Most of the composers were untrained musicians, people who know how to play the guitar by heart and accompanied themselves in the creation of words and melody of a new hymn *

In spite

of this fact, pentecostal composers have been very prolific* There are many songs which have never been published but are sung in their churches• Most of these melodies have been notated after being used for a long time in the oral tradition. Apparently, most of the well-known native hymns are from the 1930 decade• The music for some of them has been published in recent hymnbooks as Himnos de Pe y Alabanza, by Robert Savage', and Himnos de el Avivaraiento, by Luis F* del Pilar#

However, the first composer to

publish his own hymns was Rafael Cuna in his Cuna de Flores, in i9 6 0 , Many of his hymns are well known in the Pentecostal churches« Some of them are: »Plegaria I Matinal», »E1 Amor de Dios», and »Al Abrigo del Altísimo»,

AJuan Concepción, Ecos de Vida, page 2 • by the writer#

Translated

■ m

i4o which is the first Puerto Rican hymn published in a standard hymnal (HFA, 234; HVC, 154), In the Disciples of Christ Churches Among the non-pentecostal churches, the Disciples of Christ were the first to introduce the native musical elements in their worship services. A description of a worship service tells that: "The Disciples of Christ employ individual testimonials of faith and sing their religious songs to popular tunes and to the accompaniment guitar and other local instruments• •••the use popular music and choral singing introduce into service aspects of 1ower class and rural social festive behavior which- in the words of the 7 Protestant, make the heart glad,,,1 x

Df of the and

This is descriptive» especially of the decade 1930-40, when the so called "revival" happened in this Church, As a part of the revival, the church musicians began to compose on the guitar and the "cuatro" the new hymn melodies and to use these instruments together with the "maracas" and "güiro" in their worship services• Some of these hymns have been edited recently by Luis F, del Pilar in his hymnbook Himnos de El Avivamiento, (1973)* Among the composers are Ramona Alamo, Alejandrino Torres» Ramón Díaz, Mario Delgado» Eulogio Benitez and Guillermo Claudio• The best known ■é of these hymns is "Jubilosos cantemos Gloria"» by Mario Delgado, According to a pastor of the Disciples of Christ, this martial-rhythm hymn was "the Marsellaise of the revival", A list of the best-known pentecostal native hymns follows•

Julian H, Stewardt et* al.» The People of Puerto Rico, (University of Illinois Press» 1956;)» P« 244,

BEST KNOWN PENTECOSTAL

Acércate más *A las aguas *Aunque en cadenas Amen Amen De camino ya viene El que habita 9

Errante por el inundo (Ten piedad Señor) Escucha Jehová mi palabra *Fuente de Agua Viva Ha llegado a la Isla del Cordero (Puerto Rico para Cristo) *Hay vida en Jesds Jubilosos cantemos gloria Jesds llena mi vas o *La Biblia La Biblia es la bandera La X s1a *Manda fuego, Señor Mi testimonio (Soy feliz) No dejes que otro tome tu corona

Anón, Anón» Anón* Ramón Díaz Lauro Castro Rafael Cuna Rafael Cuna Lauro Castro Anón. Leo Torres A * L. Torres Mario Delgado Josefa Vargas Anón * Juan.Concepción Pedro Vargas Anón. Ramona Alamo Alejandro Torres

NATIVE HYMNS EV

LM LM

NSE EV

HFA

HVC,

CF CF

NSE LM LM LM VJS

YJS VJS

LM EV

EV LM

VJS EV VJS

T*ri

HFA

SHI

--- --

No hay gozo más grande (Vivir con C r i s t o )

Lauro Castro

Nueva Vida

J u l i o Ríos

Juan Concepción

Qué

le d i r á s

a mi Cristo

Siempre cantando ^Testifiquemos que s ó l o hay goz o (Campaña Laboriosa) Tiene C r i s t o una mansión de gloria

NSE EV

Anón*

V JS

Anón,

LM, HEA,

VJS,

EV,

(Ya v i s l u m b r o ) V i r t u d s a l i ó de El (á la casa de J a i r o )

Q u i n t í n Arce

* the r e f r a i n is u s e d a l s o as

,fc o r i t o 11

Lira

VJS

V o z de J d b i l o £ S a l v a c i ó n

Salmodia E v a n g é l i c a

NSE

Nueva Salmodia Evangélica

Cuna de Elores

C o f r e de C á n t i c o s

H i m n o s de E l A v i v a m i e n t o

HFA

Himnos de Fe y; A l a b a n z a

E c o s de V i d a

ZtlT

Misionera

YA VISLUM BRO LOS A LBO R ES

145

A rr. por Eugeni o-Jordan

A utor desconocido

~ff~4 ,

" r-. i --- ppv-.K.—pH i J—|—£— rff, g: i —.g ^ r~ ^ 'H

i =j -»=-- 1 4 1»—í —

1. Tie Cris - to 2. Con gTan go - zo 3. iQue' glo - rio - so

■*- 3

H y Prespa V -

/ u - na m an-sión de g lo -ria ,-reu - ni - dos es - ta - re - mos se - rá cuan-do reu - ni - dos,___

Ju n -to al Los li -

%4-.1Er M=J J [# f’- f $í —

.. 'i--'W: 1 — k- A +-1--Vi j? 1t i ~ t • 4t* f = t

--Tw. 4 ^

ra - d a____ en los cié - los,___ Don-de to-dos i - re-m os a go tr o - n o ,___ jun-to al tro - no,____ Pues i - re-mos con cuer-pos trans-forn a - j e s , __ len-guas to - d a s ,___ C la-m a - re-mos u - n i-d o s en los

' - ' tT S■i. .. ¡i. t , fí * I* 8í Sr —-* -----3— *....>■ '

...j» ---* *i--1--f--l ™ — --4---0--- ---4-p *

—B--»----

■■ p

p j

CORO

zar-n o s,„ A n-teel tro - no es - ta - re -m o s__ m a -d o s — Al fer-in ar a - l l í un c o - r o .___ c ié - lo s ,_ Fren-teal tro - no de-mos glo-ria..__ ' 1....... r r t W P ' ■ g ’ far gr H

—

t » t , -i l> í — tí— p — u -------- i— — i—

if -a

l e n las w

—

■

n u - t íe s -----

Ya vis - Ium -bro__

f r i, f f fes1* 0 'tü""® p — n -jf... pr

, - f r •£■: iy 1 >— i—

' ' é~-~...:J1

L os al - bo - res

es-p] en - den - te s___

i—

^ F = -V — \-------- 1-------

w M H

F t p [ j ...... j v j J $= ~ j. —g ,„1 _SL__ U — 3— • % =¡ P re-pa - ré - mo-nos, her - ma - nos, A(!S-pe - rar

f P

f ...e

i eN

f Í ,h' • i—

—

■

h ~---------- — i------1 al S a l- v a - dor.

a« p l g '. f N = y "1 . ^ = f e = S = » — =

From Himnos de Fe jr Alabanza

163

NUESTRO GOZO

SOY FELIZ

Desconocido

1. 2. 3. 4.

Arr. por Roberto C,Savage

Va - g a-bap o r el inun-do sin fe, sin es-p eCuan-do d e-sa-len -ta - do m een-cuen-íroenes-ta E - res, Je-sús, el li - rio que per - fu - mó mi Cer - ca de Ti, ohC ris-to, an - dar yo siempre

tr iso

r a n - za, vi - da, vi - da, quie-ro,

sa Con el Me Ii Es mi am-

T 'T

bien - do al - ma bras - te pa - ro

queha-bí-aun Sal-va - dor, im - ploro al Sal-va - dor, de to -d ai-n i-q u i - dad; tu sa-cro-san-to a-mor;

Que,por li-brar mi Pi-dién-do-le me P u -sis-te en mi Sin Ti la vi-daes

al - ma de man-de del bo - ca un tris-te , muy

í: ■« f-J—1 ■crr r -rf TBri m uer-te y pe - ca-do, cié - lo su con-sue-lo, can - to de a-la - ban-za, Ue - na de a-mar-gu-ras,

En el Cal - va-rio mu - rió Pa - ra po - der a - guan-tar Mi so-loan-he-loes cum -plír Mas,Cristo, Túe-res mi gran

H®-

el BuenPas - tor. el cruel do - lor. tu v o - lu n -ta d . con-so - la - ción.

-0^-

r CORO

- f e - r if" é ^ . h = lt *> t*

... t—R p — Í—

-3-4

—a

F=|=¡ # = 0 — \p ¡

Soy__ fe - liz, yo soy fe - líz, Des-de que Cris-to

-í-

-á

—]-H

-34*—

me re - di - mió.

pziip'ip:

From Himnos de Fe y Alabanza * * * * m a t t t míwijiii nuil «n Words and music probably by Ramona Alains from Puerto Rico

145 These

two h y m n s are f r o m the P e n t e c o s t a l h y m n a l E c o s de

Vida.

The

c o m p l e t e w o r d s m a y be f o u n d in this hymnal.

T he m e l o d i e s in the

are n o t a t e d here

as we h a v e h e a r d

the m sun g

churches.

SIEMPRE CANTANDO Juan Concepción Arrt Luis Olivieri

Prom Ecos de Vida # 56

:.V -: — 1 1---_A— --------. ---2.J__f¡_______: i___________ P>"' N “ft -- -------if i--- n-- 1-- y.— r-j---- :— ; A~ .--¿41--fitU __i-.¡. i----- a>tU---1 t ¿_ __ ____________ __ uLJJ.:í-r L—-i i-rf------J... -íi--„ i-~ _____ i i.--m \T r --- *“•---Can-tan-do siempreñes-toy cantan-do, por ca-lles y pla-zas yo voy;

Al mundo

le voy a- nun-cian-do Queen Je-su-crís to hay sal-va- clón«

— **-.* I ■- J > ~ F i ---P ¡—---- Jri-----J --- **'' j.. " lü)— i — '-r- ----J— -— t = k --- ¡ Can-tan-do

si yo voy cantan-do

las glorias de mi Sal- va- dor;

1^ V .h _________ L _ V --- -- 1-- i--- ".-v — --- v ~ A _____*__ _______ _________ti___ ____ . 1 - & i__ r iíT’i r ^ * j .p j ** ** ... s•** *** VÍvv7 f e ’ > A X— J r _________ 1 ^ J ...

Li- bró mi alma

que-bran-tos

l\___^ ■ u j i ^

|----

V l>

t----

pu-so en mi nue-va can- ción.

NUEVA VIDA

Julio RÍOS

From Ecos de Vida #123

r> dk v ^

f e

Nue - va vidahallé en

rf c ^Y r"

--------------------- S----- y-----7------ rs .. v fv r ~ __r

....

Con

Nue-va

>r.m Cris-to

r - g ---- :-------53

.......

cuan-dohumíl-de me \_______ P_ ! db j e ** * f* u

_ p*

■ ¡\ 1 &

ren- di <3---)__- , ..... t. ( *". I

V .

co-ra-zfin con - tri-to, Sal- va-cióndeEl re-ci - bí.

v±-da, nue-va vi-da, Es-pe-ranza go-zoy paz me dio el

r V .-íí- :------ 7------ r ~ » — < =>— í A ______ c l j * J l . t___r ____> UJCh '' r *? r f i p r ? 1/ i... !.

Nue- va

Arr. Luís Olivieri

:¡s:

t t --------i r ___ - ... \s r

vi-da hay en

& ’' U

—

r; í? —

—

‘------ -—

» . r

Se- ñor

i —

!*-------------- r? h — ^ ------Ti

r: ^ r : r * ___

i—

* ---- b * ----- = ------ * ----- 1-----------

Cris - to; En ver-dad nue-va cria-tu-ra

---------- n ___ ( O

soy.

146 Melodic

and r h y t h m i c

elementa

In the m e l o d y and r h y t h m the i n f l u e n c e mixed with

of these h y mns

of the p o p u l a r m u s i c

the d o t t e d - r h y t h m ,

s o ngs w h i c h

of the hymns it

is e v i d e n t

of the h i s p a n i c

characteristic

came f r o m the U n i t e d S t a t e s

t r a d ition,

of the gosp e l

and h a v e

been

the

p a t t e r n f o r the n a t i v e h y m n c o m p o s e r s «

Many of the hymns written in 2/4 and 4/4 time are accompanied in the oral tradition with a "bolero” rhythmic patterns like the following: Í

vup

rr r

¿ a ? '^ T he

é -X

"bolero"

A„ \___<j__

i p

is a s ong and d a n c e f o r m

f r o m S p a i n but has b e e n m o d i f i e d elements

that

o r i g i n a l l y comes

in the C a r i b b e a n a c q u i r i n g

f r o m the A f r o - A n t i l l e a n m u s i c ,

Another w a l t z , which,

form w h i c h although

w a l t z , was

transformed

mental

s l o w type

and

u s u a l l y goes

is u s e d it came

in some from

the

in the A n t i l l e s

of song.

The

o t her h y mns

is the

fast E u r o p e a n into a more

senti

guitar accompaniment

as f o l l o w s :

JjL V

¿ — Some

¿zl X L X l X

others

a nd a c c o m p a n i m e n t type u se

of d a n c e of the

— !.X

y '-X —X

are i n f l u e n c e d b y the r h y t h m i c , m e l o d i c patterns

of the

" g u a r a c h a ",

This

musical

came f r o m S p a i n and is c h a r a c t e r i z e d b y the

s y n c o p a t i o n an d

the d o t t e d eight notes.

Also the

influence of the popular music is evident in some hymns as J

the following examples show. Other general characteristics of these hymns are: (l) preference for the minor mode; (2 ) repetition of the melodic sequence; (3 ) preference for the 3/4, 6/8, 4/4 and 2/4 time signatures, especially the ternary rhythm; (4) use of the syncopated rhythms on the first beat, (5 ) singing in intervals of 3rtis and Examples: "Dulce Misterio de la Vida" (Himnos de El Avivamiento, 1 7 )

Vals

3 U-

Lar - go tiem-po y siom-pro un va - no

yo bus -

ca -

Gospel song style ""Qué gtorios o 'es" (Himnos de El Avivamiento, 16)

J*1

Jfr í

Guaracha‘ "Estoy alegre" (refrain)

Polka rhythm y A Ar\

K SJ

n -

l - ^

"Orando" (refrain)(measured in 4 in HFA, 207)

n £

ÍS i\ íi N I V i\ S rT y -----IX« r ^ i* /» J — | J # 7 J F l I n ---- ^ -- 4--1--- 1-- 9 -- f u I - f ^ ___í ___ ---- ¿L------ --- ------ ---------- y a -----

Mazurka style "Jesús me recogerá" Cuna de Flores, //3

— -

148 Martial and syncopated rhythm.

Another arrangement of*

this hymn is in Himnos de El Avivamiento« No* 10.

For

the complete words, see Lira Misionera, and Voz de Jdhílo X Salvación.

JUBILOSOS Mario Delgado Arr, Rafael Cuna

pízrrr 3±

r-jdardTg: 33¡^5¿I±f

irda:

*í>- ■^T

iJu- bi - lo- sos, cante- mos glo Re- cor— dan- do la be-lia bis-1o

Ssjí

-P-

ZSS1

IZS

ban- zas al

Re- den- tor#

que

e -sa hisf"l Jh ■■Jb

to -ria gra- ta

:£3\ZXEZZT ■

-&■-----

,-L

pron-toes-ta- moa

¿ 4 a*

E- van-

de a-

f — &-

m en los

bra-zos del Sal-va-dor. Se-gui-

3d=

----- ¿;i—j~

im E E E Í

to-riaalpe-ca- dor,

ge- lio nos

mor. Nos pa- re-ce que CORO:

‘<J'-j-

re-roos en las bue-llas del Ma-es-tro,

£s 'll

y a- la*

s>-

i_iül

' rial ria

Pues en

~j■J■—

re-ve-landole ©s-tahis-

S '¿~3d_yr-jrTy e-lla

ha-lla-ras ple-no re-

d~r~j po - so, y

íé ¡ á

£±f nos lle-na-ra de

-!*»-f-

uiB-nos la bis-to- ria

-<S>de

gozo,cantad

-- igr

a- mor,

ber -

lk 9

Choruses The choruses or ’'coritos", as the little refrains are called in the Puerto Rican and Latin American churches, are a type of religious song developed mostly by the Pentecostal churches, although at present they are used also by non-Pentecostal churches. Originally the "coritos" were a by product of the gospel songs. About its value and relationship with the gospel song it has been said! "The chorus, a shorter form of the gospel song, containing a simple and direct truth which is repeated frequently in its one stanza* Its greatest merit is its simplicity of thought, making it readily understood by children and easy to remember. Choruses originated in the early 20^ century, when Charles H . Alexander and others began using them in evangelistic campaigns. The earliest known publication of choruses is the Alexander Cospel Songs (1 9 0 9 ) which contains many of his own, In recent years, certain gospel song writers such as W. P, Loveless, N* J. Clayton and H, I). Loej, have also become known for their chorus writing. ’* Many of the early choruses sung in Puerto Rican churches were refrains of gospel songs, like; "Isn't He Wonderful"? "When your cup runneth over" "In my heart there rings a melody" "It is mine" "Down in my heart" "Joy in my heart" Others were translated from the English, using the same malody which was given in the original. A very wellknown publication among the churches was Cadena de Coritos t by Lloyd V» Olson, from Kansas, who worked as a missionary of the Central American Mission during the 301s

John F* Wilson* An Introduction to Church Music* (Chicago: Moody Press, 1965), p"* 110.

150 Many

of* the c h o r u s e s w e r e w r i t t e n b y h i m s e l f a nd were

published

in t o n a l i t y s e q u e n c e

so t h e y could be

s u n g in

a row» 1 Howeverf

a large

amount

o r i g i n f b e i n g an e a s y f o r m musician

to the

Neither Oral

out f r o m the p e o p l e

aspect

t r a d i t i o n keeps

countries

the best

s e nse has b e e n d o n e b y R o b e r t o

Alabanza, of L a tin

American

anonymous related

He has

hymns.

are:

u n til

t h e y are u s e d

contribution

in this

in his

s e ries

in the h y m n b o o k H i m n o s de Fe y

e d i t e d and a r r a n g e d m a n y origin,

especially

of the h y m n s

the c o r i t o s

and

S a v a g e has b e e n a m i s s i o n a r y in Ecuador,

Melodías

s t a t i o n HCJB*

A m o n g his

de B e n d i c i ó n , Cantos de G-ozo e

I n s p i r a c i ó n , Dúos, T r í o s y C u a r t e t o s , F a v o r i t o s Ecos

other

published by different

C . Savage

to the e v a n g e l i s t i c r a d i o

publications

Juveniles,

de V i c t o r i a , C o fre de C á n t i c o s , Voces de JtSbilo,

Preludios

The

In the f i r s t

R e c e n t l y , choruses from

Perhaps

J u v e n t u d and

"guaracha".

l i t e r a r y q u a l i t y are good#

of L a t i n A m e r i c a h a v e b e e n

editors•

Adelante

and t h e i r r e l a t i o n

the c o r i t o s alive.

well k n o w n »

of the w a y

is t h eir text.

t h e y are n o t w r i t t e n in m u s i c

a nd b e c o m e

hymnal

of m a n y c h o r u s e s

the t h e o l o g y n o r the

instance

s o ngs b e c a u s e

p o p u l a r m u s i c , e s p e c i a l l y the

most negative

of n a t i v e

In some w a y t h e y can be

as f o l k l o r i c r e l i g i o u s

in w h i c h t h e y came

are

of e x p r e s s i o n b o t h f o r the

and f o r the singers#

described

ship

of ch o r u s e s

C e l e s t i a l e s , y C a n t o s de E v a n g e l i s m o #

^Fo r a' list of h y m n a l s and c o l l e c t i o n s w h i c h i n c l u d e " c o r itos" see the A p p e n d i x V I I I #

Among the best known choruses of Puerto Rican origin ares “Cristo es la Peña de Horeb" "Pronto vendrá el Señor" "Alabará a mi Señor" "Estoy alegre" "Fuego Celestial" "Mirad las almas” "Quédate con nosotros" "Yo siento gozo e n mi corazón" "Allá en el Monte Horeb" "Traelas" T h e r e are no exact forms or limitations for the

compositions of the "coritos", Its meter, rhythm and melodic pattern depend on the authors* Few of them follow a definitive folkloric rhythm, but in many others is evident a sort of "guaracha" air, or a festive march air. Some of them sound like "villancicos", a simple song, and others sound like bad radio and television commercial jingles• A good example of this last observation is "Mi corazón contento está"« A very typical rhythm pattern of the "corito" is the syncopated one like this: !> I I i «i f> p -&> 1— ---SdL. % -- .¿P-

---- J .--1]--- J l --¿k

First two phrases of "Tráelas" from Favoritos Juveniles, No. 14. & Tráe-las, Se-nor, Trae-las, Se-nor,

a a

ti, ti,

Tráe-las Nu las

a tu de-jes

re - dil; ja - más;

-<S>-

9. f

ip fc =

&—

A e-sas al-mas per - di-das que an-dan sin E -lla s an-dan a - le-gres p e - r o e n sus

—i------------y —

vi-da, Se-ñor, siii ti-, al-mas no tie - nen paz;

«1 ■-

CRISTO E S LA PENA DE HOREB

101

Exodo 17:3

■jr > 7 *

1. Cris-toes la 2. Cris-toes el

^ ff\ 7

A - gua de El es la

% ~ = J e e e e í\

ft* vi-da s a -lu -d a -b le Ro-sa blan-cay pu-ra — í--- g--- jg—

ti-

pe - fia deHo-reb,quees-ía bro - tan - do, lí - rio dél V a - lie de las fio- res,

^— S— *r

-V;—

Melodía poi torriqueña Arr. R C. Savage

€3^

para ti. de Sa - ron.

Cris -toes la Cris-toes la

pe - ña deHovi - da y a -

_____l o

-L.

reb.que es-íu bro-tan-do mor de !fi a - n u -- res,

A-s;us de vi - da sa -lu -d a -b le pa-ra El es lae-ter-n?. fuen-te de la sal-va-

~e— ^ Ven, a to - mar-la que es más dul-ce que la m ie l; Re-fres-ea el ción___ Ven, a bus-car-la en tu tris-te con-di - c ió n ,__ Re-fres-ca el „r

...,

...j.—

•/ -----

al-m a, al-m a,

re-fres-ca to-do tu ser. re-fres-ca to-do tu ser.

tá bro-tan-do, de las fio-res,

7 }r 7

Cris-toes la pe - na deHo-reb,queesCris-toes el li - rio del Va - lie

A - gua de v i-d a s a - l u - d a - b b 1 pa-ra ii. _ El es la Ro-sa blan-eay p u - ra de 5 a -ro n ,

From Himnos de Fe y Alabanza One of the best choruses from Puerto Rico * A translation into English by Dennis Byler may be found in Festival of the Holy Spirit Song Book Goshen College f 1973*

153 Many other choruses from different Latin American countries are sung in Puerto Rican churches.

Some of them are

annonymous hut some others have been written by hymn composers like Alfredo Colom, from Guatemala,

Another

publication which includes arrangements of "coritos" is the hymnal Rayos de Esperanza, of the Church of God, It is interesting to note the similarity of the melodic pattern between one of the best-known "corita" and some other "coritos" and hymns of Central and South American origin. The second phrase of "No es con espadas", No, 20 in Favoritos Juveniles "No es con espadas" \ / Í /I A b *1

£» *

Z 7 w .:[ " r = = = = k = z= = h = =

\ >\ -CZ , I IMZT----J -------- ! ¿ r f» * j? .. . g J0L—m u — & — j-_— . - ■-—J ± = = é = é

is almost quoted in the following "coritos":

"Mi corazón

contento está" and "Testifica", "Mi corazón contento está" (This is the second phrase as sung in some churches; also sung in minor mode)

T~ -J—#1—

c 1 1

r, t c t r<:

"Testifica"

J? E E r

t ¿

¿ i^ _ -

A, Morales (HFA No, 3 2 6 )

../fin n->¿ i - —7 :—7 ^—jp»------ --------4. /7TV' Vi / Lh-4—

■ ! . ------T--- s:-T>---- -" r _ ^ n f j «* r f

Also in the following hymns we found quotations of the same melodic pattern, "Al que hizo tierra" --------fV- 0 &— rrr t y : rp-jm— — ■

4B>

G, Agreda (HIS No, 50)

----- — ----— Í— r »__ 1 1___ ^ F = ani _ 1 _ ■ W & | ¿P o r ^ ^ ji

< ZT3il

T r ie s -1

1_. &> gi. *Me.

15^ "Oh. Santo Espíritu Consolador" y- fc-jy ft fr p-^T ¡Ld ~4r _¿p—¿¡

(HFA No. 2 6 5 )

>,.]y„¡:t".{Nqr=p

f£

~gr

F "Mientras Viva"

(RE No. k $ )

& f

m d

c r i t i c

Another well-known "corito" is "No hay Dios tan grande como Tú" which has a similarity with "Lover of the Lord", Nd, 3 in the Sacred Harp of Georgia» 1869• "Lover of the Lord"

ék

-j?—

— **—

Mzzz^: ¿ 3

"No hay Dios tan grande como Tú" — ---- fy—-— v~5= 2t — 0U— [L-d— P—^ _ , — d — — d --

^— d — J —

Hymnals with Native South American Hymns With the publication of the Adelante Juventud

Roberto C . Savage in 19^-7 » a series of hymnbooks which included hymns composed by Latin American composers and of Hispanic origin began to appearf although most of the hymns and songs in the earlier publications of the series were translations of hymns and "coritos" from the English language• *The title Adelante Juventud for the series comes from a youth hymn by Alfredo Colom which is No. 95 in first book on the series•

155 It was in Preludios C e l e s t i a l e s « 1951? a n d in Adelante Juventud III and IV of 1 9 5 3 t t hat Savage published the best hymns of Alfredo C o l o m and Guillermo Guillam* Four Puerto Rican melodies were also p u b l i s h e d s la

"Cristo

peña,f? "Alabaré"; "Orando", and "Pronto vendrá el Señor"*

In other books of the series we find these other melodies from Puerto Ricos "Después de la tormenta" "Clama a mí dice el Señor" "Yo vislumbro los albores" "No hay gozo más grande" "Allá en el Monte H o r e b " "Mi c o r a z ó n contento está" "Demos gracias al Señor" "Venid, pastores, venid" "La fuente de la Salvación" "Perder los bienes es mucho" "Amén, amén, amén" The last hymn, a d a p t e d b y S a v a g e , has a q u o t a t i o n f r o m the es tiempo de que a l a b e m o s ", by Ramón Díaz, as p u b l i s h e d in Himnos d el A v i v a m i e n t o * No * 11* Puerto Rican hymn

"Ya

"Ya es tiempo de que alabemos" (last 10 measures)

156

AMEN, AMEN, AMEN

?5 Autor D e s c o n c i d o

Arreglado por R, C. S.

E| i~^jrrl

31 A-

men* a - m e n , a - mén,

\>ÉL

re-sue-na

nues-tra

vox.

A - m ¿ n di-riia lofi

ama

K K -1 \T— j K— - C «i i 1 Kf— n--1 f fl 1 1* .. "'TJ " '"TP* H ■*«»»1■^lw"S — -c *M i ' €F f r r f .y 7 fi V- le s 3r ben - d i-g a n e l no m-b re de D ios. rA - rnen, a - m en, a - m e n > 0ft. P#1 -fib UA É» ... A *X► * ... __ 1»■ -iIB* p- f ■----B B--- Ek --- H .' B p r ----------- p ""ES |!p..... 9 --itT . r, t T , sr-— r---- r #1■ "^ — 9----U ....'■■■■— ■'If >- f — ___ 1J U 1I ■r ■■” r— 1----fV /---- y---- u--y---- ■— r 7£^ r fo,\S »*. *. . . • tr-—------- — <9v¿> <9v&'JtL.hot\J

r #FTi ....K" liTV y— ^ — 1

—;

----- .

— ¡v \ ----- K-i---r# r~ d 1 — v. t is 1------n------n ----- T----- 1— — - U ----- ri” — --- m -3 . ha

lie - g a - do

la g ra n b e n -d i -

a - -x. — .. -Pm __— * 0» IK■-.... 1 R------U----C----- . JUCT r " __H* b _P ft ..PK----- ?■ ""P" “ 1iznw.: .....upzzz 7c.,,., n¡ e r rn; rr t ' ' i~.— y n h

R— bpi----- — — «r— “n —---------~ h p — h~ H

c i o n . A - l a - b e - m o s c o n g o -K Ó fal E p.

. r

_________ 1.............. .

^ . " 11Ir -t ............ ........

---K1----- S1 •.js—— r1—— 7— s— — 1" K “dp-T—h— ^1— ■ hi ---K —h—feri —’y —hrn--" M -Z~~. ifrn'! ' M " _ r—I-..g K-- 1-- ir-i 0 :vp:----- E_ w--- w ^-- «. -E ter-no y “un grl-to

del

a l-m a

ex-ha-leítna

. ------------«h---- —— ^ -------------- "‘ "■■"I*!'1-r*" *.■<»«BHOT|Ni ----- J*- v>--------------------—B---- — -----------

- men.

—0

A - la - b e - m o s con

rjjI l — ~ --... i 1...... - __ I

Xn Cofre de Cánticos, 1 9 6 8 , is published ”A la casa de jairo", the refrain of which is based upon a well-known waltz, HSueno de una princesa” *”** It is attributed in Ecos de Vida, No. 107, to Quintín Arce, but in Cofre de Cánticos it is attributed to Santiago J , Stevenson 0. ^The original waltz Is by the Puerto Rican composer José A. Monrouzeau, as played in "Valses Criollos”, Modesto Rosario, Guarani Record GLP 2 0 k .

157 The music of several hymn composers of* Latin America has been introduced through the series,

Xn Cánticos de Gozo

e Inspiración there are f*our hymns by Liutenant I# Granados G, $ en Ddos* Tríos y Cuartetos» three by Victor Garrido 5 and in Ecos de Victoria« 1956# seven by Ricardo Guerrero Villareal* Also several hymns by Juan Isais, the Orbe family, and the arrangements of Eugenio Jordán and Carlos Chávez * Also through this series, Savage has introduced some negro and white spirituals from the United States, asi "Just a closer walk to Thee" (‘A Tu lado quiero andar) "Lord I want to be a Christian" (Dios yo quiero ser cristiano) "Where you there" (Sabes td) "The wayfaring Pilgrim" (To soy un pobre peregrino) "Day of judgment" (Dia del juicio) "Sweet low, sweet charriot" (Ya viene la carroza) "He1s got the whole world in his hands" (El tiene todo en su poder) "Precious Lord, take my hand" (En Tu mano, oh Señor) English title, unknown (Tu mirada pon al cielo) Various folkloric melodies of different South American countries and the Caribbean are included in Adelante Juventud series» "La Creación" (Quechua melody) "Escucha pobre pecador"

(Ecuador)

CC• 49 AJ. 45

"Si fui motivo de dolor" (Cuba) "Jesds el Buen Pastor" (Brazil)

AJ» 88 CGI. 32

"Cristo abre el camino"

MB. 34

"Venid, pas i;ores, venid"

(Jamaica) (Puerto Rico)

MB* 16

The most recent book in the series , Cantos do Evangelismo . 1971, includes, according to Savage "the most sung and

158

244

DESPUES DE LA TORMENTA

Melodía portorriqueña Arr.por Roberto C. Savage

J uan J qse Ram írez M.

1. Des - pues de la to r - m e n - ta 2. L a no - che más os - cu - ra 3. Je - sus hoy nos in - vi - ta

vie - ne la cal - ma, tie - ne s u a u - r o - ra, con. voz ben - di - ta

0-C--0-0-- 0-- 0~

-£>~ ■0 V

± vie-ne la p a z ____Si a Cris-to, de r o - d i - l i a s , tie - n e s u a l - b o r , ___ La vi - da más per-di - da a ir a E l ; ____ Su paz nos a - se - gu - ra

É tú se la tie-ne es-pe y nos o -

afe

pi - des, ran - zu íYo - ce

El te la da. N o im - p o r -ta que le - gio - nes del Sal - va - dor. No im - p o r-ta que el pe - ca - do sor síom-pre fiel. Con C r is-to triu n -fa - re - mos -p-

del e - ne - mi - go te ha-ya man-cha-do y e n El t e - n e - m o s

te ha-gan su - frir; ___ con su m a l - d a d , ___ buen C a -p i - t a n : ___

C C o n y ria h t 39'-4 U'GC by Siiu'Si-ir&tkiii, Inc.

Si al nom-bre Pues C r i s - to M ar-che-m os

A ü rig h ts reserved.

From Himnos de Fe y Alabanza Xn the oral tradition only the First stanza is sing as a "corito”

159 and beloved hymns and choruses in Latin America"*

It has

65 hymns, 29 of* them being Latin American tunes previously published in the series. Another song book by Savage is Favoritos Juveniles, 1973Âť with 105 hymns and choruses* Admitting that it is not an easy task to analyze the young people *s musical preferences, he subtitles this collection, "the most popular hymns and choruses among the Latin American youth"* Fifty-five tunes are of Latin American origin, most of them previously published in the Adelante Juventud series, except for the corito "Santo, Santo, Out

S a nto",

of this

of u n k n o w n

55,

Latin American

20 are tunes

"coritos".

seem

groups*

J o h n Pet e r s o n , quartets,

in S p a n i s h

and choirs*

are

in the

f l avor

is Cantemos:

inclu d e s hymns,

traditional

also

Los h i m n o s

most

of w h i c h

song,

and

of t hem others,

g o s p e l - s o n g tune flavor* amount

of L a t i n A m e r i c a n hymns m a y be

in the h y m n a l s R a y o s de E s p e r a n z a , H i m n o s I n s p i r a d o s

h a v e a v e r y l i m i t e d use

in the

de E s p e r a n z a n o r H i m n o s

local

These hymnals

churches*

Neither

Inspirados y S e l e c t o s , which

denominational h y m n a l s , are used as o f f icial hymnbooks in

t h eir c h u r c h e s . some

people1s choral

of y o u t h c h o r a l groups* â&#x20AC;&#x2DC; Mos t

y S e l e c t o s , and H i m n o s de Fe y A l a b a n z a *

are

whose

1966* A l a r g e r p u b l i c a t i o n of

of the B r o a d w a y m u s i c a l

A considerable

Rayos

Peterson,

1966 , a r r a n g e d for soloists, duets, trios,

in the r e p e r t o i r e

f o und

contemporary

of his h y m n s have b e e n p u b l i s h e d

are

in the

c o m p o s e r J o h n W.

de Fe y A l a b a n z a ,

Peters on*s hymns

of the 5^ n o n -

f r o m the

to be v e r y p o p u l a r a m o n g y o u n g

Nineteen

in H i m n o s

Fourteen

are t r a n s l a t i o n s

North American religious hymns

o r i g i n and a r r a n g e d b y Savage,

other

of the

T h e y s t ill l o cal

p r e f e r H i m n o s de G-loria or

Pentecostal-church h y m nals.

160

Rayos de Esperanza was published in Texas in 1952 by the Missions Department of the Church of God for their Spanish* speaking congregations. For the English-speaking congrega tions they have Rays of Hope, 1939* In 1973 the Spanish book was enlarged with 26 old hymns, most of them gospel songs from Himnos de Gloria and Cantos de Triunfo» There are a57 hymns and "coritos" of which about 5° probably are of Latin American and Hispanic origin* The information given about these hymns is limited to the name of the arranger, and in some cases, the name of the hymn writer*

The usual practice of giving the composer or music

source at the right top of the page is not followed consistently* For example, hymn No, 46, "Ye, hermano, ve” has the name of Roberto Vivas at the right side, and "Arr. L* Dominguez" at the left*

It no where says that the melody is

"Gloria in Excelsis Deo", the traditional French melody* Leopoldo Dominguez (I8 9 6 -I967 )**" was the music editor of Rayos de Esperanza and the arranger of about X05 hymns and "coritos" in this hymnal« Seven of his original compositions are included. The arrangements by' Dominguez consist mainly in the changing of the tenor and bass parts into a simple accompaniment of chords, single notes, and octaves• In some other hymns he arranges the full choral parts harmony as in the case of number 200, "Hay un jardín", which we can compare with the harmony given in the hymnal Gracia y Devoción, No* 3 6 • Dominguez* harmony sounds empty brcause of the many parallel movements between the parts. He seems to be looking for more chromaticism, but cannot find it properly.

In the whole hymnal the gospel-song type

of hymn prevails and the march and waltz rhythms.

Some

beautiful hymns in waltz rhythm are "Gracias, Señor", A Mexican pianist and dance band conductor, converted in 193&* He came to Texas to work as church musician, teacher at the Church of God Institute, and pastor. Biographical notes are in Canciones del Alma, Editorial Evangélica, San Antonio, Texas, 1974.

l6l by Dominguez 5 "Jerusalem” and "Seguro Amparo”, both arranged by Dominguez. Twenty-five hymns in this hymnal are from the hymnbook Himnos de Victoria, 1948, according to the information given at the bottom of the page. This book with 524 hymns was compiled by the Independent Movement in Mexico under the leadership of Axel Anderson, a Swedish missionary.^ Some of them, like ”Ya se acerca el tiempo”, ”Al Rey de los Reyes”, and "Mientras vivo” have been widely used in the Pentecostal churches of Puerto Rico, but it is difficult to know if they are of Puerto Rican origin. (Example of ”Al Rey de los Reyes ” in page X66) * Himnos Inspirados y Selectos This hymnal was published in 19&5 hy the Gospel Publishing House, in Springfield, Missouri for the Spanish speaking churches of the Assemblies of God.

It contains

225 hymns of which 117 are of Latin American origin. The other melodies are mostly standard gospel songs from the United States, including seven ”choruses” translated into Spanish,

Many of the Latin American hymns included appear

for the first time with its music printed after having been published for many years in word-edition hymnals in the churches of the Assemblies of God in Central America. This work has been done by the missionaries Laida de Hodges and Myriam de Haydus, who transcribed and harmonized the melodies. Twentyseven Latin American composers are represented in the hymnal; among them, Gregorio Agreda, with 24 hymns and Juan J . Morán, with 14 hymns; both from El Salvador, C, A. It is interesting to note that the same person wrote the melody and the words for the majority of these hymns* About 20 tunes are identified as ”Melodia Centroamericana”, meaning that the author is unknown.^ ^Data given by Rafael González in a personal letter from Sylvia Valdez of the Editorial Evangélica in Texas, August 2 7 , 1976, The music of No. 149, "Cristo nuestra Pe”, identified as "Melodía Centroamericana” is by Grant Colfax Tullar, according to Himnarjo de la Escuela Dominical, 1926, where it appears to the words "Nunca desmayéis”•

1 62

This bulk of hymns are the ones which are carried by the oral tradition and perhaps represent the best of the folkloric hymnody, The "corrido” or "ranchera" type of* song is evident in many of the hymns from Central American origin. A characteristic of the "corrido” is singing in two parts at the interval of thirds,

Examples of this are

"La peña herida" (2 2 3 ), "Oh hermanos" (179) and "Ya se acerca el fin" (193)* Several others have the melodic and rhythmical flavor of the "corrido” or "ranchera", like the following: " A l despertar"

189

"Ven pecador, Dios te llama” "Es nuestro Dios quien matiza" "Cómo podrás tú hacer el bien" "Despiértate tú que duermes”

156

"Embajador que a Cristo representas"

102

152 150

"Si mi nombre está escrito"

"Alegre canto a mi señor"

"Andando en Cristo constantemente"

The harmonies and accompaniments given by the editors give two parts to the treble voices and a simple accompaniment part in the bass clef, trying to make an independent line in its rhythmical movement, while some other hymns are harmonized in the standard four-vocal harmony. The rhythmic patterns in the accompaniment are something interesting to note. in hymns

in No. 125 in No. 143 in No. 219

and 79

163

ÉS NUESTRO DIOS QUIEN MATIZA Juan

-J l

Juan Jo** Morón A'monÍTado por Míriom Hoyáu*

Je** ñirron

4—-gr— í--y

■9-*v»í“ —&1. E s 2. 3, Oh, 4, A

g £ -Ar\___

m ies-tro Dios quien ma-ti - za e - sos cíe - ios Cuan¿No ves la iu - na co - mojes a - l í e n l e s e ie - lcCuans ven a - mi - ge, no des- p re-cies a C r i s - to El las man- sio-nes que C ristojia pre-pa - ra - do /*. i?. <5* -A #■— ------------- -yfr------ y/l, - , -tó1

u*.

"P" do la tar dqja- pa - re te o ~ fre o - fre El

U-o-i-—-7—

~¿~ de em -pie - zqji de - cli - nar, ce con i - lu - mi -na - cion. ce lu -gar en su man - sion. ce lie -v a r - te, oe - ca - dor.

JL________

■p

A -s í nos A - s{j£s el Ver, de ro No se - as

g-___

r-n

Efct:

W33 3£ ±tálC m u es-ira co -■mojes a - llá_en la gio - ría A losquqjjs* hom -b re que creew al e - van - ge - lio, • Pues el adi - lias a - quí_a los píes de C ris - to, Te lie - vasor - dq.^1 glo- rio - so e - van - g e - lio, Ven, sin ta r ÍA A -/y —t#--------------r?-----p—— p— tp— —1 .j. —¡------- j— --- £>------&-----

—i

- ^ i .-

>«■ -

±=t pe nun re dar

ran con £1 ir u - na gran-de cía raos ----- ■a Dios en y go -za-rás de JL í>

a re í sal - va o - ra su a je

LjaL

-n

nar. cien. clon. mor, —£ ~

From Himnos Inspirados y Selectos. Note the interesting use of the F// — Gb in the harmony of the third line*

l6¿t

Si MI NOMBRE ESTÁ ESCRITO Arnulfo Hernández Armonizado por Mlriom Haydus

Arnulfo Hernández

Melodía Contralto

1. Si minom -bre_es-ta_es-cri - to 2. A Je - sus c a n - to s ie m - p r e y 3. P or Je - sus, el Cor - de - ro 4. C uan-do C ris - to Je - sus pa

por ben Di - se

C ris - to, di - ,go; vi - no, l i s - ta,

i 1 jr ~ :Wá En A Se A

el 11 - bro quejsl m is - mo ten - dra; Je - sus por sujba - men - sa bon - dad, que m i^al-m a con El esta - ra; mi nom -b r e yo con - tes - ta - ré;

Melodía Soprano

Soy A Ya "Soy

fe - liz si mi nom - brq_ps -tq ^ es-cri - to Je - sus por - quq_ps- toy en su 11 - bro, mi nom-bre es - tajas-cri-to^pn su U - bro, fe - l i z , " c a n '- ta- ré¿"E sto y pre - sen - t e , "

From Himnos Inspirados y Selectos The melody has the air of a Central American ’’ranchera”

165

Two melodies from Himnos Inspirados y Selectos that show the influence of the 11corrido”, second is quoted here«

Only the music of the

150

DESPIÉRTATE TU QUE DUERMES

Melodía eentroómcr¡cana Armonizada por Miriam Haydus

Víctor González

¡OH! HERMANOS, YA MUY PRONTO LLEGAREMOS ¡79 Melodía Contralto

Gregorio Agreda Armsmixado por Miriam H ayd u*

Gregorio Agredo

1. 2. 3. 4.

¡Ohl h e r - m a - n o s , ya m u y p r o n to lle - g a L a co - ro -na p r o - m e - t i - d a jim -b i-c io Que f e - li - c e s cuandojsl m undosa quí d e Ya m uy pro n to l l e - g a je l fin de la jor -

. ■ i -

■

-Ui.- i

I ...

. i

■

re ne je na

- m os, - m o s, - moa, - da,

j — ■=»

'r ^

166 New melodies of Latin American origin are given for old hymns as the following list shows: "La senda ancha dejaré”

#169

”A1 contemplar la excelsa cruz” "Loor a Ti mi Dios"

Central American melody tt u tt tt u Tí tí tt t?

19 63

"No me dejes, no me olvides"

3 277 72 189

"Unidos en Espíritu" "Al cansado peregrino" "Al despertar la purpurina" "Rostro Divino" "Tú? de los fieles eternal cabeza"

n tt tt

tt tt

Ralph D« Williams

Adela de Barrera

tt tt tt

The music of two hymns which are included in the hymnal Voz de Júbilo y Salvación and in Lira Misionera, "Rey de los Reyes" and "Juventud Marchad" may be found in this hymnal• 2H

AL REV RE EOS REYES A rre s. L.

1. i. ;l 4.

Al Al Ai Al

Uiv de !<>Í Kt-ye-, el ule - rin ■ *«, 11. \ lie luiJU -jir. J.p-'if. <■ ; a -man ■ te, S.t'i-10 Es. jft-u* la fie’ y l«n ■ 'i: • 1» Ij uí f f f lu Sa-bioy t ’m-r.L-ro • tv.

dan - -c • r.ms It-n Gi • Mi - tr.eyiiTJiA11*, dfaio; leert- ve. Den te reí, re - ve*

:té=ro/-f*ir.?--!r, co«?'? i'O san -

tuC“*

Gn- le. al iiiun- 4 ■ val - re . 1A; ni - tía al hce ■;-,><■I fe - les . •-:,!! ■rtti- leí. ho-ner ) 111a - j--J

mu a

Get V

te ■ 'io'ron sj

Cor

tur

L.--*~er.-,jrzríí“A!";e El non He ■ fiur * mor-, Su

Ali

il -

cíes. r«-

*a:í nr:£

nn¿u *

Viven-*-*! -

■.i * Je, - i c í can - to*. Su IUiJ y W - ten ■ cm, Tov-'mna * n i

a-lay tVd- pi -

ruom O-ani- ve cii-, vir.

. tí> a . tes. Ion un . i-re - sen - «e. vW.

1.- - no -

-mos

- líjn * ti* \i<> ■ lun * cm,

- do ¡sw - vi - oio, Db v> «a

ti& q a m sm ?<- ra* xón, u - ni - r:i, to- fio nuil.

ío

- * Rícw.ov jin?. h.iy en mi CO - ra * Z'm! ¡Su ‘Ks «u an-hc- lo a miSc-íior sur * vir, So vo*

me luti-tau

Tri-ni * ü:«b

—irv

-5—r{-*G-

i-ecr fGT^r::rv r.;z

sal . vo y a-Se - cu - ró tnt bal - va -rién! cum -olir y pA - rn El 'i.om -pic vi- i : r . « .

^ T~ 0

M artial.

j, >irT íGa fíhiii

- , ^

‘íC?* ✓s

viciod!iM Ti:*4\

Fragment of MAl Rey de los Reyes", from Rayos de Esperanza

16?

AL CONTEMPLAR LA EXCELSA CRUZ

S. D, Athom

Mal odia c*nt/oom«r¡cono

„----- —K----- 1--% M ¡HLJV-Jt i = = t= —0!i rf— 2. 3,

C e - ñi -d o de E s pa. - r a m í

j - _j~_ v-

co - ro-na c ru e l, Pa -c ie n -te su* su g ran a - m o r , Mas que te - s o -

ft-

á n t i f f.

v por roí m u -rió . M is frqjsl Sal - v a - d o r , De ro te - r r e -nal; Mi

P !

g = jg

go -c e s , pom-pa^,y va - n isu c a - be - z a h a s - ta sus vi - da^’h -te -ra ^ a m i Se r p y — -pj

;

m Coro

/Vi

1j i *

j< i dad, Con g ran d e s - p r e - c io p íe s, Flu - ye^un ra u -d al de ñ o r, Por e - so quie - ro •ft--------& ± ------ -—

S í

^ -------a

m i - ro yo. tie r - nq_a-roor. So-lo^en la con - s a - g r a r . , 1

--------- 0 -------- » — n— :— !--------«

P . gj. J p - M U i /O

f P ,> . •

¡ ■= j = | = j = j = ^ 3

f - £ 3 = £ = ^

m u e rte d el S e -ñ o r, J e - s u s , m i D ios, m e g lo -ria - re ', L as /T\ O t------- ----------r . p 's i? p H f-f*-----f ------------ 1— (— i— — — I D .S . /Vi fT\ ■i ■=j!g ] = | ^ ------------------ j • - i?-br r ^ S - - 8 = - r | j - t r g t f i — g |¡ — o 1¡f— v a -ñ a s c o - s a s q u e ^ m o aq u í, P o r

E l g o - z o -so d e -ja -re '.

/T\ 4> ft~_

ft----- ft— 0-

Central American melody for "When I Survey the Vondrous Cross"®

Note that the 4

stanza is converted

into a refrain, of which the last phrase is repeated® From Himnos Inspirados y Selectos®

168 H i m n o s de F e y A l a b a n z a This hymnal,

Michigan,

includes about

L a t i n A m e r i c a n origin, i n the A d e l a n t e the s e l e c t i o n

Savage

and

Zondervan P u b l i s h i n g H o u s e in G r a n d

p u b l i s h e d b y the Rapids,

e d i t e d b y R o b e r t o C.

most

of t h e m p r e v i o u s l y p u b l i s h e d

Juventud series*

of the h y m n s

95 h y m n m e l o d i e s of* About

the e d i t o r

the c r i t e r i a for

says :

"We h a v e the f i r m c o n v i c t i o n that the 375 h y m n s a n d c h o r u s e s in this b o o h are the best to be f o u n d in the S p a n i s h l a n g u a g e hymnology, More than a hundreth of t h e m w e r e b o r n in the h e a r t s of L a t i n a m e r i c a n brethern C h r i s t i a n s , a nd in that w a y we h a v e b e e n able to c o m b i n e the f a v o r i t e hymns that have come f r o m E u r o p e and N o r t h A m e r i c a w i t h a b e a u t i f u l a n d wide s e l e c t i o n of the s p i r i t u a l songs that b e l o n g to the hispanoanierican w o r l d , T h e b a s i s f o r the s e l e c t i o n

of the h y mns

was a poll

Voz de los Andes" in Quito, Ecuador, which is heard in many Latin American countries. The preference for the North of the f a v o r i t e

ones

among

the r a d i o a u d i e n c e

of "La

American g o s p e l songs is still very strong, as 156 hymns of this type are included. As we noted before, this hymnal includes about 19 h y m n s and gospel songs by J o h n Y. Peters on. Other 75 hymns are from the standard repertoire of hymnic melodies from Europe and North America which may be found in other hymnals in Spanish, The best represented Latin American composer in this book is Rev. Alfredo Colom-Maldonado (1904-1971), from Guatemala, who has composed both the words and the music for his 31 hymns included in HFA. Most of them are arranged by the editor, Roberto C. Savage,

^ R o b e r t o Savage . H i m n o s de Fe y Alabanza, Translated by the writer.

170

TIER R A D E LA P A L E S T IN A

D esconocido

H im no Cubano A rr. por Roberto C. Savage

T T TT

-Sr

íT V

es la de ta y di - vi - na ria del pa - sa - do que en tu se mu - dos, que son los tes - ti - •gos

1. Tie - rra 3. Que - dan

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? ~ y~ y

...... -7*1 -i)--

=£=£

ti*' ¡ " J ¿ s=w=s= V E - res, de las na-cío-nes, Yen tus her-mo-scs o - li Yie-jas pa - re - des des-tru -

ti - na, don-de na-ció Je - sus; gra-do vi - vio el Sal-va - dor, mu-ros de la Je - ru - sa - lén;

•

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---x---- K f--- L_------- ----0__«___L , _____ í___

—

-gr eum-bre ba-úa-da por la lum.-bre que de-rra-m ó su lu2 . va - res. ha-b!o a ios mi - lia - res la pa - la - bra dea - mor, i - das. que si tu-vie-ran vi - da, nos ha - bla-rían tam -bien. --------------- b-------- b------ --------— o----------------- ±— «— *--- ™ —

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757

T 77T T

KS K K La

san-gre,pre-eio-sa san-gre,Delu~ni - gé-ni-ío Hi-jo de Dios; La

V W-g-

tf^átf

?T T T -í» m'» b n —TT F r o m H i m n o s de Fe y A l a b a n z a . Pentecostal hymnals attribute named Alejandro Tabales,

Dios.

T he

Puerto Rican

this h y m n to s o m e o n e

144

YO SOLO ESPERO E S E DIA

Autor desconocido _ . ,

jo Je MoílAto

*t > _____

oSe

noRn¡H

Arr. por 3.Arturo Savage

.~ w v (» ^ y_ m Vjr 1. Yo só-lo es-pe-ro e-se di - a cuan-do Cris-to vol-ve 2. Ya no meim-por-ta queel mun-do me des-pre- cié por do 3. En-ion-ces a - llí triun-fan-tev vic-to - rio-so e s - ta -

W -s_ ¿ rá, quier, ré,

Ü K i..j tJ

«y

7°

' #

•w *

P ¿ p.---

Yor sór-loes-pe-roe-se di - a cuan-do C ris-ío vol-ve - rá. Ya no soy más dees-te mun-do, soy del reí - no ce- les - tial. A mi Se - Sor Je - su - cris - to c a -ra a ca - ra le ve - ré.

«X

h.^-Ji Ni-J VNjS , S

-0- -f- -f- *

■*"

'KJr 0 ^

Ns A 9 yjr * ®

A - fán y to -do t r a - b a - j o p a - r a mí t e r - m i - n a - ran, Yo só-lo es-pe-ro e -se dí - a cuan-do me le - v a n - ta - ré A - l l í no ha-bra más tris-íe - zas, ni tra - ba - jos p a - r a mí,

i__ I

-sr Cuan-do C r i s - to v e n - g a , a su r e i - n o me De la t u m - b a frí - a con un cuer-po ya Con los re - di - mi - dos al Cor - de - ro a -

l l e - v a - rá. in-mor- tal. l a - b a - ré.

Ü Frora Himnos de Fe y Alabanza,

Attributed to

Juan José Morán in Himnos Inspirados y Selectos, Notice the interesting syncopation in the 3rd and lines.

Tía l t z r h y t h . m

JE R U S A L E N LA HERMOSA C a r lo s L o pe z A rr. p o r F e lip e G u tie rre z

E fr a in Sanchez

"1.... n ... id... -iq —i--- f-H--d¿-R 9-!— vM r-i .1 ..4- -6 --Ó *0—L*--- ¿i--li1-SM--- ----4-L-5. Cris - to llo - ra - ba; Jha na - ci - do Huy cruz cla - va - do, En

1. U - na no-che con la lu - na, 2. U - na i-gle-sia fio - re - cien - te, 3. Y cuan-do Je-sús mo - rí - a

t=±

# 5

é ie é

con-tem-pla - ba la-do he-ri - do do vii vil mai-va mal-va - ao

Y Del Ai A1

La Por El

^ --&-T &

ciu-dad san - ta. ¿Oh, WJe-ru -samis mal-da - des. Y siha-bi-tas ben-de - ci - a. Si túa-cep-tas

_----- *-- *---

■jáElJ p'-'"t== J>.i?. ¡Oh, Je- ru - sa

__ \— —1-------“Lr-fb--------1 ---~~—i —i------- _i ^ ií---- f1— m— 1 "Vir--- Q---ÍL®--’“vr.__.. o* a• lén la her-mo - sa! Tú que has ma - ta - do 1üúan pru - te - gú do Por Je - su - oris - to, 'j> en Se hoy la sais - gre Que ha de - rra-ma - do, "™--^—| zrr. ! ^ rr t ■ u 1 p ¡f . *fí ,,Ur >—fÚ— ..-r-.T. f , ; 1 ...i... —r — r— ,| Pi --—p— 1-- ---1p-----1 1.LS i ^ ’ 1]....¿j pf «^ L¿-------—p---p— ^ ---------1 &-------*---------len la her-mo

- sa!

Tú

quehasma-ta ¡

do,

Cuan -

Fine

-Or-

&i ptEE3{pt

tos tehaen-via - do Mi Pa-dre Dios__ iOh Je-ru-sa-len, Je-ru-sacuen-tras lis - to Pa - rair con E l .___ Co-moel a-veal hi - jo le da ras lie - va - doa Je - ru -s a -lé n .----

■Jfpr-ñ--4Mtos tehaen-via - do

Mi Pa-dre Dios.

cihfc

~C^¥

f#7T

lén! Ciudad de Sion Lio - ra por ti hoy mi co-ra - zúa:---siem-pre pro-tec-ción,Vi - neyoa tra-er - te sal-vag rf - f f Copyright

|i f f r r f

1944 by Concilio

| f f ..- f

eion.

i r.r r i , r t r . :ii t e

Latino Americano de Iglesias Cristiana).

r dt e, 44 From Himnos de Fe y Alabanza Also in Rayos de Esperanza, no, 54

173 Many o f these hymns are well known through Latin A m e r i c a 9 a nd we b e l i e v e the p e r m a n e n t

that some

of them w i l l be part

report oiré in future hymnbooks*

Besides

these melodies included in other hymnals, there are others that deserve to be mentioned* ”V e n a los pies de Jesús”, No * 339 in HFA is accompanied with an "habanera" rhythm and has a very interesting melodic rhythm.

1. Ven___ 2. 0 - 3. Vuei

a los pies de Je - sús, ye la voz del Se - ñor, ve tus o - .ios a Dios,

Ven, ------- no desMi - ra su inVuel ve, es rp

---- 1----..

-g—

—

...

4 -----

”¿Has oído Señor mis oraciones”? , No* 202 in HFA and ”A la victoria” , No* 251 in the same hymnal , have a flavor of "corrido" and the r e p e t i t ion of the last p h r a s e is done in many of his hymns * Other frequent things in the hymns by C o1om are the melodic interval of the 4 ^ at the beginning, and the use of the minor mode, as m a y be found in numbers 16, 22, 28 and 82 of this hymnal•^ The ”Familia Orbe” composed five new melodies included in this hymnal, for old hymns which for long time have appeared in other hymnals with well-known American and European melodies *

Perhaps the best ones are "Nunca Dios

mío” and ”Del culto el tiempo llega”, We traced the authors of the following hymns, identified as unknown in HFA;

”Soy feliz” (Mi testimonio),

in a rYnazurita” rhythm, was written and composed by Ramona Alamo^, f r o m Puerto Rico; ”Ya vislumbro los albores” f which is found in the local Pentecostal hymnals^ is probably of Puerto Rican origin;

”Yo sólo espero ese día”t

A complete list of C o l o n e s hymns and other Latin American hymn composers in H i m n o s de Fe y Alabanza m a y be found in Appendix IX* 2

Luis del Pilar, H i m n o s de El Avivamiento* p* 6.

^Under the title ”La Mansión de Gloria” in Lira Misionera and Himnario Voz de Júbilo y Salvación.

174 which has a rhythm similar to the "huapango”1 is by Juan 2 J . Morán ; "Tierra de Palestina" which is played in time

of 2 has a "pasodoble"^ rhythm and is by Alejandro Tabales**. "La mañana gloriosa” with a "corrido" rhythm is by Felicia K

and Mariano Beltrán . There are several melodies from different countries, including some from Puerto Rico* A Cuban melody is given to the hymn "Si fui motivo de dolor oh Cristo" (HFA, 303)* An interesting melody is "Jesds venció la muerte",by Jaime Redinf which is based on the Mexican serenade "Las Mañanitas"• From Ecuador there are two Christmas carols, "Venid Pastorcillos" and "Desde el Oriente Aquel"; and a very wellknown Puerto Rican carol, "Venid, Pastores, Venid", HFA 62. Some ’boritos" have been included in HFA j among them, the Puerto Rican "Orando", #207* Other Contemporary Collections During the last ten years some churches and groups have been using several hymn pamphlets that come from different Latin American countries, Spain, and the United States to enrich their hymnody• Perhaps these collections will be some of the sources for future hymnbooks, since most of these hymns will become part of the common hymnic repertoire in the churches«

"Huapango" i^ a Mexican rhythm. 2

According to Himnos Inspirados y Selectos. where it is given without the syncopation. n J n Pasodoble" is a Spanish dance•

*\juan Concepción, Ecos de Vida, p. 9 6 . ^See Cantos de Campaña, Editorial Caribe, Costa Rica*

One

of the b e s t c o l l e c t ! o n s

Canci o n e r o A b i e r t o

published in 197^ by the School of Music of the "Instituto Superior Evangélico de Estudios Teológicos" in Buen os Aires, Argentina• There are hymns from 7 different Latin countries, especially from Argentina and Uruguay* The style of the compositions is related to the Latin American folkloric music and with forms of the popular music; for example, the "diablada" rhythm in "Alabemos al Señor", by Ricardo Villareal from Bolivia; the "carnaval!to" rhythm in "Noche de Alegría", by a youth group from Uruguay; the "zamba" rhythm in "Ha venido", by Betty Sains:; the "chamarrita" rhythm in "Canta hermano, canta", by Daniel Fernández, from Argentina? the "xaxado" in "La Nueva Canción", by Simei de Monteiro y from Brazil, and the "cueca" in "Mi vida * esto no es mundo", by Ulises Torres, from Chile• There is a great variety of rhythms in these hymns and this is evidence of the new interest that the hymn composers have in exploring the music folklore for the hymnic melodies and rhythms• Only the melody is notated with the chords for the accompaniment indicated in letters above the staff. Other very good hymns, both with the words and music, included in the Cancionero Abierto and which have been used by some churches are "Ven hermano" and "Sobre estas tierras"* Also, "Gracias Señor"* A new theological emphasis in these hymns is the social implications of Christianity and the life of the church, as it is evident in the last two hymns mentioned * Another interesting series of hymn pamphlets from Argentina is the Corazón y Voz (5 volumes),

■

loa ni-ñosse duer-mea peu-san-doeu Je - süs. En un po -bre pe*

Ex* 2 "Ha Venido" Ritmo deZamba

1. Yo co - no» -coun pue-bli - to chi * gut - to; Ex* 3 "Canta, hermano, canta" d h - , -

REM “1

®— cg--

iCan-tá her*ma*nofíCan*fcá! ¡Can-tácon-mi-go,can-

COLM

EE M

-£■

~w—

ta I ¡Can h

Chamarrita

SOL M 4 SOL M -- ni 1 E * A SCU &— -- ^— \~Ú— ¿1—J

t r ' >'

Ex*

u» pue-

táí El es es - pe - ran * aa¡Can-íál Es jus -

"Ea N u e v a

.i ?.u„. _-C ,^u—v j uw rfP .jA i n¿® ___ WT £¿ r xa

Canción" " j

¡ip

[b j

'£~1

.....—3

*Canto un aue-vo ca»„toen el mutt-do,deI hom-brecjuea-ma yes*

MI M

SIM +

-é i t

M1M REM --------------- a:— rzzjg

♦— j

p$* ra, Se-ñor, por ver tu re cons-true -cíójl— —-^Iía-Moquía Ex* 5

"Mi Vida, esto no es mundo" ESTRIBILLO fju jj; »uw FFf f - V r e = ^ ■j— ___ <*-

Cueca

¿iJ— — CE—-

lia - do, quees co - roo _ lo quiero yo

__ ¿r~

177 SOBRE ESTAS TIERRAS (lSt stanza) Words: Federico Pagura Music: Nuñez Allanca (Perú)

VEN, HERMANO (lst stanza) Words and Music by Waldino Suárez and 0. Catena (Argentina)

XT© published by the Board of Baptist Publications,, This series includes hymns and songs composed by young people from Argentina and nearby countries. The most interesting ones from Volume 5 "Heme aquí Jesús Bendito”, a new melody by Josd Daniel Verstraeten, for an old hymn by Juan Bautista Cabrera; 1 ”Por eso canto yo", by Salomón Mussiett C*, in ”cueca” rhythm | and "Salmo 46”, by Eduard o Zara ¡saga. Toda la Gloria a Jesús is another collection of "coritos” and hymns from Argentina which includes simple compositions by contemporary hymn writers like R. E, Miller, Jorge Himitian, Jorge Lacorava, Juan Carlos Ortiz, Jorge Pradas, and Josó Daniel Verstraeten, who did the Harmonization for most of the h;/mns. One third of the hymns in the collection are of unknown origin, probably because there is not information available about them. 2 . Tiempo de Cantar is a collection of 42 hymns and choruses, of which about 35 are by composers from Colombia, Costa Rica, Ecuador, Chile, Bolivia, Brasil, Mexico and Venezuela.

The 10 hymns from Costa Rica are

by Jorge Díaz Mora, being the best known o f these, "Dios está en mi corazón"* IVo Christmas by the Chilean Salomón Mussiett, "Trote del Nacimiento" and "Borriquito Blanco" are in the "trote" rhythm There are 7 hymns b y Bolivian composers, among them, the new melody for "Soy yo soldado de Jesús", by Sergio Vargas. ‘ ' '^T~' " Folksong from Chile and Perú 2

Published by Casa Bautista de Publicaciones, EX Paso, Texas, in 1973* and compiled by Edward Nelson*

. 179

In Bolivia there is a "Iiymno logical National Committee" for the purpose of stimulating the Bolivians to compose hymns in a musical idiom which could reflect the Bolivian culture« Many of the new hymns have been published in the Bolivian protestant magazine Visión Evangélica. "Hoy en grandes ciudades" by the Brasilian composer Joau V. Faustini, is one of the Latin American greatest contemporary hymns. A collection that has been very useful to the liturgical churches , especially to the Episcopal, is Canciones dé la Iglesia Joven, published in Quito, Ecuador, with 60 hymns and Psalms, most of them of Latin American origin. Among the music included is "Misa Juvenil" and "Misa Pueblo de Bios", by J. Baylach ,from Ecuador; several Psalms by J osé Antonio Espinosa, a Spanish priest who worked in Perd; various hymns by Kiko Arguello, from Ecuador, and six Negro Spirituals. One of the best songs is "Dios es Amor", by J ♦ Baylach. Another liturgical collection is

mis;

published by the Roman Catholic church in Bogotá, Colombia in 1970. It has a total of 119 hymns, including 13 Psalm tunes by Joseph Gelineau$ 10 hymns by Lukas Deiss; several by Joaquin Sándhez, 3. J , , from Colombia; the Mexican Mass, and another mass by J . J. Briceno. The Psalms by Juan Antonio Espinosa published in his book El Señor es mi Fuerzar 1971 % are used also in many of the liturgical churches» The best known are % Psalm 1X4

Caminará en presencia del Señor

Psalm 66

A Dios den Gracias los Pueblos

Psalm 137 Psalm 118

Te damos gracias, Señor Tu Palabra me da Vida

Out of 42 hymns and Psalms in his books, 12 are Negro Spirituals and the others are his own compositions, of which "El Señor es ml Fuerza" is a very popular one* All his music has a definitively Latin American flavor. Contemporary Puerto Rican hymn composers Although only sire Puerto Rican melodies have been published in a standard hymnal * as it is the Himnos de Fe y Alabanza, several laymen and pastors have composed quite a large amount of hymns, most of them following the standard hymn and gospel song patterns. One of the most prolific authors is Pedro Escabi (b. 1924), A welltrained musician, he has composed several congregational masses of which "Misa en La menor" is the best known* This production also includes Psalm tunes, antiphones and a Kyriale with pi'oper chants and hymns for the liturgical year. The interesting aspect of his music is that it is based upon rhythmic and melodic elements of the musical folklore of Puerto Rico , doing this in a very artistic form. 1 Noel Estrada , box’ll in 191b, and a Presby terian layman, has composed about 24 Christmas song© and 12 religious songs and hymns. Among his Christmas songs are "Suenen Campanas de Gloria", "Noche de Dios"f Fiesta del Espíritu" , Llévame a ver a Jesds, "Novidad del Redentor, "Oigo Voces de Angeles", "Sonatina al Mesías" and "Mi L&scua Boricua”♦ In this tunes, like Eacabí, he also makes use of the popular rhythms like the "mapeyé", Waltz, "aguinaldo" and "villancico"*

‘^Composer of the famous popular song "En mi Viejo San Juan",

iSi MUSIC OF PEDRO ESCABI Ex. l_Based on the "aprulnaldo jibaro” ---lanA L.1 'U * MKliO-li

Vr- _

/sm

p o r Pedro E sc a h í

E x * 2 , Accompaniiiient to measures _18 - 21 n k k fs 1_____ _________._____________ #___ I_______i---------- y ------ — i ^ _______i— A » a ■ nr ■iftv—. i (k\ * ~ T ..— ..: ... - 4 ------------------------ ——-------------------------------------------Jc no - s o -fv-oS p u - dad C r\$-‘\o ft '\ >--------- T ~TZ -K r>v A— ^ — ■ « ¡f_. . '■I . ^*£>1 J 1 b J r 1 TP *7 ^ j 7 — ^: r k —r— ~4— _#---: __g 7 -1 - H i - __ V - L > J ; *r* 4* v/ yL tt *jr -5 1* V* *¡r *r

* ^—........ -----= f --------y --------Th

Ex# 3

The ’’Lord’s Prayer” in bolero style

“ Pft _

Ex. 4

______ #*_____ -V®----- 1--------- - p .............. ...... 1 — . ..•— t r ■p

ORE

" 1T\

N U E S - T R O QUEES-TIVS E M E L C I E - L Q

SAM-TI-FI-CA-DO

SE - A

Psalm tune Poll owing the ”t ónica andaluza” inn

. ..,Mq

---—--- 0 ---

_ZZ_ZM "I' ' ...4 --® --1 --

isa The best known of his hymns is ”Oración de Año Nuevo", which is arranged as a choral piece. His music has been recorded by the choral groups "Embajadores del Rey" and "Heraldos Melódicos”, Pablo Fernández-Badillo, b. 1919» was for many years professor of music in the Department of Public Education in his native city of Aguadilla. A well-trained musician, a student of Julian Bautista at the Conservatory of Music of Puerto Rico, he has composed many school and art songs, choral works, and hymns. His best hymns are "Alabanza” and ”Mi alma tiene sed” (Psalm 32). He is now editing a hymnbook called Himnario Criollo, in which he will publish his own hymns and also contributions from other composers. Probably this book will be the first Puerto Rican hymnal with the music printed. The Rev. Luis Angel Toro, b . 1907? is a Presbyterian minister who studied conducting and composition at the Westminster Choir College• He has composed the hymns "El gran triunfo de la Iglesia”, "Feliz Cumpleaños”, "El Doloroso”, "Tiempo Alegre de Navidad” and "Mi Ofrenda".

The last one is

used in many churches as an offertory hymn• Angel M. Mattos , b , 1 9 1 8 , is a physician and conductor of the famous "Coro Luterano Si<5n" • following hymns:

He has composed the

"Es Cristo mi vida", "Tan grande Amor",

"¿Por qué te abates oh alma mía?", "Hombre confia", and the choral hymns "En el Principio" and "Oh Profundidad". These are sung by his choir in tours, concerts and presentations in the churches• A very prolific hymn writer is the Methodist pastor Carlos Pastor López, b. 1931 * who has composed about 60 hymns. Most of them are used in his own church by the choir and the congregation.

"El Cristo del Calvario” and

"Al Dios Excelso” are the best known of his hymns,

183 Antonio Rivera Martínez? was a p r o f e s s o r published and

a P r e s b y t e r i a n l a y m a n , who

of H u m a n i t i e s at the U n i v e r s i t y

C u a d e r n o de M e l o d í a s R e l i g i o s a s

of P u e r t o Rico?

with JO

Anecdotario H i m n o l ó g í c o , which includes

of his h y m n s ?

12 others*

T he

30 h y m n s are in t w o - p a r t s h a r m o n y ? m o s t l y in i n t e r v a l s of

first

3r<*s a nd parts,

The

o t h e r 12 t u nes are h a r m o n i z e d

b ut the h a r m o n i e s

5 ^

a nd

use

s o und v e r y e m p t y w i t h too m a n y 4 ^ ,

octave p a r a l l e l h a r m o n y i n t e r v a l s a n d the 6 chord*

un h i m n o

in f o u r

Hi s b e s t - k n o w n h y m n

the i n a d e q u a t e nYo q u i e r o s er

de a m o r ” , n u m b e r 100 in A n e c d o t a r i o H i m n o l é g i c o *

R i v e r a M a r t í n e z w r i t e s b o t h the w o rds

and

the m u s i c f or

his h y m n s • C a r l o s H* C h u r c h has ”Si

tú

V i a n a ? a minister

composed

several hymns

tienes u n a c r u z ” and

One

of his h y m n s

of C h r i s t

of w h i c h the b e s t k n o w n ai^e

”A l a b a d o Seas? O h S e ñ o r ” ,

of the m o s t p r o l i f i c

Church, is J u a n Pacheco, many

of the D i s c i p l e s

composers

w ho p u b l i s h e d

in A l a b a n z a s

of the P e n t e c o s t a l

the words

edition

a D i o s , a collection

96 hymns, m o s t of t h e m of P u e r t o R i c a n o r i g i n a nd e d i t e d b y Pacheco* O t h e r p e r s o n s w h o h ave b e e n w r i t i n g and c o m p o s i n g hymns

Rodríguez, Rev*

A* Pacheco, Jos é L * Pacheco, José M * Q u i ñ o n e s -

are J u a n Rev*

Clemente Many

B o b o n i s , and

t h ese

José

Cardona9

others*

of the c o m p o s i t i o n s b y the p e r s o n s m e n t i o n e d

m a y be f o u n d at Library,

(Jeraldo L ó p e z , Rev*

the E v a n g e l i c a l S e m i n a r y of P u e r t o R i c o

in S a n Juan*

composers

choral groups

In m o s t

of the cases,

the m u s i c

is u s e d l o c a l l y in t h e i r c h u r c h e s

to w h i c h t h e y are related.

that m a n y of these

tunes h a v e n e v e r h a d

to p r ove t h e i r v a l u e

as c h u r c h music.

or b y

It is a p i t y the

opportunity

CONCLUSIONS

Definitively, the gospel song tradition is still very strong in the hymnals in Spanish that the Protestant churches in Puerto Rico and Latin America have been using. There are very few exceptions, especially among the Lutheran and Episcopalian churches• The most-used hymnals in Puerto Rico, Himnos de Gloria-Cantos de Triunfof and Himnos de la Vida Cristiana are basically collections of gospel songs. Hymnals in Spanish have followed the same pattern in their content, with more or less the same hymns, same arrangements, most of them copied from the hymnals of the United States• The majority of the Protestant churches in Puerto Rico have been of the "evangelical type", with a special emphasis on evangelism, rather than on the liturgical life of the church.

There has been more need for hymns

for evangelistic purposes, hymns vfh±ch speak about "conversion"f "repentance" and "the sensual type of life between Christ and the believer". The gospel song is the kind of hymn which emphasizes this sort of theme• Another important aspect of this type of song is the lively and catchy rhythms and melodies, which are preferred for the evangelistic meetings, besides the fact that the syncopated and dotted eight notes rhythm are characteristics of the Latin American popular music• However, at present, new concepts of what evangelism is and new methods of dealing with it demand new hymns and more creative ways of using the rhythm and melodic elements

185 of the popular and folkloric music, There is a new tendency in the Latin American hymnody to use the 11protest hyrnn-s ong" and hymns with ’’social concern” as a way of making Christianity relevant to the contemporary social problems and the purpose of creating the "new man”• Internally, the churches are realizing the importance of the liturgical life, and the church-world relationship. New and old hymns in harmony with these concepts are being discovered and included in the new hymnals, as The Methodist Hymna 1 and Cántico Nuevo, We can "dig” more among other hymnic traditions where we can find hymns, words and melodies, which can be adequate for our liturgical needs. Of course} we need more contemporary hymns, but not of the type that looks like cartoons of the old gospel songs. This is one weakness which can be pointed out about the publications of the Nazarenes, Joyas Favoritas, and their related books as Gracia y Devoción and Sendas de Bvangelismo« The new hymns in these books are new gospel songs with the same old personal evangelistic theology translated from the English language. Instead, we need hymns of real merit, hymns of strength, dignity, vigor, and devotion, which will be an asset to the worship services and the church *s life, rather than hymnals which are evangelistic oriented and with hymns of the personal and individualistic type of Christianity, In the last seven years we have seen a new interest in composing and writing hymns in the native Latin Arnex'lean musical idiom, but this change is not yet evident in the hymnals, and is shown very timidly in the churches1 repertoire. The inclusion of some melodies in the ’’corrido", "vals" style and other typical rhythms in recent hymnals like Himnos de Fe y Alabanza, and Himnos Inspirados y Select os is the beginning of this practice,

Most of the

186 melodies and harmonies of these new compositions are not the best that could be produced, because very few of the composers are trained musicians and in the majority of the cases, the poets are the ones who compose the melodies for their own hymn-poems. Probably it could be a better practice among our hymn writers if they would look for musicians to compose the music for their hymns. In general 5 we may say that there is not a clear pattern of presence of the native music in the hymnals, but airs of "valses11, marches , "boleros" , "corridos" and "guarachas" may be found especially in the Pentecostalchurch hymnals, like Voz de J\1hilo y Salvaciรณn, Himnos Inspirados y Selectos, Ecos de Vida and Lira Misionera. It is possible that the future of our hymnody and the development of a native hymnody will be related to the use of the native popular rhythms and melodic patterns, which will mature slowly into refined hymn odie forras with a native musical background. The hymnody of the present and the future, will have to deal with what I call the art hymnody and the classical hymns old and new, and also with the hymns , liturgical chants and religious songs newly composed and based on the popular rhythms from the rock and beat to the "cueca and plena"โ ข The modern hymns should be in these different styles, instead of playing all of them in one single form. We don* t see any reason for playing "Roca de la Eternidad" (Rock of Ages) in a "bolero" or "mazurka" rhythm, as it is done in many Pentecostal churches with the traditional hymns, if that hymn was not originally in any of these rhythms.

Instead, good

and new hymnic melodies and texts in "bolero" or any other rhythm should be composed.

187 New hymnals in Spanish 1 should come out with more Latin American hymns, leaving out the weak and unworthy hymns that have been carried in previous publications, This practice will challenge native writers to compose better hymns that would go beyond the "saccharine melodies" and harmonies of* the imported gospel song tune. There are also Tine poems in Spanish which can be sung as hymns if somebody can set them to music. Probably this is an area that could be worked out through contests, to stimulate the composition oT new melodies Tor these poems. This could be done in Puerto Rico with the poems by José Espada Marrero, Angel Mergal, Adela Vázquez, Samuel Vélez Santiago, Roberto Figueroa and many others. Hymnals should be revised more frequently s o they can keep the rhythm of the productions and answer O adequately to the liturgical demands. Perhaps, this could be done by producing hymnal supplements, that could include not only new hymns but also "coritos" of good quality and religious songs, like the "songs of -protest"• There is a need of making an adequate selection of the best hymns from Latin America composed in the last 10

years,

Each country has its own re pert oire, but it

should be enriched with the best from other hispanic countries.

Two new hymnals are in the process of compilation, Casa Bautista de Publicaciones in E l Paso, Texas is working in a new international hymnal in Spanish upon the request of the Chile Baptist Mission; the United Evangelical Church of Puerto Rico is planning to publish its own hymnal, 2

Southern Baptist churches have been using Nuevo Himnario Popular, which was edited in 1955? based on Himnos Favoritos; most of‘the hymns were old ones• Himnos de la Vida Cristiana, 106?, changed very little from its 1939 edition; and Himnos de Gloria, 1921, has never been revised. Recently, 50 new Latin American hymns were added to Culto Cristiano, 1964,

188 390 Amatto ¡NVrvo

Pastor te Bendigo Gonzalo !í.i«-Camsrgo

This is one of the few poems by .well-known Latin American poets set to music as a hymn.

This one is of

Mexican origin in both words and music, as included in Himnario Metodista, 1973*

189

These selections should be printed with a light accompaniment, keeping the characteristic rhythmic patterns if they are based on folkloric music* No words edition should be published, unless the melodies are well-known ones* At least, an edition with melodies and words should be available for the congregation* Attention should be given to the hymnic education* Some kind of program should be developed, like ”the hymnof-the«month plan”* Denominational hymnals like Culto Cristiano, Himnario Metodista and Himnario Episcopal* have a lot of material that is worth of being learned and used in their churches♦ Among the non-denominational hymnbooks, Cántico Nuevo * El Himnario and Himnos de Fe y Alabanza should be considered in this order, as good substitutes for the Himnos de Gloria, Himnos de la Vida Cristiana and Himnario Popular* They have a better selection of old and contemporary hymns from different traditions and a wider selection of hymns for the various liturgical needs. A last word should be said about the hymns for children* They should learn the standard hymns that are adequate to their understanding and singing ability. There are many hymns that fit these requirements.

Perhaps a hymnal

like Himnos y Cantos para Niftoa should be revised to include new hymns for the children and some more standard hymns that would be adequate for them.

190 APPENDIX I BEST REPRESENTED GOSPEL SONGS COMPOSERS IN THE SPANISH HYMNALS Listed in chronological order, indicating the number of1 tunes in each hymnal

HVC

NAMES

DATES

John H* Stockton Silas J. Vail

1813-1877 18X8-1884

3 2

2 2

William Bradbury George F* Root Joseph P. Holbrook William F* Sherwin

1 8 1 6 -1 8 6 8 1 8 2 0 -1 8 9 5 1 8 2 2 -1 8 8 8 1 8 2 6 -1 8 8 8 1826-1889

10 6 1 1 4

1832-1915 1835-1912

9 2

1837-1899 1838-1876

Robert Lowry William Doane William G* Fischer J ohn R « Sweney Philip P. Bliss William J* Kirkpatrick Hubert P* Main Elisha A, Hoffman Ira D. Sankey James McGranaham William A, Odgen George C. Stebbins Daniel B, Towner Edwin 0* Excell Charles H* Gabriel Mrs. C* H. Morris C* Austin Miles Tullar Grant Colfax

5 0 3 4 8 3 8

MHP

3 3 12

0 0

1 0

7 4

5 2 0 2

5 3 3 9 11 1

1 10 4 4 4 4 6 3

1 8 3 8 -1 9 2 1 1839-1926

13 17 1

8 20 2

7 15 ‘ 10 2

1839-1929 1840-1908

5 4

1840-1907

7 3 14

10 2

1841-1897 1846-1945

5 2

1 8 5 0 -1 9 1 9 1851-1921

6 2

17 4

14 2

1856-1932

7 16

1862-1929 1 8 6 8 -1 9 W

7 6 2

5 10

4 4

1869-1950

7 5 2

5 5 2

5 7 7 3

1 2 1 3 1 0 2

1 2 1 0 0 1 2

1 0 0

3 0

0 2

0 2 0

3 0 0 0

1 0

Included are only those which have more than 3 tunes and which are included in more than 3 hymnals*

o a

H o o e ct ct F» O 3

3 H>

print an

H JO •£*

K F* 3 id

O' it -— *o o O ^ F* O © 3 O 0 QP O 3 3 © 3 tJ <t tí tí ft4P © 4 4 P et Wt o ©B F* © 4 © o ©p 3 © © a ©4 o ct tí © 4 Hi t © p o &O oe t í 4 4 tí 3 H P HjV4J 3 © © ct •• ct© 0 © 3 © 3 4 0 CJ* * m ct id P. H (» 0 3 © VWVi 0i} H 3 ct © VO H* © H 3* 3 On H F* <! <i © o Vi © H * 3 tí 0 © 2 .- F 3 ct 3 as o 3 ©©

F* O a < p y cm fSK H F* 0 O

F 1

VO VO io VO H

M VO H 4^

JO fo ON VO VO o

VO Vn 4r VO Vo

Number of* Hymns (Total)

Plains ongs

O H

00 VO

as o

fV3

Date of*

f *a

191

It* § 8 O o a *■3 3 S o 9 it o K it cn W

English.

3 0

U, S • traditional type

i> s

EVJ

-a H

Gospel Songs

H VO

Folk Tunes

H vo

Latin American Composers

Contemporary

..............................

r ■'

—»

--------- -------------------------— ^

Anglo-Genevan Psalm Tunes

German Chorales

Tunes f r o m well-known masters

Others

H T -n— -

—

w w Ü

5» 4J tí m

H H H

English

Plainsongs

Total number of hymns

Bate of publication

c\t ON t**í

1924 , 1 9 2 6

336

El Himnario*

1931

491

Himnos de^la Vida Cristiana

1939

316

Lluvias de Bendición

1947

253

Nuevo Himnario Popular

1955

389

1 Himnario Metodista

1955

252

Himnario Episcopal

1961

261

Himnario EvangéIleo Presbiteriano-

1961

500

Cántico Nuevo

1962

476

124

El Himnario

1964

443

Culto Cristiano

1964

412

110

Himnos de la Vida Cristiana*»

1967

354

Himnario Metodista

1973

394

Himnario Popular

CO £¡0 ■d u a

tÚ tí +>

«a ©

tí 0 m

H to ft m ’ ■■O a

a a3 O to

c A 3 4:

H O ft

«3 > to

t: o5 U 0 ft

to to tí tí to p O ft»

I o H H H tfflcá tí « cj ft

E to •p £ 0 0

to &H cá oj 0 ^ ft 0 to& tií ü

0 ft 0 to ft-p <H to c3 to gí to tí to 3£ e* 4»■

to u to

£ 4* o

1 ! ;

204

240

i 14

280

131

220

125

APPENDIX Two-hundred

III best k n o w n tunes

the hymns are in H V C , unless otherwise i n d i c a t e d ; asterisk indicates the gospel song t u n e s - 125 )

(All

♦ACKELT (He lives) A CUALQUIERA PARTE

CONVERSE

ADELAIDE

♦CRISTO

ADESTE FIDELES

♦CROWN HIM

*A LA BATALLA

♦CUANDO ALLA SE PASE LISTA

♦ALL

♦CON GRAN GOZO

TO CHRIST

(Erie)

FIEL

♦CUANDO COMBATIDO

A LOS PIES DE JESUCRISTO AMERICA ANGEL'S STORY

♦ D A D N O S LUZ DARWALL

ANTIOCH APARTE DEL MUNDO á S U NOMBRE GLORIA

SALVADOR E N T R A R

DEJA

DEJO

EL M U N D O

DENNIS

♦ASSURANCE ♦AT

(Bienvenido)

(H)

♦DILO A C R I S T O

THE CROSS

DEABEMATA

AURELIA

♦DIA DE VICTORIA

BORRNANCE BARNARD BATTLE HYMNS

DUCANNON (h )

BEECHER

EASTER HYMN

BETHANY ♦ B R I L L A EN E L S I T I O

BIN PESTE BURG (H)

♦ E L C U I D A DE LAS AVES ♦ELIZABETH

(T H O M P S O N )

CAROL

♦EN UN APOSENTO ALTO

CLEANSING FOUNTAIN

♦ES J E S U S E L M E J O R

CHRISTMAS ♦COME T O T H E S A V I O U R

E V E N ME

♦COMPRADO CON SANGRE

EVENING EVENTIDE

(HG)

AMIGO

PRAYER ( C H A T A U Q U A )

faithful guide fill ME HOW {P L E N I T U D )

♦X WILL SING ♦I WILL SING FOR JESUS * IN THE GARDEN

FLEMMING

ITALIAN HYMN

*f a c e

face

GALILEE (H) GLORIA P A TRI (Me ine cke) GLORIA {.Ring the bells of heaven) BE W I T H YOU GORDON ♦GOD

♦JEHOVA ES M I PASTOR ♦ JESUS I COME JESUS LOVES ME ♦ JESUS IS CALLING JUANITA

♦GOZO DA ♦ G OZO Y L UZ

♦KEEP

IN TOUCH

♦LAFAYETTE ♦HAMBURG

♦LAS PISADAS DEL MAESTRO (lie)

♦HANDFORD

♦LEAD ME SAVIOR

♦HANKEY

LENTO ♦LIGHT OF THE WORLD

♦HAY

UN CANTO N U E V O

ME ♦ H E R M A N O S , DINGS HOY ♦HE L E A D E T H

HIGHER ground ♦HOLINESS

(LON G S T A F F )

♦HUBO QUIEN I-tURSLEY ♦I

AM T H I N E (H)

♦LILLY OP VALLEY ♦LIMPIO EN LA SANGRE ♦LIVING FOR JESUS ♦ L O W IN THE GRAVE ♦LOWER L I G H T S LUCHANDO ESTAIS LUK E

♦I GAVE MY LIFE

LYONS

♦I NEED THEE ♦ I SURRENDER ALL ♦I WILL GO WHERE YOU WANT

MADRID

MANOS C A R I Ñ O S A S

195 ♦MAS ALLA MARTYN (H) ♦MCAFEE ♦MEET ME THERE MENDELSSOHN MI CULPA EL LI/EVO MI REY Y AMIGO ♦MOMENT BY MOMENT MORECAMBE MULLER MY PRAYER ♦NAYLOR (115) NEAR THE CROSS

PATMOS PASS ME NOT PIES DIVINOS ♦POR FE EN JESUS POR LA MARAÑA ♦POWER IN THE BLOOD ♦PRECIOUS NAME ♦PRESTE OIDOS (H) ♦PROCURO EN VANO (Balderas) ♦PROFUNDO AMOR ♦PROMISES PUEBLA PUERTA ENTRE ABIERTA

NEARER

RE.ED CITY 252

NETTLETON NICEA

♦REFUGE REGENT SQUARE 81 RESUCITO, LA HUEVA DAD (NHP)

♦O CRISTO MUESTRA ROCA

♦REVIVE US AGAIN

♦OBREROS

♦ROOM FOR THEE

VÍH GLORIOSO MENSAJE

♦ROYAL BANNER

♦OH ÍÍÁPFY BAY ♦OID, OID ♦OIGO LA VOZ (Sliepherd) 254

♦RUTHERFORD

OLD HUNDRETH

♦SANTO f SANTO GRANDE ETERNO DIOS

♦OLD RUGGED CROSS

♦SEMBRARE ♦SH ONALTER ♦SHOWERS OF BLESSINGS

OLIVET ♦ONE DAY OPEN MY EYES ♦OPORTO 0 STORE GUD

SICILIAN1S MARINERS ♦SIEMPRE ORAD ♦SI HAY VALOR DE FE

196 JESUS CAME INTO MY HEART SOFTLY AND TENDERLY (THortspson) ♦SINCE

PEREGRINO ♦ S O Y YO SOLDADO ♦SOY

ST* CATHERINE ST. GERTRUDE ♦ST. G E O R G E WINDSOR

♦WAY OF THE VROSS ♦WELCOME VOICE ♦WHEN HE COMETH ♦WHO WILL FOLLOW JESUS ♦WONDERFUL WORDS WOODWORTH ivGRIC SONG

S T . LOUIS STILLE NACHT

YIELD NOT

BY AN D BY SWEET HOUR

ZION (H)

♦SWEET

PEACE

TELL ME THE S T O R I E S OF JESUS TENDRAS

QUE REHACER

♦TENGO UN AMIGO TIDINGS

♦TODO RENDIDO ♦ T O I L I N G ON

(TO

THE WORK}

TOPLADY

♦TRABAJAR Y ORAR ♦THE G R E A T PHYSICIAN ♦TRUE-HEARTED

TRUST AND OBE Y ♦ T R U S T IN JESUS ♦VALOR Y

♦ V E D LA F U E N T E ♦VIENE

OTRA V E Z

VOX DILECTI ♦VOLUNTARIOS DE JESUS

197 APPENDIX

HYMN TEXTS GIVEN WITH DIFFERENT T O E S {Partial l i s t )

ASTRO MAS BELLO Wesley Epifanía Morning Star

IIVC, H CN HE | CC

AUNQUE SOY PEQVBEmhO 31schoff Lirtby AMOROSO NOS CONVIDA j ones Mount Vernon Galilee Dulce Carmen

NHP, LLBt MIE GG

LLB CC CN HM

A DIOS OBEDECEN EL RAYO T EL VIENTO Sullivan Iiremser AMOROSO SALVADOR Viena Mercy

CC H

á LOS PIES DE JESUCRISTO 0 Durchbreoher Anónimo

CC H

APARTE DEL MUNDO Kremser Ve Praise Th.ee

A NUESTRO PADRE DIOS América (almost in all hymnals) Dyb af Kjaerlighed

AL TRONO EXCELSO

CNt HM CC H HEP HE

A DIOS DAD GRACIAS Mit Freuden Zart Allein Gott In der Htth

HM CM

CUAN DULCE EL NOMBRE Sit.* Peter St „ FAso.vi.asit Zeraii

HE 9 CC, CM NHP

CUAN FIRME CIMIENTO Foundation Maidwin Adeste Fideles

HM CN HVC , H

CARIÑOSO SALVADOR Himno Español Refuge Martyn Aberystwyth CANTAR NOS GUSTA UNIDOS Rotterdam Anónimo

CC NHP , HM H CN

CC NHP

DEL CULTO EL TIEMPO LLEGA Aurelia Familia Orbe

HM HP A

DESCIENDE ESPIRITU DE AMOR Come Holy Spirit-Beethoven St. Agnes Evan

CN HM H

DIVINA LUZ Lux Benigna Sandon

H f HM CN

DIOS HASTA AQUI ME ACOMPAÑO A l l e i n Gott in d e r HtJh Es 1st g e w i s s l i c h DESPERTAD ,

OH C R I S T I A N O S CC

Wesley Mendoza

HEP HG, H M NHP

Puebla De F l e u r y DIOS TE

CC GN

BENDIGA

Toulon Moreeambe

CC lis H V C

DIOS ETERNO EN T U PRESENCIA

Armstrong New Year St. H i l a r y Fa ben

CN CC NHP,

SU I G L E S I A

ES C R I S T O D E Aurelia Eck

HVC

FELIZ MOMENTO

(Día .Feliz)

Hebron Oh H a p p y B a y PUENTE

HM HVC,

DE LA V I D A E T E R N A

Nettleton

Ripley GLORIA A DIOS E N LAS ALTURAS Si * G e o r g e Trefaenan

Windsor

GUARDA ¿QUE NOTICIAS DAS ? S t . Ge orge W i n d s o r P l e y e l *s H y m n H O Y POR LOS

H CC

SANTOS

S ine N o m i n e Saruna (a n o t h e r t r a n s l a t i o n ) Sine Nomine (different translation)

CN H HE

HVC

200

HIJOS D E L CELESTE REY CM H CO

Brasted P l e y e l 9s H y m n Innocents

HOY VENIMOS CUAL HERMANOS HVC, CN

Dormanes Sardis

HM, H

HAY UN LUGAR DO Q U I E R O ESTAR Winchester

CC (no r e f r a i n ) H, H V C

New

Asilo JESUS TE NECESITA Arrfegui.n

Anรณn Excel!

IXED HS 9 H E P

LUZ DE VIDA ALUMBRAME H

Hinehman L i e b s t e r Jesu, LOOR

wird

sin h i e r

A TI MI DIOS EN ESTA N O C H E L o o r a Ti ( S a n k e y ) Valderraina White

H CC HEP

LA PALABRA H O Y SEMBRADA H

Zion Hollywood

mil

arpas

y mil

CC voces

Harwell U n s e r H e r r s c her

H s HVC I!M ( w i thout Alleluias)

MI M A N O T E N f SENOS Caritas Perfecta Hold Thou My Hand

CC EL, CN,

201

MIRAD AL S A L V A D O R JESUS Got i uiid Herr Puerta Entre Abierta

Ach

C N (no r e f r a i n ) N H P 9 HVC

NUNCA DIOS MIO Horeb Flemming Familia Orbe

CC HVC* C N ? HM HFA

OH NUESTRO PADRE Asomen St. Agues St* Anne

CN CC

OH DIOS ESCUCHA CON BONDAD Arlington Martyrdom (Avon)

H CN

OH SEÑOR PROCURO EN VANO Balderas L1ansanan

CC HE

OH PASTOR DIVINO ESCUCHA Holbrook Guide me

H , HM C\C

OH SEÑOR A TUS ALTARES Día tras día (Carter) O Der Alies Evening Prayer (stebbins) Petersen

CN OC B HE

OH PAN D E L CIELO

St* P e t e r s b u r g Hebron

CN, H E H, H M

Grace Church

202

OH CRISTO N U E S T R O 0020 X B I E N Quebec Germany PARA TODO VIAJERO Love Divine (Le Jeune) Longden

H CN

PRESTE OIDOS EL HUMANO I am Coming (s&nkey) Saint Asaph Kyfrydol

H, FIVC CC CN

QUE MI VIDA ENTERA ESTE Patmos Mozart Hendon Ducannon

CC CN H, HM HVC, EH

REFUGIO TU DEL PECADOR Manoah Chelsea Square Dundee

H CN CC

ROSTRO DIVINO Crucifixion Lento R, D P ¥111lama SEGUN TU DICHO AL EXPIRAR Manoah Dalehurst Evaa EN TI YO CREO leh weiss, woran ich glaube Angel1s Story SEÑOR YO TE CONOZCO

HFA HVC HXS HVC H CC

SEÑOR

CN CC H, HM CC

203

SIENTE EL ALMA War urn s o3.lt Ich mich denn grSmen? Fr'óhlich s oil

CC CN

SI FUI MOTIVO DE DOLOR Melodía Cubana Camacua An Evening Prayer

HFA CN LLB

TE ALABAMOS OH GRAN DIOS Jesu meine Zuversicht Grosser Gott

CC UN, HM

TESORO INCOMPARABLE V a l e t w i l l ich d i r Rutherford F a m i l i a Orbe

geben (st• Theodulph)

CC HVC, H

HFA

TU DE LOS FIELES, ETERNAL CABEZA Love Td de los fíeles A l b a n y (Ancient of Days) Perfect

H s CC HM,

U NA H I S T O R I A D I R E M O S

Millar Message

CC H

UNIDOS COMO HERMANOS Greenland

Magdalena S t , Th e o d ulph

H CN CC

VEN OH TODOPODEROSO Be t h a n y Bavaria

CC HVC, H

VENID NUESTRAS VOCES Kremser Stockwell

CC CN

YO TE BUSQUE SEÑOR Wachusett Mon Dieu

HM CN

20¿* APPENDIX V H Y M N S T R A N S L A T E D M O R E T H A N ONCE ALL

CREATURES OF GOD O UR K I N G Oh P u e b l o a V u e s t r o Dios y R e y Oh C r i a t u r a s d el S e ñ o r G l o r i o s o s A n g e l e s Alzad

H CN, H M HE

A L L H A I L T H E P O W E R OF J E S U S N A M E El N o m b r e de J e s ú s Load Al R e y Jesús G l o r i f i c a d L o o r e s d a d a C r i s t o el R e y

HVC CN HPA,

A N G E L S F R O M T H E R E A L M OF G L O R Y A n g e l e s alzad el v u e l o A n g e l e s a l z a d el canto A n g e l e s d e l A l t a Glor i a A L L GLORY,

HE HM H

L A U D AND H O N O R

A ti , h o n o r y glor i a H o nor, l o o r y g l o r i a La s a l v a c i ó n l l e v a n d o C OME T H O U F O U N T A I N

H, II H

HM, CN H M

H M , HE

OF E V E R Y B L E S S I N G

F u e n t e de la v i d a e t e r n a V e n de t o d o b i e n la f u e n t e

HVC

C R O W N H IM W I T H M A N Y C R O W N S A C r i s t o coronad Al Salvador Jesús G l o r i a y honor a Ti A Cristo proclamad

HVC CN HE CC

D E A R L O R D A N D F A T H E R OF M A N K I N D

Oh Padre Nuestro Celestial Oh Padre de la Humanidad

HM H

FOR ALL THE SAINTS Po r los g l o r i o s o s santos del E d é n H o y p o r los S a n t o s Por los que ya d e j a r o n su l a b o r Siempre bendigan tu g l o r i o s o nombre

HE CN

H HE

FOR THE BEAUTY OF THE EARTH

Por Por Por Por

lo la la lo

hermoso hermosa excelsa hermoso

que h a y f Señor extensión majestad en derredor

FAIREST , LORD JESUS Jesús Divino, gran Rey del Mundo Bendito Cristo Hermoso Salvador Cristo Divino Jesús Excelso

CC HE, HM CN H

CC HM H CN HE

GOOD CHRISTIAN MEN REJOICE Cristianos oh cantad Cristianos alegraos

H HM

GOD OF OUR FATHERS Oh J ehová Omnipotente Di os A Ti Señor, Omnipotente Dios Oh gran Señor, Omnipotente Dios

H, HM CN HE

GOD OF GRACE AND GOD OF GLORY Dios de Amor y Dios de Gloria Dios de Gracia y Dios de Gloria

HM, H CN

HOW GREAT THOU ART Señor mi Dios, al contemplar Oh Dios al contemplar

HVC, HM H

IN THE HOUR OF TRIAL Al ser Cristo Cuando En las

yo tentado al ser tentado sea tentado horas tristes

co H, HVC HM HE

IT CAME UPON THE MIDNIGHT CLEAR A media noche resonó A media noche en BelÓn Venid Zagales JESUS CALLS US 0»ER THE TUMULT Cris t o llama de 1 tumult o Jesucristo desde el cielo Desde el cielo Cristo llama Dios nos llamma del tumulto

HM HVC CN

HM, H H CC HE

JE S U S I S

206

ALL THE WORLD TO ME

HVC HM

JESUS KEEP ME NEAR THE CROSS L e jos de mi Padre Dios C r i s t o a c é r c a m e a la cruz

CM, CC, H M H, H V C

JOY T O T H E W O R L D Dichosa Tierra Gozo del Mundo Al M u n d o P a z , n a c i 6 J e s ú s

HM, H CN HVC

LIFT UP YOUR HEADS ' A l z a d oh p u ertas V u e s t r a s c a b ezas h o y a l z a d

HM H

LOVE DIVINE Oh a m o r que e x c e d e a todos Solo e x c e l s o a m o r d i v i n o LEAD

CN HM, H

ON OH K I N G E T E R N A L V e n T ú , oh R e y E t e r n o Conduce

oh R e y E t e r n o

H V C , H, HE, CC HM

CN,

L O O K Y E S A I N T S , T H E N I G H T IS G L O R I O U S V e d a C r i s t o , R e y de G l o r i a V ed oh á n g e l e s d e l cielo

HVC, HE, HM, HE

L O R D I W A N T T O BE A C H R I S T I A N C r i s t o q u i e r o se r c r i s t i a n o Oh Señor, yo q u i e r o ser c r i s t i a n o

HM II

M A N OF S O R R O W S , W H A T A N A M E El v a r ó n de g r a n d o l o r L e v a n t a d o fue J e s ú s

HM HVC, H

MORE LIKE THE MASTER Más corno Cris t o Má s cual m i C r isto MORE LOVE TO T H E E

HVC, H HM, HG

OH C H R I S T

Anhelo amarte más A m a r t e m á s , Jesús

207 m y f a i t h looks

up to thee

Objeto de mi Te Mi Te espera en Ti

H, HM, GN HVC

MY JESUS AS THEY WILL Cristo Tu voluntad Jesds tu voluntad

CN HH

O CREATURES OF OUR GOP AND KING Oh. criaturas del Seuor Dh pueblo a vuestro Rey Gloriosos ángeles a1zad

CN , HM H HE

0 COME , Oh Oh Oh Oh

H , CC HI»'A CN, HM HE

EMMANUILL ven, oh ven, Emmanuel ven, oh ven, bendito Emmanuel va$ oh ven, rescata ven, oh ven, Mesías ven

0 FOR A THOUSAND TONGUES Quisiera yo poder cantar Mil vocea para celebrar Tu santo nombre alabaré IOh \ que tuviera lenguas mil

HM CN HVC HFA

O MASTER OF THE WALKING WORLD Oh Dios al mundo en confesión Oh. Cristo de infinito Amor*

HM CN, íIM

O SACRED HEAD NOW WOUNDED Oh Rostro Ensangrsntado Cabeza En sangrentada Cubierta Cabeza Ensangrentada Herida Oh Santo y Triste Rostro

C N , HM CC HVC, lí HE

PRAISE TO THE LORD THE ALMIGHTY Loor a Dios Alma Bendice al Seilor PASS ME NOT Salvador a Ti acucio No me pases, no me olvides

H CN, HM

ON HVC, HM

208

RISE UP, 0 MEN OF GOD Venid siervos de Dios Venid hombres de Dios

HM H

SOMETHING FOR JESUS Cristo al morir, Tu amor Cristo Tu santo amor

H HM

THE CHURCH *S ONE FOUNDATION Es Cristo de su Iglesia Un solo fundamente De la Iglesia el fundamento

H HE, CC HE

THE SON OF GOD GOES FORTH TO VAR Sale a la lucha el Salvador El Cristo eterno ha de implantar

HVC, H HM, CN

THE STRIFE IS 0»ER La ruda lucha Ya la batalla terminó

HVC, H HM, CN

THE FIRST NOEL La primera Navidad Las buenas Nuevas

HM H

THERE *S A SONG IN THE AIR Un arrullo escuchad Suena ya la canción Cantan ángeles mil

HVC, H HM HP A

TIS MIDNIGHT AND ON OLIVE *S BROV Es media noche y el fulgor Es noche en los olivos

HM, CN H

TO GOD OF ABRAHAM PRAISE Al Dios de Abraham loor Al verdadero Dios

CN, HVC HE

VE THREE KINGS OF ORIENT ARE Vamos reyes tres a Belén Del Oriente venimos tres Del Oriente somos tres

H HE HM

209 APPENDIX vi TUNES USED FOR MORE THAN ONE HYMN ADESTE FIDELES Cuan Firme Cimiento Despierta Alma Mía Venid Fieles Todos

HVC , H CC CN, H,

ANCIENT OF DAYS Al Dios de Sabaoth Eres del Mundo la Esperanza Hogar Feliz IOh Dios Eterno! Tú de los fieles

H CN, H, H H H

AURELIA Al Trono Majestuoso Del Culto el Tiempo Llega Es Cristo de Su Iglesia Oh Dios por Nuestros Padres Tu Pueblo Júbilos0 Un solo Fundamento

CN, CC H, CC H H HVC HE

AUSTRIA De la Iglesia el Fundamento Glorias Mil de Ti se Cuentan Tenebroso Mar, Undoso Ven de todo bien la Fuente

HE H, HVC HM CN, HM

AZMON Je s ú b bendito ya no más Jesús tu excelso y santo amor Mil Voces para Celebrar Oh Nuestro Padre Eterno Dios BEECHER (ZUNDEL) Dicha Grande es la del Hombre La Bondad de Dios Inmensa Luz Brillante Dulce y Pura Oh Amor que Excede Tu Palabra, oh Padre Santo

H HM CN H

H, HM, H CC CN CC

CONSOLATION

Al despertar la purpurina

HM, H

Cruzando

el M u n d o

CRUCIFIXION

Mira mis Manos Rostro Divino

H M , CN HFA

DARWALL Con Cánticos Señor De M u n d o s C r e a d o r Oh A n g e l e s de D i o s

HE9 H HE

H V C , CN

DIADEMATA A Cristo Coronad A Cristo Proclamad Al S a l v a d o r J e sds Es Mi P a s t o r J e sds Gloria y H o n o r a Ti

H , HVC CC CN HE HE

A l m a cese tu D o l o r O l v i d a n d o Su D o l o r P o r la E x c e l s a M a j e s t a d P or lo H e r m o s o que h a y S e ñ o r

H CN CC

DIX CC

DORRANCE Caridad , cuan Pura y Santa H o y V e n i m o s cual H e r m a n o s DULCE CARMEN

H HVC

(N E W YEAR)

A m o r o s o n os C o n v i d a Dio s E t e r n o en T u P r e s e n c i a G u í a n o s E t e r n o P a dre

HM CN HE

DUNDEE Hay una Fuente sin Igual H a z oh S e ñ o r que T u P o d e r Oid en Su V o z Y a C e r c a E s t á R e f u g i o de este Pecador V e n S a n t o Espíritu

HE H , HE

CC H M * CC

EASTER HYMN (El Señor) C r i s t o Ha R e s u c i t a d o El S e ñ o r R e s u c i t ó Sólo a T i D i o s y S e ñ o r

H F A , HVC H E , CC H

EBENEZER El P r o f u n d o A m o r de C r i s t o V e n oh T o d o p o d e r o s o

HVC HM,

ELLACOMBE Cabalga Majestuoso Hosannas dieron a Jesds Jerusalem despierta Ya Oh F e s t i v a l M a ñ a n a V e n i d , V e n i d Z a g ales

CC H CN HE CC

EVE N I N G PRAYER Ante Ti S e ñ o r E s t a m o s B e l l o Amor, D i v i n o , S a nto Cristo Guárdanos Ahora Oh S e ñ o r , a T us A l t a r e s

CN HM H , CC H

Jerusalem Celeste Jerusalem, Despierta J e sds d e l H o m b r e H i j o Oh Q u i e n en T i M o r a r a

CN, HE, H CC HE, CC

EWING

FINLANDIA Alma C o n f í a C r i s to S e ñ o r Este es mi Cant o Oh C r i s t o T u Obra

HM HFA HM H

FLEMMING INTEGER V I T A E ) Al T r o n o E x c e l s o N u n c a D i o s Mío Supremo Dios Te Ruego

HE, H H V C , CN HFA

GALILEE A m o r o s o N os C o n v i d a Cantará Oh Madre Mía C r i s t o L l a m a de l T u m u l t o D e s d e el C i e l o C r i s t o L l a m a Dios n os L l a m a d e l T u m u l t o J e s u c r i s t o d e s d e el C i e l o S a b i a y J u s t a y T o d a Pura

CN H H , HVC CC HE H H

212

GERMANY Entre el Vaivén de la C i u d a d Oh Crista Nuestro Gozo y Bien

HM, HM

HYFRYDOL ¡Aleluya! Prez a Cristo Heme aquí Jesús Bendito Preste Oidos el Humano V e n , Jesús muy Esperado

CC CN HM, H

ISTE CONFESSOR (ROÑEN) Al T r o n o E x c e l s o Oh D r i s t o , Gloria de los Santos Angeles

CN HE

LANCASHIRE

El D í a de la Pascua Oh Padre que Bendice Proclamen las Naciones Señor yo Te Conozco Ven Tú oh Rey Eterno

CC HE H CC CC, HE, HVC, H

Al Rey A d o r a d En buena hora Vengas Iglesia de Cristo Oh qué hermosas s on

LYONS CC HVC HE

MISSIONARY HYMN De heladas Cordilleras D e l más l e j a n o Or i e n t e S e ñ o r yo Te Conozco

H M , CC CN H

HVC, H, CN H, HVC, CN H H

MUNICH Amémonos Hermanos Confío yo en Cristo J e sús T u V o l u n t a d Oh V e r b o E n c a r n a d o

CN CC HM H, HE,

213 NETT LETON Fuente

de la V i d a E t e r n a

Los que somos B a u t i z a d o s PERFECT LOVE

H M , II HVC, H

(SANDRINGHAM)

Mi S a l v a d o r J e sús Oh Dios de Amor P e r f e c t o Perfecto Amor

Tú de los Fieles

CN CC

HM, H , HE, HVC H, CC

PENITENCE Al ser yo t e n t a d o C r i s t o al S er T e n t a d o C u a n d o sea t e n t a d o El A n g e l G-lorioso E n las h o r a s t r i s t e s

CC H CN HE HE

PUEBLA D ad a D i o s D i o s Bendiga las almas Dios E t e r n o , Clemente Benigno

H , HE HM., HVC HM

FUER N O B I S Oh Lu z que B r o t a Qué E s t r e l l a es E s t a

H M , CN HE

REGEN" SQUARE A n g e l e s de l A l t a G l o r i a A n g e l e s A l z a d el v u e l o Como ovejas c e l e b r a m o s C on las Nutres V i e n e Cris to Cristo V i v e , C r i s t o Vive De la I g l e s i a el F u n d a m e n t o Por mil Arpas y m i l V o c e s S e a n todos Bienvenidos V e d oh A n g e l e s d e l C i e l o

H HE H , CC H , HVC CC CN HE CC H

ST. C R I S T O P H E R Oid cual R u e g a el P a d r e J u n t o a la C r u z J e s ú s Te N e c e s i t o

HE H V C , H, H M CC

214

GEORGE'S WINDSOR A l a b a n z a s Hoy C a n t a d Cuanta Lu z en Noche Obscura Elevemos al Creador Gloria a Dios en las Alturas Guarda, ¿Qué Noticias Das?

H F A , HM

CC CN HVC H

ST. T H E O D U L P H A Ti, que P or T u M u e r t e El Mundo E n t e r o es P a t r i a

Espíritu Divino Fiel Santificador H o n o r , Loor y Gloria ST. THOMAS

CC HM, HE, Ii

(W E B B E )

De mi vida Tú Oh Cristo Voz del Cielo Descendiendo Y o Te

C N , CC CC

A d oro J e s u c r i s t o

CN HE HE

ST* PETER C u a n D u l c e es el N o m b r e de J e s ú s E s c u c h a , Oh D i o s , N u e s t r a O r a c i ó n O r i e n t e ni O c c i d e n t e

H E , I-I, CC CC CN

A Ti H o n o r y G l o r i a La Salvación Llevando Levántate Cristiano

CN, HM

Acepta Buen Pastor y Rey S e ñ o r Jesús E t e r n o R e y

II H , C N , C C , HM

Vuestras Cabezas Hoy Alzad

TOURS H H

TRURO

UNSER HERRSCHER

(NEANDER)

De M i l Arpas y Mi l Voces Vedle Ya Resucitado Voz del C i elo D e s c e n d i e n d o

YILGAD

H M , CC

HE CN

(LEOKI)

Al Dios de Abraham Loor Al Verdadero Dios Resucitó Jesús

CN, HVC HE HFA

215

APPENDXX VII LIST OF HYMNALS WHICH HAVE BEEN KNOWN IN THE PUERTO RICAN CHURCHES ARPA Y VOZ DE SALMODIA, H. C. Ball, editor Springfield, Mo,s Editorial Vida, 1939 CANTICO NUEVO Buenos Aires, Argentinas Methopress, 1962 CANTOS DE ALABANZA, PUREZA Y PODER, S. D. Athans, editor Los Angeles; Free Tract Society; 1 9 3 0 (3 r edition); 1 9 2 2 , Is edition) CANTOS DE TRIUNFO, H. C. Ball, editor Springfield, Mo*; Editorial Vida, 1927 ^CANTOS SAGRADOS Episcopal Church, San Juan, Puerto Rico 1924 CULTO CRISTIANO New York; Publicaciones El Escudo, 1964 *ECOS DE VIDA, Juan Concepción, editor New York; Editorial Ebenezer, n, d , GRACIA Y DEVOCION Kansas City, Mo •1 Lilianas Publishing, 1962 EL HIMNARIO PARA EL USO DE LAS IGLESIAS EVANGELICAS DE HABLA ESPAÑOLA EN TODO EL MUNDO New York, New York; American Tract Society, 1931 EL HIMNARIO Winona Lake, Indiana: The Rodeheaver Co,, 1964 (Sponsored by the Council on Spanish American Work, New Mexico) EL HIMNARIO DE LA IGLESIA EPISCOPAL Iglesia Episcopal* Greenwich, Conn,; Seabury Press, 1961 HIMNARIO ADVENTISTA Mountain View, California; Publicaciones Interamericanas, Pacific Press Publishing Association, 1962 HIMNARIO CRISTIANO Iglesia Metodista Episcopal del Sur Nashville, Tenn,; Smith y Lamar, I9 O9 HIMNARIO CRISTIANO Iglesia Menonita, Moundridge, Kansas: Gospel Publishers, 197^

2X6 HIMNARIO DE LA ESCUELA DOMINICAL Buenos Aires , Argentina; Imprenta Metodista, 1926 HIMNARIO EVANGELICO Buenos Aires, Argentina; Imprenta Metodista, 1943 (Revisado en 1962 como Cántico Nuevo) HIMNARIO EVANGELICO, EL New York, New York; American Tract Society, 1893 and I895 HIMNARIO EVANGELICO PRESBITERIANO Asamblea General de la Iglesia Nacional Presbiteriana de Mexico? Mexico, D. F . , Publicaciones El Faro, S . A.; 2 ed., 1 9 6 8 ; Ist ed,, I961 HIMNARIO M E T O D I S T A Iglesia Metodista. San Antonio, Texas; Method 1st Publishing House, 1955 HIMNARIO METODISTA Iglesia Metodista Unida• Nashville, Tenn,; Casa de Publicaciones de la Iglesia Metodista Unida, 1973 HIMNARIO POPULAR Convención Nacional Bautista de Mexico, Monterrey, N. D., 1924, 1926, 1932 ♦HIMNARIO VOZ DE JUBILO Y SALVACION Manatí, Puerto Rico; Editorial Ecos del Distrito, 1964 (4th edition) HIMNOS DE ASPIRACION, George P• Simmonds, editor Albuquerque, N , M.: Concilio Internacional para la Obra Hispana, 1950 HIMNOS DE FE Y ALABANZA, Robert C. Savage, editor Grand Rapids, Michigan; Singspiration, Inc., 1966 HIMNOS DE GLORIA, H. C* Ball, editor Springfield, M o *; Editorial Vida, 1921 HIMNOS DE LA VIDA CRISTIANA Alianza Cristlana y Misionera, New York 1 9 3 9 ? Is edition; 1 9 6 7 ? 2 nd edition-revised HIMNOS Y CANTICOS DEL EVANGELIO Argentina: Talleres Gráficos de LEC; 1964, 5 ^ edition HIMNOS Y CANTOS PARA LOS NINOS, Gonzalo Báez-Camargo, editor Mexico; Casa Unida de Publicaciones; 1950 and 1963 HIMNOS FAVORITOS Casa Bautista de Publicaciones, El Paso, Texas, 1953. HIMNOS INSPIRADOS Y SELECTOS Springfield, Mo*: Editorial Vida, 1965

217

HIMNOS SELECTOS, Vicente Mendoza, editor, Mexico, D. F.s Casa Unida de Publicaciones, primera ed*, 190^; última ed., 1952 ♦LIRA MISIONERA Iglesia de Cristo Misionera; Santurce, Puerto Rico LLUVIAS BENDICION, Haldor Lillenas, editor Kansas City, Mo.: Nazarena X’ublishing House , 19^7 MELODIAS EVANGELICAS, S . D. Athans, editor El Paso, Texas: CasaBautista de Publicaciones, 1936 ♦MISIONERA CANTOR, EL. Juan Ortiz León, editor Barceloneta, Puerto Rico; 1931® 3ra edición ♦NUEVA SALMODIA EVANGELICA, Virgilio I. González Corozal, Puerto Rico, 1938 NUEVO HIMNARIO EVANGELICO, New York: American Tract Society, 1953 NUEVO HIMNARIO POPULAR, EL El Paso, Texas: Casa Bautista de Publicaciones, 1955 RAYOS DE ESPERANZA, Vessie D. Hargrave, editor San Antonio, Texas: Editorial Evangélica, 1952; edición aumentada; editor, Héctor Camacho, 1973 ♦SALMODIA EVANGELICA, V. I. González, editor, 19 3^ LIST OF OTHER HYMNALS AND SMALL COLLECTIONS OF HYMNS ADELANTE JUVENTUD I and II Robert 0. Savage, editor. Grand Rapids:

Zondervan, 19^7

ADELANTE JUVENTUD III and IV R o b e r t C . S a v a g e , editor.

G r and R a p i d s :

A JEHOVA Bernardo Castex; Mianii, Florida;

Singspiration,

1953

A L A B A A L M A MIA

Ed. Selecciones Religiosas

ALABANZA CRISTIANA Comunidad Internacional de Estudiantes, Buenos A i r e s , Argentina: Ediciones Certeza, 19^9 ♦ALABANZAS A DIOS, Juan Pacheco, editor Manatí, Puerto Rico. William Armáis CANCIONERO ABIERTO Vol. I, Vol. II Pablo Sosa, editor. Buenos Aires, Argentina; Escuela de Música ISEDET, 197^, 1975

218

CANCIONES DE LA IGLESIA JOVEN Quito, Ecuador! Editorial Camino, n* d. CANTATE DOMINO World 1s Student Christian Federation Hymnal Geneva, 1951. Kassels Barenreiter, 197^ CANTE CONMIGO Brus del Monte, editor, Maracaibo, Venezuela: Editorial Libertador, 1971 CANTEMOS: LOS HIMNOS DE JOHN PETERSON Miami, Florida! Publicaciones Juventud, 1966 CANTEMOS: HIMNOS DE MAYORDOMIA Iglesia Presbiteriana, Mexicos Iglesia Presbiteriana Nacional CANTICOS DE GOZO E INSPIRACION (Adelante Juventud series) Roberto C . Savage, editor; Zondervan, 1953 CANTICOS DE ESPERANZA Winona Lake, Indiana: Rodeheaver, Hall-Mack Company, 19^8 CANTOS BIBLICOS, William C. Halliday, editor Iglesia Presbiteriana Asociada Reformada Río Verde, S , L. P, Mexico: BethanyPress, 1965 «CANTOS DE CAMPAÑA San José, Costa Ricas Ed. Caribe, Misión Latinoamericana, Inc,, n, d . CANTOS DE EVANGELISMO (Adelante Juventud series) Grand Rapids, Michigan: Singspiration CANTOS PRECIOSOS Honorato Reza y Floyd W, Hawkins, editors Kansas: Lillenas Publishing Co * COFRE DE CANTICOS (Adelante Juventud series) Roberto C . Savage, edit or Zondervan-BeIsin, 1968 COLECCION ESPECIAL DE HIMNOS PARA EL DIA DE LA BIBLIA H, T, Marroquín, Mexico: AgenciaBíblica, 1936, 19^2, 1953 CORAZON Y VOZ, Kent W, Balyeat, editor Buenos Aires: Junta Bautista de Publicaciones; 5 volumes CUADERNO DE MELODIAS RELIGIOSAS Antonio Rivera Martínez; Santurce, Puerto Rico, 1973 CUNA DE FLORES, Rafael Cuna, editor San Juan, Puerto Rico, n, d. DUOS, TRIOS Y CUARTETOS (Adelante Juventud series) Grand Rapids, Michigan: Singspirati on

2X9 EL SEÑOR ES MX FUERZA, Juan Antonio Espinosa, editor Lima, Madrid; Ed. Apostolado de la Prensa, 1971 FAVORITOS JUVENILES Roberto Savage, editor Grand Rapids, Michigan! Singspiration, 1973 ♦HIMNARIO DE CANTICOS ESPECIALES (Nueva Vida Hallé en Cristo) Manatí, Puerto Rico; Romualdo Real, San Juan, P. R., n* d. HIMNARIO DE LA IGLESIA METODISTA EPISCOPAL Mexico, D, F.s Imprenta de la Iglesia Met. Episcopal, 1881 ♦HIMNOS DE CARLOS WESLEY Iglesia Metodista de Puerto Rico, Conferencia Anual Provisional, Quincuagésima Séptima Sesión San Juan, Puerto Rico! Imprenta Rico, n. d. HIMNOS DE EL AVIVAMIENTO Luis Francisco del Pilar-Piñeiro, editor Bayamón, Puerto Rico, 1973 HIMNOS EVANGELISTICOS Campaña de Billy Graham en Puerto Rico Singspiration, 19&7 ♦HIMNOS Y COROS Para Uso de la Iglesia Metodista de Puerto Rico, Cruzada por Cristo, 1948-49• HIMNOS SELECTOS, Vicente Mendoza, editor Mexico, D. F . ; Casa Unida de Publicaciones, 1904, 1952 ♦HIMNOS SELECTOS Arreglados por T o m á s M. Westrup Filadelflia, U.S.A.: Sociedad Bíblica y de Publicaciones, n. d * (1875 ?) ♦HIMNOS EVANGELICOS Puerto Rico para Cristo Campaign, Puerto Rico Evangélico, 1922 Segunda edición para la Cruzada de la Fe Evangélica« 1934 Cuarta edición para la Cruzada de la Fe Evangélica Publicado por la Asociación de Iglesias Evangélicas de P. R. para la Cruzada de la Fe Evangélica, 1950 ♦HIMNARIO DE LA JUVENTUD, J. L. Santiago y Luis Angel Toro, editores. San Juan, Puerto Ricos Imprenta Venezuela, n, d. HORA NUEVA, Roger Oviatt, editor Iglesias Metodistas de Costa Rica y Panamá Librería Alajuela, Costa Rica.

220 JOYAS FAVORITAS Kansas City, Missouri¡ VOLS. I 19^9 II 1955 III 1958

iv v l ib r o

Lillenas Publishing Company

1962 1969

alabanzas

Fundación Editorial de Literatura Reformada, 1967 MELODIAS DE BENDICION (Adelante Juventud series) Robert C * Savage, editor; Zondervan, 1950 MELODIAS DE VICTORIA Mountain View: California: Publicaciones Interamericanas, 1953 MISA Y JUVENTUD, Joaquín Sánchez, editor Bogotá, Colombia: Editorial Fax, 1970 PRELUDIOS CELESTIALES (Adelante Juventud series) Roberto C . Savage, edit or; Zondervan, 1951 SENDAS DE EVANGELISMO Kansas, Mo,: Lillenas Publishing Co,, 1973 *TESOROS DE COROS EVANGELICOS, Ephraim Rivera, editor San Juan, Puerto Rico, 1971 VENITE EXULTEMOS Federación Mundial Cristiana de Estudiantes, Ginebra; VIDA NUEVA Iglesia Metodista, Costa Rica Programa de Mdsica por Extensión, 1973 VIDA Y SOLAZ Himnos y Cantos de Juventud y Evangelismo Honorato Reza y Floyd W, Hawkins Lillenas Publishing Co *, 1958 VOCES DE JUBILO (Adelante Juventud series) Grand Rapids, Michigan: Singspiration, 1954

1964

221

APPENDIX VIII LIST OF HYMNALS AND COLLECTIONS WITH CHORUSES (CORITOS) Adelante Juventud I , II Adelante Juventud III * IV

Alaba Alma Mía a Jehová Cánt icos de Goao e Inspiración Cofre de Cánt icos Colección de Coritos^ Favoritos Juveniles

12 , 15 , 16-44, 46- 50, 34-60 1- 2 , 6~ 10, 16- 20, 22 , 24-34, 38-39* 43* 46*»52, 56* 60, 63* 66 , 72 , 76 * 77 ”79 * 86 2-3* 5«9* 12-14, 16-17 , 18-19 22 , 25 3* 3 , 10, 12-14, 20-21 * 50-51 53-56 4 - 8 , 10 -27 , 30 ”35 * 38- 39* 42, 4 4 — 4 5 t 51* 53* 55* 57* 59 12 , 14, 16 «23* 27* 30-31, 33, 38-39, 4i, 47* 51* 63, 65* 73 75 , 81 , 105

Himnario de Cánticos Especiales 1

(2nd

Himnario Evangélico Presbiteriano, 1 9 6 1

474-492

Himnos de Fe y Alabanza Himnos de la Vida Cristiana, 1939 Himnos Evangelisticos Himnos Inspirados y Selectos Lira Misionera^ Melodías de Bendición

part), No s * 1 -32

90-91* 118 , 153* 190, 1 9 8 , 204, 207, 226 , 267 , 325-326 301-306 53-62 65- 127 * 133* 175* 183 (2nd pa r t ) , No s * 1-52 3* 11* 18- 19* 28-29, 33-36, 39* 4l- 47* 50

222 Nuevo Himnario Popular, 1955

175* 178» 185* 203* 365

Preludios Celestiales

11-1 2 , 14 “17 9 20-23, 2 5 -2 6 , 2 8 , 3 6 -3 8 , 44- 45, 48 -51, 54-59 * 63 —64

Rayos de Esperanza

2 1 , 3 0 , 3 8 , 94 , 103» 109, 1 1 8 » 128» 153* 155* 175, 177* 1 7 8 » 1 8 2 » 183? 187 # 2 1 1 » 213» 21 j $ 0 5^ 225, 22?» 229» 231

Salmodia Evangélica!

includes 20 ch o r u s e s

Voz de Júbilo y Salvación'

pages 32 * 53, 84» 93 , 103, 1 3 2 » 1 5 8 » 1 7 6 » 186* 194, 248 2 6 2 » (36 in to tal)

Tesoros de Coros Evangé1ic osl

123 choru ses (words only)

Toda la Gloria a Jesús

JO chorus es

'words only Colección de Coritos * compiled by Tamil Correa Negrón and Samuel Ruiz Arana» is the largest collection of choruses with 423*

APPENDIX IX HYMNS OF LATIN AMERICAN ORIGIN IN Himnos de Fe y Alabanza Hymns by Alfredo Colom M «* From Guatemala HFA A la Victoria Jesús nos llama Ahora que soy niño América será para Cristo Canten con alegría Cristo me redimió Cuidemos nuestra vida De tu cántaro dame Entonemos un canto de alabanza Embajadores de Jesucristo Espíritu de vida, ven Estando Jesús en Betania En la hora postrera Hay un canto que vibra ¿Has oído Señor mis oraciones? Jesús es la Roca Jesús me libertó Le canto a mi Señor Los que con lágrimas sembraron Los que esperan en Jehová Los redimidos por la sangre Manos cariñosas Para qué pecar Por la mañana yo dirijo mi alabanza Proclamad juventud redimida Pies divinos Purifica el templo Quiero yo seguir fiel Yo sé que Cristo salvó mi alma Yo no quiero pecar Ven a los pies de Jesús Mi pequeño corazón

16 354 36B

166 192

278 84 22

258 206 85 127 82 202 16 I56 175 3^3 225 169 114 257 26 321 115

28 298 194 296 339 355

w ■

22k

Hymns by Juan Xsáia. from Mexico Nuestra Patria Recíbeme cual soy Te seguiré Maestro Yen amigo a Jesús

370 218 297 333

Hymns by the Orbe Family 21

Del culto el tiempo llega Escucha pobre pecador Nunca Dios mío Meditad en que hay un hogar Tesoro incomparable

337 29 317 14

TRADITIONAL OR FOLKLORIC f AND ANONYMOUS MELODIES IN UFA Cristo es la peña Cristo guarda siempre Desde el oriente azul

101 Puerto Rico 230 Anon. Ecuador 77 (Segundo Eran ja Almeida) Puerto Rico 244 Anón. 93 Anón. 73 103 Anón. 100 Brasil

Después de la tormenta El puede En la noche los pastores Hay un lirio que habita Jesús el buen Pastor Jesús de Dios enviado (Dale tu corazón) Jesús oye mi oración La venida de Cristo Mi Pastor es Jesús Nuevas alegres Grand o Ora a Tu Dios Orando sin cesar Oh Santo Espíritu Consolador • Si fui motivo de dolor Solamente en Cristo Venid a Mi Venid, pastores, venid Venid pastorcillos Ya vislumbro los albores

Venezuela A nón.

Chile An on. Anon. Puerto Rico Anon, Anon, Anon, Cuba Anon, Venezuela Puerto Rico (villancico) Ecuador (villancico) Anon,

340 198

148

9 187 207 265

303 159 343 62

72 2.4,5

225 Other Latin American Authors

A Jesds crucificado Aleluya, me purifica Á Ti mi Señor Cuando el ciego escuchó Cuando haya tristeza Cuand o allá se pase lista En el valle florece la rosa El que habita (Puerto Rico) En las horas amargas Escogido fui de mi Dios Esta es la Escuela Dominical Espinas de mi Cristo Hay una senda Iba por los caminos Jesds es mi Rey Soberano Jerusalem la hermosa La América será para Cristo La vid y los pámpanos La mañana gloriosa Mas allá del sol Oh qué inmenso amor Oh Cristo mío Yo quiero vencer ¿Rumbo a dánde ? Soy la triste oveja Si sientes compásión Tierra de Palestina Vacaba por el mundo (Soy feliz) Vida nueva encontró Yo sólo espero ese día Yo vis o Señor, porque Td vives Yo quiero vencer

Jaime Redin 135 26l Guillermo Guillam 153 Luis Silva 39 Israel Aguilera I# Granados 233 Cristóbal Hidalgo 311 104 Manuel de la Cruz 234 Rafael Cuna Ricardo Guerrero 235 242 Víctor Garrido Jaime Redin 362 Rafael Moreno Guillen 125 Tomás Estrada 172 30 Leopoldo Colom Vicente Mendosa 5 (Mexico) Carlos López 88 J„ Arturo Savage 367 Víctor Garrido 227 Felicia y Mariano Beltrán 312 Emiliano Ponce 31*1 Redin 118 282 Guillermo Guillam 288 J * A . Savage Guillermo Guillam 332 217 Juan Ramón Antonio Morales (Bolivia) 326 Alejandro Tabales 8? Ramona Alamo (Puerto Rico) 163 185 Adán Calderón Juan J* Morán 144 190 A , Calderón J * Arturo Savage 288

226

BIBLIOGRAPHY

Bailey, Albert Edward• The Gospel in Hymns; Backgrounds and Interpretations* New York: Charles Scribner1s Sons, 195°* Breed, David R. The History and Use of Hymns and Hymn Tunes . New York: Fleming Reve11, 1903* Bucke, Emory Stevens, ed, Companion to the Hymnal. A handbook to the 1964 Methodist Hymnal, Callejo, Fernando, Música v Músicos Puertorriqueños, San Juans Editorial E d i l , 1971. (2 da ed.) Chase, Gilbert * The Music of Spain, New York: Dover PublicationsInc*,1959» (Chapter XVII, "Hispanic Music in the Americas”). Del Pilar, Luis F . , ed. Himnos de El Avivamiento. Bayamón, Puerto R ic o , 19 7 3 • (with an introduction about the revival hymnology in Puerto Rico). Escabl, Pedro, ed. Moroviss Vista Parcial del Folklore de Puerto Rico. San Juans Centro de Investigaciones Sociales. Universidad de- Puerto Rico, 1970; (pp. 293-358). «Examples of religious and secular folkloric music of Puerto Ric o • Foote, He nry M. Three Centuries of American Hymnody» Cambridge, Mass s Harvard University Press , 1940• Gelineau, Joseph. Canto y Música en el Culto Cristiano. Translated by M, Pilar de la Figuera. Barcelona: Juan Flors, 1 9 6 7 • Hostetler, Lester. Handbook to the Mennonjte Hymnary. New Kansas s General Conference of Mennonite Church in North America, 1949. Hugue, Eleanor. Latin American Music: Past and Present. Californias Fine Arts Press, 1934*

Jackson, George Puliera, ed. Spiritual Folk-Songs of Early America. New York: Dover Publications Inc., 1964* _________________ * White and Negro Spirituals, Locust Valley, New York: J . J . Augus ten, Y 9Í 3 . Julian, John, A dictionary of hymnology* New York: Dover Publications Inc,, 1957♦ Kerr, Phil• Music in Evangelism. Glendales, California: Gospel Music Publishers, 1939« Leclerc, Jean-Marc* Misa Tepozteca* Cuernavaca, Mexico: CIDOC (Sondeos No~ l6), I9 6 6 * López Cruz, Francisco, La Mdsica Folklórica de Puerto Rico* Sharon, Conn: Troutma'n Presst 196 7 , Lorenz, Edmund S * Church Music: What a minister should know about it* New York: Flemming Reve11 Co*, 1923* Metcalf, Frank J . Sacred Music *

American writers and compilers of New York: Abingdon Press, 19^5 *

Moore, Donald, Puerto Rico para Cristo * Cuernavaca: Mexico: CIDOC ,1969* Muñoz, Maria Luisa• La Mdsjca en Puerto Rico: Panorama Histórica-Cultural. Sharon, Conn: TroutmanPress, 1 9 6 6 * McConnell, Cecil * La Historia del himno en castellano* El Paso, Texas: Casa Bautista dePublicaciones, 1 9 6 3 * McCutchan, Robert Guy, Our Hymnody: A manual of the Methodist Hymnal * New York: Abingdon Press, 1937♦ _________ . Hymn Tune Names. New Yorks Abingdon Press, 1957 * Mendoza, Vicente T, La Canción Mexicana. Mexico: Universidad Nacional, 19ol, Nettl, Bruno. Folk and Traditional Music of the Western Continents, New Jersey: Prentice-Ha11, 1965* Odell, Edward A. It Came to Pass in Puerto Rico, Dominican Republic and Cuba* Board of National Missions, Presbyterian Church in the U.S.A *, 1952.

Poteat , Hubert McNeill a Practical Hymn ody. The Gorham Press, 1921•

Bostons

Pratt , Waldo Selden. The Music of the French. Psalter of 1552, Ann Arbor, Michigan: University Micro* films, Inc*, 19^5# Reynolds, William Jensen* Hymns of Our Faith: A Handbook for the Baptist Hymnal * Rivera Martinez, Antonio. Anecdotario Himnol6gico» San Juan, Puerto Rico, 1973« Rodeheaver, Homer A* A Hymnal Handbook for Standard Hymns and Gospel Songs* Chicago: Rodeheaver Co *, 1931• Routley, Erik* Music of the Christian Hymnody* London? Independent Press, 1957•

Sankey, Ira D. My Life and the Story of the Gospel Hymns. New York? Harper and Broa*, 1907. Stevenson, Arthur L* The Story of Southern Hymnology» Roanoke, Virginia: Stone Printing and Manufacturing Co*, 1931, Stevens on, Robert M* Patterns of Protestant Church Music, London: Duke Uni v @ r ^ * Protestant Church Music in America, New York? V* W, ~Nor t on C o *, Inc *, 19 . Valle, Carlos A«, ed* Culto? Crítica y Bdsqueda * Buenos Aires ? Metb opre-ss , 1972 • (^Cha^t^ri on hymnody and the new music of the church)*

Wagner, C * Peter. The Protestant Movement in Bolivia * S . Pasadena, California; Vm, Carey Library, 1 9 7 0 * (pp. 177-17B, 2 1 5 , Bolivian hymn ody)*

I I 1

Westrup,Horacio. Paladines del Evangelio en Mexico* Seis Inspiradoras Biografías* Mexico? Casa Unida de Publicaciones, 1953. Wienandt, Elwyn A. and Young, Robert H. The Anthem in New York: The Free Press, 1970,

GOSPEL SONGS COLLECTIONS IN ENGLISH

ND OTHER HYMN&LS CONSULTED

Awakening Songs. H. Rodeheaver, compiler; Chas Gabriel, music editor? Chicago: Rodeheaver Co., 1917» Baptist Hymnal. W. Hines Sims, ed, Nashvilles Press, 195^•

Broadman

Christian Worship. A Hymna1 . Valley Forge: Pa,: Judson Press, 1953* Gospel Hymns, No. 2 . Philip P, Bliss and Ira D. Sankey* Ohio: J, Church Co, , 1 8 7 6 * (As sung by them in the gospel meetings). Gospel Hymna Consolidated. Philip P, Bliss, Ira D« Sankey* J , McGranaham, G. Stebbins. New York: Biglow and Main, The John Church Co,, 1886, Hvmns Ancient and Modern. (1859-1952)• Hymns of Praise, F, G. Kingsbury, ed. Publishing Co., 1922.

Chicago:

Hope

New Songs Tor Service. Horner A • Rodeheaver, ed. Winona Lake, Indiana: The Rodeheaver Ilall-Mac Co,, 1929* Psaumes et Cantiques, Des Eglises RéTormdes de France • Berger-Leurault Editeurs, Paris, 1895* Redemption Songs. (1,000 hymns and choruses f*or evangelistic purposes, solo-singers, choirs and the home). Londoni Pickering and Inglis, n . d . Service Book and Hymnal. Philadelphia: Publication House, 1958•

United Lutheran

Sursuro Corda-A Book of Praise. E. H. Johnson, ed. Philadelphia: American Baptist Publication Society, 1898. The Baptist Hymnal. W, Howard Doane, ed, Philadelphia: American Baptist Publication Society, 1883*

The Church. Hymnary, (Revised) Presbyterian. Oxford University Press, 1930* The Church School Hymnal for Youth. The Westminster Press, 1929*

London:

Philadelphia:

The English Hymnal. (with tunes) Humphrey Milford. London: Oxford University Press, 1933* The Hymnal 1940. The Hymnbook.

New York:

Philadelphia:

The Church Pension Fund, Westminster Press, 1955*

The Methodist Hymnal. Nashville: Publishing House, 1964. The Service Hymnal.

Chicago:

The Methodist

Hope Publishing Co., 1947.

Word Wide Revival Songs* For the Church, Sunday School and Evangelistic Meetings. C. P. Curry, compiler; Rodeheaver and Gabril, music editors. Chicago: Revival Publishing Co., 1 9 1 5 *

ARTICLES ON ETHNOLOGY IN SPA N ISH

Castro Rodriguez, Félix* "Alfredo Colom Maldonado"f El Nuevo Evangelista, Año 5? No• 4, (febrero* mayo 1971) ? pp, 20«21• Cepero Rodriguez, Juan* "Juan Bautista Cabrera"} Puerto Rico Evangélico* (agosto 10, 1 9 1 6 ), p, 7. Colón, Rubén, "Fraternidad Ministerial Hispana Publicará Hinmari o Evangélico", Puerto Rico Evangélico * Año 4$, No. 1233, (agosto 10, 1957 JYP * líY Colón, Tharsis. "Ultimas tendencias en la música religiosa", El Nuevo Evangelista* Año 1, No, 12, (agosto 196771 PP* 12-14. "** * Comité de Música, "Segundo Taller de Música Sagrada", El Nuevo Evangelista, Año 2, No, 2, (oct-nov, 19¿8), p p , 11 y 14. "Concurso de Himnos: Himnosseleccionados", Educación Cristiana (enero-marzo 1959)? PP* 26-29* C u e l h o , M a r g a r i t a M, d e . " B u s c a n d o u na M ú s i c a P r o p i a " , E n c u e n t r o N o , 11 (o c t • 1974)» PP* 31-32•

Et zi, Máximo, "El Canto Congregad onal" Evangélico, Año 46, No. 1244 (junio

Puerto Rico

Hernández, Rafael. "El Nuevo Himnario Evangélico" Puerto Rico Bvangélico, Yol* 5 (mayo 25 ? 1917 )* PP* 5Heredia, Cornelio* "Himnología Nacional de Bolivia"? Visión Evangélica, Yol, 10, No. 3 (marzo 1 9 6 H )? PP* 10~11, "La Música en la Convención Bautista de Ponce"f Puerto Rico Evangélico, XXI, No. 17 (marzo 10, 1952), p. 12. "Los Cánticos de Sión al estilo paraguayo", Decisión, (No, 2, 1972), pp. 11-12. McConnell, Cecilio. "Vicente Mendoza, Un notable bimnólogo", Puerto Rico Evangélico, Año 45? No, 1221 (feb. 10, 1957)? p , 10,

Mergal, Angel M, "La Himnología Cristiana y el Avivamiento"# Puerto Rico Evangélico, (die. 10, 1939) Y (enero 10, 1940;, p, 12,

"Nuestros V a lores: Alfredo Colom Maldonado” , La Biblia en América Latina« No# 81 (enero-marzo I9 6 7 ), pp# 10-11« Olivieri, Luis A# "Cántico N u e v o : Una revisión del Himnario Evangélico” , Puerto Rico Evangélico# Tjulio 1 9 6 3 ) 9 PP* *9» io7 19; {sept. 1 9 6 3 ), p p « 8 - 9 . ________ « "¿Qué cantaremos esta Navidad?” , El Nuevo Evangelista (Año 5* d i e , 197^0? p# 18# _______ # ”¿Qué es lo nuevo en la música de la Iglesia?” , El Nuevo Evangelista. Año 6 , No, 12, (die# 1 9 7 2 ), pp# 1 0 - 1 1 . _____________________ # "Un nuevo himnario para la congregación” , El Nuevo Evangelista, Año 4, (agosto 1 9 ? 0 ), p. 7 * Pavura, Federico J . "Diálogo con un himnólogo", Encuentro $ No. 5 (abril 1973), PP. 33-35. . "El empleo de coritos" Educación Cristiana No# 90, p. 28,

(una encuesta)

Perera, Homero# ”E1 lugar de lo tradicional” . Encuentro, No. 11 (abril 197*0 , PP. 34-35. _______________ Encuentro N o . 1 3

. "Hacia una Limnología contemporánea", (oct # 1974), pp. 33-35 *

_____________________ # "Música religiosa: dilema y oportunidad", Educación Cristiana N o ♦ 90 (oct# - d i e • 1 9 6 7 ), pp. 6 -7 . . "Himnología protestante y emergencia latinoamericana", Encuentro N o . 7 (oct, 1973), pp# 23-24# # "Música religiosa; Lacia nuevos Horizontes", Encuentro No# 2 (julio 1972 )t pp. 2 3 - 2 5 . P é r e z , Herminio L# "Necesitamos un Limnario", Puerto Rico Evangélico, Año 46 (agosto 2 5 , 1957), p* 7« Rodríguez, Francisco# "Avivamiento en Guayama, Puerto R i c o " , Puerto Rico Evangélico, Val# X V I , No# 48 (marzo 2 W t 1 9 2 8 ), p # 1 2 # ™

Santana, Florentino. "Cuando Pentecostés nos visité", Puerto Rico Evangélico, (junio 1 0 , 1957), pp. 6-8. Sosa, Pablo, "Un campamento musical”, Encuentro No, 6 (julio 1973), pp# 35-36. Stockwell, Vera L, "Spanish Language Hymnals", The Hymn, Vol, 11, No. 3 (July i9 6 0 ), p, 15. Van den Hueve1, Alberto H. "Nuevos himnos para un nuevo Dios", El Nuevo Evangelista« Ario 5? No. 4 (feb-marzo, 1 9 7 1 ), pp, 16-177“

RECORDS OF FQLKLORIC MUSIC AND HISPANIC HYMNODY

Canta con Nosotros»

Grupo Musical Discípulos de

Villa Palmeras, Santurce , Puerto R i c o ,

Carlos V i a n a ,

Bayamón, Puerto Rico. Ecos del Cielo*

Galo Viteri*

Iglesia Bautista, Milwaukee,

Wisconsin* E'scabi, Pedro*

Misa en la menor* Religioso de Jesds Mediador*

Espinosa, Josá A. Pax L 385M

Hermanas del Instituto

El Señor es mi Fue r z a . and Y-702 - S *

Folklore de Puerto Rico*

(Psalms by Espin o s a ).

Borinquen, DG

Madrigal, Delfino y Cardona, Sergio. Musart 1052•

1001•

Misa Mexicana*

Melodías Navideñas * Heraldos Melódicos « Emmanuel BH 3 LP* (Christmas Music of Noel Estrada and Rafael Hernández *

léquitQ López Cruz y su Conjunto Típico * Associates, PEC , EF-901.

Adrián

Semana Santa en Comería, 19&9* Padres Dominicos, LOP~ NoT 2 (Popular rhythms for the liturgical music). Valses Criollos *

Modesto Rosario,

Guarany, GLP 204*

UNPUBLISHED MATERIALS

Ball, H. C • "Autobiographical notes". Letter upon personal request * December 28, 1961. Bromson, Hazel Buton. "Historical and Biographical Backgrounds oí* Nineteenth Century Hymns and Hymn Tunes". Unpublished A. M. dissertation, Boston % University Graduate School, 1929* Donalds on, W, L. (Mrs *) "Notas biográficas sobre el Rdo. George P. Simmonds". Upon personal request. Alburquerque, New Mexico, 1961. Franke, Florence Alma* "The Evolution of Hymn-Tunes from Sacred and Secular Sources and their Worship Values". Unpublished M. A. dissertation, Boston University Graduate School, 1933• Personal letter from Melvin L, Hodges, Assemblies of God Graduate School, Springfield, Missouri. August l6, 1976. Olivieri, Luis A. "Crítica a la Himnodia Popular de las Iglesias Bautistas de Puerto Rico"• B, D. dissertation, Evangelical Seminary of Puerto Ric 0 , 1962. Personal letter from Sylvia A . Valdez, Editorial Evangélica, San Antonio, Texas. August 27, 1976• Vélez, Samuel J • "Normas para un Himnario de la Juventud" Unpublished B, D . dissertation, Evangelical Seminary of Puerto Rico, n, d . MICROFILMS Nelson, E d w a r d Warren. Problems of C o m p i l i n g a H y m n a l for Spanish-Speaking Evangelical C h u r c h e s .

Ed. D . Thesis. New Orleans Baptist Theological Seminary, Ann Arbor, Michigan. University Microfilm, 1972.