Hymnody in continental Europe developed from early liturgical music, especially Gregorian chant. Music became more complicated as embellishments and variations were added, along with influences from secular music. Although vernacular leisen and vernacular or mixed-language carols were sung in the Middle Ages, more vernacular hymnody emerged during the Protestant Reformation, although ecclesiastical Latin continued to be used after the Reformation. Since then, developments have shifted between isorhythmic, homorhythmic, and more rounded musical forms with some lilting. Theological underpinnings influenced the narrative point of view used, with Pietism especially encouraging the use of the first person singular. In the last several centuries, many songs from Evangelicalism have been translated from English into German.
New Testament
The sources of Christian music are the Jewish tradition of psalm singing, and the music of Hellenistic late antiquity. Paul the Apostle mentions psalms, hymns and sacred songs (Ephesians 5:19 and Colossians 3:16) but only in connection with the Christian behavior of the Christians, not with regard to worship music.
Among the earliest surviving Christian songs include those described in the New Testament traditional canticles as the Benedictus, the Magnificat and the Nunc dimittis.Gloria van Donge: Hymnology in the New Testament.
Christ songs are hymns to Jesus of Nazareth as the Christ.Cf. about Martin Hengel: Das Christuslied im frühesten Gottesdienst Published by St. Ottilien: 1987, S. 357–404.' Literary criticism makes it possible, on the basis of stylistic criteria, to elaborate Christ songs and liturgically used portions in the New Testament.Klaus Berger expresses himself critically: Form history of the New Testament.Criticism of Ralph Brucker: 'Christ hymns' or 'epideiktische passages'? In letters and texts some songs are quoted and mentioned, e.g. For example, the hymn to Christ in Philippians 2:6–11. It can be assumed that such texts were commonly known at the time and served to remind readers that its content was already general belief. Also, such texts may have been used for singing praises by the congregation.
Criteria:
Often, phrases such as "we know..." introduce the beginning The persons change in connection. While the text itself is formulated as a form of address or speaks of the author in the "first person", it suddenly changes to the third person, and then afterwards continues in the original language again. In some places it is also explicitly pointed to a received tradition (what we have "received")
Early church Probably the earliest evidence for liturgical hymns outside of the New Testament can be found in the letters of Ignatius of Antioch in his Epistle to the Ephesians (7, 2 and 19, 2f).Reinhard Deichgräber: Gotteshymnus und Christushymnus in der frühen Christenheit. Göttingen, 1967
In the fourth century, leading Church Fathers gave great prominence to parish singing: in the East, there were transformations of the liturgy under Basil of Caesarea. In the West, Bishop Ambrose of Milan made liturgical and musical reforms and the introduction of Ambrosian hymns still sung today. Ambrose introduced antiphons and composed new O Antiphons. The emergence of the Te Deum falls into this time.
As part of the rapid spread of Christianity, the individual archbishoprics and monasteries gained relative independence from Rome. Thus, in addition to the Ambrosian various other liturgies such as the Roman Rite, the Mozarabic Rite, the Gallican Rite, the Celtic Rite, the Byzantine Rite, the East and West Syriac Rites and the Alexandrian Rite. Many of these liturgies developed their own singing traditions, some of which are still alive today.
In the East, Romanos the Melodist was the most prominent hymnwriter of kontakion and the most prominent in the general akathist tradition, while Ephrem the Syrian was a notable Syriac hymnodist. An early musical notation was used in the Byzantine Empire for hymn writing.
Middle Ages Gregorian chant
At the end of the 6th century, Pope Gregory I carried out a reform of the Roman liturgy. Presumably in the context of these reforms began over several hundred years continued order, collection and standardization of the melodies and texts used in the liturgy. The songs were compulsory as Gregorian chant for the Roman church and largely replaced local vocal styles.
In the style of the Gregorian chant emerged many new compositions that were increasingly melismatic. Their texts came from the Ordinary and the Proprium Missae, from antiphons for the worship service, and pieces from the Liturgy of the Hours.
Trope In the Carolingian period, the officially sanctioned chorales developed various additions and modifications called tropes. They developed by the insertion or addition of new melismas or textual melody sections onto the existing tunes.
Sequence
With the writing of the Alleluia final melismas ( classical sequence ), the history of the sequence begins around 850. Until the 12th century, the rhyme sequence, which is independent of the alleluia, emerges with the rhymes and rhythms. It leads to the large-scale stop rhythms of the 13th century (significant authors being Thomas of Celano and Thomas Aquinas). Rhyme sequences have the developed structure with multiple tropes, are metrically ordered, and rhyming. They were very popular in the late Middle Ages; there are about 5,000 rhyme sequences known. Although many were authored anonymously, notable sequence writers include Notker the Stammerer, Fulbert of Chartres, Hermann of Reichenau, and Adam of Saint Victor.
Leise, carols, and vernacular hymnody
The first evidence of vernacular hymns from the Middle Ages comes from the leisen. The oldest known leise dates to c. 860. They were vernacular language (Germanic or Scandinavian) responses by the congregation to sung elements of the Latin Mass, especially sequences sung on feast days and also used during processionals and on pilgrimages. Leisen often consist of single stanzas which end in some form of the Kyrie eleison. Sometimes more than one stanza was used. As they were sung in the vernacular by the congregation, they were a precursor of Reformation-era church music.
With all the musical wealth of the Gregorian chant, a community participation in the liturgical song was at best tolerated. The more casual vernacular songs are termed spiritual songs and the more formal ones are called hymns. They were used at high festivals, processions or spiritual games.
Also, in the context of the Christmas games, carols using folk tunes or mixed-language reworking of Latin hymns and sequences like "In dulci jubilo" and the Quempas carol were sung.Attached: Historical Explanations and Directories – Overview of the History of Protestant Church Music; in Karl Gerok and Hans-Arnold Metzger (ed. Musically, these hymns move between Gregorian chant and folk song (three-tone melody, three-bar), so that sometimes they should be considered spiritual folk songs rather than hymns or church music properly speaking.
Besides the vernacular songs based on ecclesiastical sources, the first uses of counterpoint were created, an example of the transmission of the development of music from secular songs into sacred music. Most of the time the melody was taken over and the text was reworked or rewritten. Another ninth-century development was the rhythmical office, and it was around this time in the East that idiomelon (a type of sticheron) began to be written down with musical notation.
Reformation
Pre-Reformation
Some churches by this time had pipe organs, but these were expensive. Other churches used a portative organ, or no organ at all. The Hungarian duda, a traditional bagpipe, was also used.
In the pre-Reformation period began to compile vernacular hymns in hymnals. One of the first hymnals appeared in 1501 with the Bohemian Brethren. It contained not only translations of Latin songs and contrafacts of Czech folk songs but also newly written songs.
Even shortly before Luther's day people began to print hymnals. Since then, the history of the hymn has been closely linked to the history of hymnals.
Martin Luther and his environment
Among the Protestant Reformers, Martin Luther in particular attributed great importance to the vernacular hymn. He aimed at various effects of singing hymns together in vernacular language:
The songs promoted the spread of biblical content and reformatory ideas. Catechetical songs could be instructive and treat specific theological themes such as creed or sacraments. Formulated as a hymn that, with the help of a memorable melody, could easily be memorized, content was easier to memorize. Singing together represented common ground and formed a community. German songs enabled the hitherto essentially passive community to actively participate in the service.Attached: Historical Explanations and Directories – Overview of the History of Protestant Church Music; in Karl Gerok and Hans-Arnold Metzger (ed. The spiritual effect of music was described by Luther as medicine against evil and despondency.
Luther wrote over 30 hymns, including church year songs like "Vom Himmel hoch, da komm ich her" (From Heaven Above to Earth I Come)", catechism songs like "Mensch, willst du leben seliglich" (That Man a Godly Life Might Live)" and psalm songs like "Ein feste Burg ist unser Gott" (A Mighty Fortress Is Our God), as well as table songs in place of spoken prayers, songs for domestic use (morning blessing and evening blessings ) and liturgical songs. Many of these songs are in the second person plural and strengthen the early Reformation community.
Some of his hymns, such as "Gott sei gelobet und gebenedeiet" ("O Lord, We Praise Thee"), "Nun bitten wir den Heiligen Geist" ("We Now Implore God the Holy Ghost"), "Christ ist erstanden" ("Christ the Lord is Risen Again"), and "Mitten wir im Leben sind" ("In Midst of Earthly Life") were based on a medieval leise, which Luther reworked and expanded.
Luther also adopted several Gregorian chants and gave them new German texts. With new melodies the singularity always stood in the foreground; often the melodies move in familiar formulas – artistic originality of the melody was of little importance. New melodies were mostly written in collaboration with Johann Walter. Luther also asked other co-workers for support in creating new hymns.
The songs of Luther and his environment were printed on leaflets. They spread widely and quickly became popular. They formed a pillar of the worship orders: In Lutheran worship, the hymn is an active participation of the church and also may correspond to the sermon as in the hymn of the day.
Reformed Church
John Calvin rejected all traditions that he did not see justified in the Bible. Unlike Luther, he was initially dismissive of church music. In Calvinist liturgies, the spoken word had priority.
Although being very musical, Zwingli rejected music in worship for a long time. In the Reformed communities of Zürich, there were no songs in his time. Instrumental music was also excluded.
Calvin, who took over the leadership of the Reformed Church after Zwingli's death, had encountered psalm singing in Strasbourg. He put communal singing again under strict musical and lyrical conditions, now called exclusive psalmody:
Only psalm texts were allowed to be sung. Versified psalms had to lean closely on the biblical text. The singing had to be unanimous. The tunes were not allowed to exceed the size of an octave. Melismas were not allowed. Only two basic values were allowed for the rhythm (one beat and two beats, quarter note and half note in today's notation). Rhythmic reassurance at the end of lines was desired. Every line had to be paused.