Hymns Classicals Songs Compilations By Anglican Diocese Of Warri Hymns Songs Archive ^NEW^
With the message that forgiveness and redemption are possible regardless of sins committed and that the soul can be delivered from despair through the mercy of God, "Amazing Grace" is one of the most recognisable songs in the English-speaking world. American historian Gilbert Chase writes that it is "without a doubt the most famous of all the folk hymns" and Jonathan Aitken, a Newton biographer, estimates that the song is performed about 10 million times annually.
Hymns Classicals Songs Compilations by Anglican Diocese of Warri |Hymns Songs Archive
Although it had its roots in England, "Amazing Grace" became an integral part of the Christian tapestry in the United States. The greatest influences in the 19th century that propelled "Amazing Grace" to spread across the US and become a staple of religious services in many denominations and regions were the Second Great Awakening and the development of shape note singing communities. A tremendous religious movement swept the US in the early 19th century, marked by the growth and popularity of churches and religious revivals that got their start on the frontier in Kentucky and Tennessee. Unprecedented gatherings of thousands of people attended camp meetings where they came to experience salvation; preaching was fiery and focused on saving the sinner from temptation and backsliding. Religion was stripped of ornament and ceremony, and made as plain and simple as possible; sermons and songs often used repetition to get across to a rural population of poor and mostly uneducated people the necessity of turning away from sin. Witnessing and testifying became an integral component to these meetings, where a congregation member or stranger would rise and recount his turn from a sinful life to one of piety and peace. "Amazing Grace" was one of many hymns that punctuated fervent sermons, although the contemporary style used a refrain, borrowed from other hymns, that employed simplicity and repetition such as:
Simultaneously, an unrelated movement of communal singing was established throughout the South and Western states. A format of teaching music to illiterate people appeared in 1800. It used four sounds to symbolise the basic scale: fa-sol-la-fa-sol-la-mi-fa. Each sound was accompanied by a specifically shaped note and thus became known as shape note singing. The method was simple to learn and teach, so schools were established throughout the South and West. Communities would come together for an entire day of singing in a large building where they sat in four distinct areas surrounding an open space, one member directing the group as a whole. Other groups would sing outside, on benches set up in a square. Preachers used shape note hymns to teach people on the frontier and to raise the emotion of camp meetings. Most of the music was Christian, but the purpose of communal singing was not primarily spiritual. Communities either could not afford music accompaniment or rejected it out of a Calvinistic sense of simplicity, so the songs were sung a cappella.
Although "Amazing Grace" set to "New Britain" was popular, other versions existed regionally. Primitive Baptists in the Appalachian region often used "New Britain" with other hymns, and sometimes sing the words of "Amazing Grace" to other folk songs, including titles such as "In the Pines", "Pisgah", "Primrose", and "Evan", as all are able to be sung in common meter, of which the majority of their repertoire consists. In the late 19th century, Newton's verses were sung to a tune named "Arlington" as frequently as to "New Britain" for a time.
The first published use of the term "Gospel song" probably appeared in 1874 when Philip Bliss released a songbook entitled Gospel Songs. A Choice Collection of Hymns and Tunes. It was used to describe a new style of church music, songs that were easy to grasp and more easily singable than the traditional church hymns, which came out of the mass revival movement starting with Dwight L. Moody, whose musician was Ira D. Sankey, as well as the Holiness-Pentecostal movement. Prior to the meeting of Moody and Sankey in 1870, there was an American rural/frontier history of revival and camp meeting songs, but the gospel hymn was of a different character, and it served the needs of mass revivals in the great cities.
Most of Libera's lyrics come from traditional hymns, the Latin Rite liturgy, and contemporary songs by artists ranging from Brian Wilson and Billy Joel to Enya. However, lyrics from various poems and original lyrics are also used. For example, We are the Lost uses the poems "In Flanders Fields" by John McCrae and "For the Fallen" by Laurence Binyon, along with a single stanza from the English hymn, "O God, Our Help in Ages Past" by Isaac Watts. While most of the Libera's original lyrics are written by Robert Prizeman, other individuals, including former Libera soloist Steven Geraghty, have also contributed new lyrics to recent albums. 041b061a72