Ideally, a hymn is set out in clear, unambiguous language. Although it deals with profound thoughts, a hymn states them so simply methodist hymn book with tunes pdf directly that ‘he who runs may read’ and understand. Simplicity, which is the servant of clarity, is the first characteristic of hymnic expression.
This pairing may be used elsewhere, even ecumenically recognized, appearing in many other hymnals. However, if a hymn has been linked to a tune the editors think is not the best partner for it, they can arrange a new pairing. Partnerships of texts and tunes can give special attention to the interpretive opportunities in a text by providing artistic support of the message through its musical setting. Often the author of a text has not composed a setting of that text or otherwise paired the text to a particular tune. Often there is more than just one good possible partner available. Lovelace explores the relevance of the meter to a text. A stirring, motivating text will fit this meter well.
Using a more lyrical meter suggests a more expansive or introspective treatment of ideas. In such cases the editor is challenged to achieve an overall fit which doesn’t distract from the message of the text. Editorial skills are evident in the complex credits of some hymns. Some texts become associated with several tunes. For different reasons, some tunes set numerous texts. It has supported more than 20 texts in various hymnals. The practice of naming hymn tunes developed to help identify a particular tune.
The name was chosen by the compiler of the tune book or hymnal or by the composer. The majority of names have a connection with the composer and many are place names. By contrast, in Germany and Scandinavia, tune names were not typically used even when a hymn tune was used for more than one text. Renaming of tunes occurs from time to time, when a tune is chosen to be printed in a hymnal.