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- W85842602 abstract "New Charles Wesley Hymn Settings from Around the World In 1993/94, at the beginning of my tenure as an executive of the General Board of Global Ministries of United Methodist Church, the mission agency of the denomination, in charge of die interpretation of mission and evangeUzation in the Ught of Scripture, the Wesleyan tradition, and contemporary contexts, I raised tiie foUowing question with the General Secretary, Dr. Randolph W. Nugent: How is it possible for the mission agency of a church that says it sings its theology to fulfill its purpose without gathering the hymns and songs of people around tiie world to enhance both witness and worship? He responded that this was a vital matter for the church's mission and was so affirming that within a short period of time we founded what became known as the Global Praise Program, which I was privileged to direct from its inception until 2006. Amid the larger undertaking of gathering, pubUshing, and recording songs of the Christian faith from many cultures and ethnic backgrounds, one of the tasks was to explore how Wesley hymns are sung around the world and to invite composers and arrangers from diverse continents and cultures to write new settings for Wesley texts, reflecting indigenous rhythms and musical styles. From the outset, companions in this effort were the distinguished hymnographer and editor, Carlton R. Young, and a group of noted musicians and authors from four continents, which convened annually and became known as the Global Praise Working Group. resources mentioned below would not have been possible without their valuable contributions. New Tunes for Charles Wesley's Texts1 Global Praise 1 (1996)2 This volume was the first major collection of global song published by the Global Praise Program. It consists of songs from thirty- six different countries and regions of the world and was introduced at the General Conference of United Methodist Church in 1996. Many songs have appropriate keyboard realizations and harmonizations, while songs from oral tradition are printed as communicated by and received from indigenous persons. Where appropriate, guitar chords are included. This first major coUection of the Global Praise Program included a number of interesting examples of new settings of Wesley hymns. #7 Away with our fears,3 is one of Wesley's hymns celebrating Christ's nativity. It was written in a unusual meter of three short Unes of 5s, concluded by a long line of 11 (5 5. 11). pattern of rhyme is aabb. tune was written in 1994 by Carlton R. Young for his son, Robert. composer interestingly ends stanzas 1-4 in a suspended manner by repeating the last three words of tiie stanza - Jesus the child (st. 1), manger he Ues (st. 2), hoUness shine (st. 3), Savior and King (st. 4) - thus leading back to tiie beginning of each succeeding stanza. However, he harmonicaliy resolves the conclusion of stanza with the repetition of the words love in our heart, which is both the goal of Wesley's affirmation and of the Incarnation. Liturgical use: Advent and Christmastide #53 The golden rule she has pursued was first published as a hymn in A Song for the Poor (1993).4 text consists of five stanzas selected by this author from a lengthy poem, On the deatii of Mrs. Mary Naylor, March 21st, 1757. 5 Wesley holds her up to the community of faith as an example of how to Uve as a foUower of Christ, particularly in her outreach to the destitute, sick, and imprisoned. tune Cornwall, first pubUshed in 1872, was written by Charles Wesley's grandson, Samuel Sebastian Wesley (1810-1876). Liturgical use: All Saints' Day, Holy Communion, Uturgies with themes of justice, discipleship, and service to the marginalized. #54 Your duty let the aposde show6 was also included in A Song for the Poor (1993) and its revision, Songs for the Poor (2003), with a new melody by Timothy E. Kimbrough. It is written in 88. …" @default.
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- W85842602 date "2009-07-01" @default.
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- W85842602 title "To Serve the Present Age" @default.
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