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Nolan Williams

Person Name: Nolan Williams, Jr. b. 1969 Meter: 11.11.11.11 Arranger of "MUELLER" in African American Heritage Hymnal

1771 - 1854 Person Name: Mongtomery Meter: 11.11.11.11 Author of "The Lord is My Shepherd" in The New Christian Hymnal James Montgomery (b. Irvine, Ayrshire, Scotland, 1771; d. Sheffield, Yorkshire, England, 1854), the son of Moravian parents who died on a West Indies mission field while he was in boarding school, Montgomery inherited a strong religious bent, a passion for missions, and an independent mind. He was editor of the Sheffield Iris (1796-1827), a newspaper that sometimes espoused radical causes. Montgomery was imprisoned briefly when he printed a song that celebrated the fall of the Bastille and again when he described a riot in Sheffield that reflected unfavorably on a military commander. He also protested against slavery, the lot of boy chimney sweeps, and lotteries. Associated with Christians of various persuasions, Montgomery supported missions and the British Bible Society. He published eleven volumes of poetry, mainly his own, and at least four hundred hymns. Some critics judge his hymn texts to be equal in quality to those of Isaac Watts and Charles Wesley . Many were published in Thomas Cotterill's Selection of Psalms and Hymns (1819 edition) and in Montgomery's own Songs of Zion (1822), Christian Psalmist (1825), and Original Hymns (1853). Bert Polman ======================== Montgomery, James, son of John Montgomery, a Moravian minister, was born at Irvine, Ayrshire, Nov. 4, 1771. In 1776 he removed with his parents to the Moravian Settlement at Gracehill, near Ballymena, county of Antrim. Two years after he was sent to the Fulneck Seminary, Yorkshire. He left Fulneck in 1787, and entered a retail shop at Mirfield, near Wakefield. Soon tiring of that he entered upon a similar situation at Wath, near Rotherham, only to find it quite as unsuitable to his taste as the former. A journey to London, with the hope of finding a publisher for his youthful poems ended in failure; and in 1792 he was glad to leave Wath for Shefield to join Mr. Gales, an auctioneer, bookseller, and printer of the Sheffield Register newspaper, as his assistant. In 1794 Mr. Gales left England to avoid a political prosecution. Montgomery took the Sheffield Register in hand, changed its name to The Sheffield Iris, and continued to edit it for thirty-one years. During the next two years he was imprisoned twice, first for reprinting therein a song in commemoration of "The Fall of the Bastille," and the second for giving an account of a riot in Sheffield. The editing of his paper, the composition and publication of his poems and hynms, the delivery of lectures on poetry in Sheffield and at the Royal Institution, London, and the earnest advocacy of Foreign Missions and the Bible Society in many parts of the country, gave great variety but very little of stirring incident to his life. In 1833 he received a Royal pension of £200 a year. He died in his sleep, at the Mount, Sheffield, April 30, 1854, and was honoured with a public funeral. A statue was erected to his memory in the Sheffield General Cemetery, and a stained glass window in the Parish Church. A Wesleyan chapel and a public hall are also named in his honour. Montgomery's principal poetical works, including those which he edited, were:— (1) Prison Amusements, 1797; (2) The Wanderer of Switzerland, 1806; (3) The West Indies, 1807; (4) The World before the Flood, 1813; (5) Greenland and Other Poems, 1819; (6) Songs of Zion, 1822; (7) The Christian Psalmist, 1825; (8) The Christian Poet, 1825; (9) The Pelican Island, 1828; (10) The Poet’s Portfolio, 1835; (11) Original Hymns for Public, Private, and Social Devotion, 1853. He also published minor pieces at various times, and four editions of his Poetical Works, the first in 1828, the second in 1836, the third in 1841, and the fourth in 1854. Most of these works contained original hymns. He also contributed largely to Collyer's Collection, 1812, and other hymnbooks published during the next 40 years, amongst which the most noticeable was Cotterill's Selections of 1819, in which more than 50 of his compositions appeared. In his Christian Psalmist, 1825, there are 100 of his hymns, and in his Original Hymns, 1853, 355 and 5 doxologies. His Songs of Zion, 1822, number 56. Deducting those which are repeated in the Original Hymns, there remain about 400 original compositions. Of Montgomery's 400 hymns (including his versions of the Psalms) more than 100 are still in common use. With the aid of Montgomery's MSS. we have given a detailed account of a large number. The rest are as follows:— i. Appeared in Collyer's Collection, 1812. 1. Jesus, our best beloved Friend. Personal Dedication to Christ. 2. When on Sinai's top I see. Sinai, Tabor, and Calvary. ii. Appeared in Cotterill's Selection, 1819. 3. Come to Calvary's holy mountain. The Open Fountain. 4. God in the high and holy place. God in Nature. The cento in Com. Praise, 1879, and others, "If God hath made this world so fair," is from this hymn. 5. Hear me, O Lord, in my distress. Ps. cxliii. 6. Heaven is a place of rest from sin. Preparation for Heaven. 7. I cried unto the Lord most just. Ps. cxlii. 8. Lord, let my prayer like incense rise. Ps. cxxxix. 9. O bless the Lord, my soul! His grace to thee proclaim. Ps. ciii. 10. Out of the depths of woe. Ps. cxxx. Sometimes "When from the depths of woe." 11. The world in condemnation lay. Redemption. 12. Where are the dead? In heaven or hell? The Living and the Dead. iii. Appeared in his Songs of Zion, 1822. 13. Give glory to God in the highest. Ps. xxix. 14. Glad was my heart to hear. Ps. cxxii. 15. God be merciful to me. Ps. lxix. 16. God is my strong salvation. Ps. xxvii. 17. Hasten, Lord, to my release. Ps. lxx. 18. Have mercy on me, O my God. Ps. li. 19. Hearken, Lord, to my complaints. Ps. xlii. 20. Heralds of creation cry. Ps. cxlviii. 21. How beautiful the sight. Ps. cxxxiii. 22. How precious are Thy thoughts of peace. Ps. cxxxix. 23. I love the Lord, He lent an ear. Ps. cxvi. 24. In time of tribulation. Ps. lxxvii. 25. Jehovah is great, and great be His praise. Ps. xlviii. Sometimes, "0 great is Jehovah, and great is His Name." 26. Judge me, O Lord, in righteousness. Ps. xliii. 27. Lift up your heads, ye gates, and wide. Ps.xxiv. 28. Lord, let me know mine [my] end. Ps. xxxi. 29. Of old, 0 God, Thine own right hand. Ps. lxxx. 30. O God, Thou art [my] the God alone. Ps. lxiii. 31. 0 Lord, our King, how excellent. Ps. viii. Sometimes, "0 Lord, how excellent is Thy name." 32. O my soul, with all thy powers. Ps. ciii. 33. One thing with all my soul's desire. Ps. xxvii. From this, "Grant me within Thy courts a place." 34. Searcher of hearts, to Thee are known. Ps. cxxxix. 35. Thank and praise Jehovah's name. Ps. cvii. 36. Thee will I praise, O Lord in light. Ps. cxxxviii. 37. The Lord is King; upon His throne. Ps. xciii. 38. The Lord is my Shepherd, no want shall I know. Ps. xxiii. 39. The tempter to my soul hath said. Ps. iii. 40. Thrice happy he who shuns the way. Ps. i. 41. Thy glory, Lord, the heavens declare. Ps. xix. 42. Thy law is perfect, Lord of light. Ps. xix. 43. Who make the Lord of hosts their tower. Ps. cxxv. 44. Yea, I will extol Thee. Ps. xxx. iv. Appeared in his Christian Psalmist. 1825. 45. Fall down, ye nations, and adore. Universal adoration of God desired. 46. Food, raiment, dwelling, health, and friends. The Family Altar. 47. Go where a foot hath never trod. Moses in the desert. Previously in the Leeds Congregational Collection, 1822. 48. Green pastures and clear streams. The Good Shepherd and His Flock. 49. Less than the least of all. Mercies acknowledged. 50. Not to the mount that burned with fire [flame]. Communion of Saints. 51. On the first Christian Sabbath eve. Easter Sunday Evening. 52. One prayer I have: all prayers in one. Resignation. 53. Our heavenly Father hear. The Lord's Prayer. 54. Return, my soul, unto thy rest. Rest in God. 55. Spirit of power and might, behold. The Spirit's renewing desired. 56. The Christian warrior, see him stand. The Christian Soldier. Sometimes, "Behold the Christian warrior stand." 57. The days and years of time are fled. Day of Judgment. 58. The glorious universe around. Unity. 59. The pure and peaceful mind. A Children's Prayer. 60. This is the day the Lord hath made (q. v.). Sunday. 61. Thy word, Almighty Lord. Close of Service. 62. What secret hand at morning light ? Morning. 63. While through this changing world we roam. Heaven. 64. Within these walls be peace. For Sunday Schools. v. Appeared in his Original Hymns, 1853. 65. Behold yon bright array. Opening a Place of Worship. 66. Behold the book whose leaves display. Holy Scriptures. 67. Come ye that fear the Lord. Confirmation. 68. Home, kindred, friends, and country, these. Farewell to a Missionary. 69. Let me go, the day is breaking. Jacob wrestling. 70. Not in Jerusalem alone. Consecration of a Church. 71. Praise the high and holy One. God the Creator. In common with most poets and hymnwriters, Montgomery strongly objected to any correction or rearrangement of his compositions. At the same time he did not hesitate to alter, rearrange, and amend the productions of others. The altered texts which appeared in Cotterill's Selections, 1819, and which in numerous instances are still retained in some of the best hymnbooks, as the "Rock of Ages," in its well-known form of three stanzas, and others of equal importance, were made principally by him for Cotterill's use. We have this confession under his own hand. As a poet, Montgomery stands well to the front; and as a writer of hymns he ranks in popularity with Wesley, Watts, Doddridge, Newton, and Cowper. His best hymns were written in his earlier years. In his old age he wrote much that was unworthy of his reputation. His finest lyrics are "Angels from the realms of glory," "Go to dark Gethsemane," "Hail to the Lord's Anointed," and "Songs of praise the angels sang." His "Prayer is the soul's sincere desire," is an expanded definition of prayer of great beauty; and his "Forever with the Lord" is full of lyric fire and deep feeling. The secrets of his power as a writer of hymns were manifold. His poetic genius was of a high order, higher than most who stand with him in the front rank of Christian poets. His ear for rhythm was exceedingly accurate and refined. His knowledge of Holy Scripture was most extensive. His religious views were broad and charitable. His devotional spirit was of the holiest type. With the faith of a strong man he united the beauty and simplicity of a child. Richly poetic without exuberance, dogmatic without uncharitableness, tender without sentimentality, elaborate without diffusiveness, richly musical without apparent effort, he has bequeathed to the Church of Christ wealth which could onlv have come from a true genius and a sanctified! heart. --John Julian, Dictionary of Hymnology (1907)

Joseph Barnby

1838 - 1896 Person Name: Joseph Barney Meter: 11.11.11.11 Composer of "GOOD SHEPHERD" in Church Hymnal, Mennonite Joseph Barnby (b. York, England, 1838; d. London, England, 1896) An accomplished and popular choral director in England, Barby showed his musical genius early: he was an organist and choirmaster at the age of twelve. He became organist at St. Andrews, Wells Street, London, where he developed an outstanding choral program (at times nicknamed "the Sunday Opera"). Barnby introduced annual performances of J. S. Bach's St. John Passion in St. Anne's, Soho, and directed the first performance in an English church of the St. Matthew Passion. He was also active in regional music festivals, conducted the Royal Choral Society, and composed and edited music (mainly for Novello and Company). In 1892 he was knighted by Queen Victoria. His compositions include many anthems and service music for the Anglican liturgy, as well as 246 hymn tunes (published posthumously in 1897). He edited four hymnals, including The Hymnary (1872) and The Congregational Sunday School Hymnal (1891), and coedited The Cathedral Psalter (1873). Bert Polman

James R. Murray

1841 - 1905 Meter: 11.11.11.11 Composer of "AWAY IN A MANGER" in Psalter Hymnal (Gray) L.P.M. (1905, April 12). Obituary. New Church Messenger, p.209. Murray.--At Cincinnati, March 10, 1905, James Ramsey Murray. Funeral services in the Church of the New Jersualem, March 13th. James R. Murray was widely known in the musical world as the author of many songs and song books, and in the New Church in Chicago and Cincinnati as an affectionate, intelligent, and loyal New Churchman. He was born in Andover (Ballard Vale), Mass., March 17, 1841. In early life he developed musical talent, and composed many minor pieces for local and special occasions. Later at North Reading, Mass., he attended Dr. George F. Root's School of Music, and was associated with William Bradbury and Dr. Lowell Mason. He enlisted in the Fourteenth Regiment of infantry, commonly known as the Essex County Regiment, and afterwards was changed to the First Regiment, Massachusetts Heavy Artillery, which was engaged in most of the battles fought by the Second Army Corps up to the surrender of General Lee. "Daisy Deane," the first and most popular of his early song successes, was composed in 1863 in Virginia while in camp, words by his cousin, Thomas F. Winthrop. This song is known all over the world, and the Salvation Army is using an arrangement of it for one of their war cry songs. In 1868 Mr. Murray married Isabella Maria Taylor of Andover; and they removed to Chicago. Here three children were born to them, two passing early to their heavenly home, the youngest, Winthrop Root Murray, is still living. It was during these first years in Chicago that Mr. and Mrs. Murray became interested in the New Church, while he was engaged with Root and Cady as editor of the Long Visitor, afterwards merged with the Musical Visitor. After the great fire of 1871 Mr. and Mrs. Murray returned East, where he was engaged in teaching in Lawrence and Andover, and as organist at the Old South Church in Andover. In 1881 they removed to Cincinnati and Mr. Murray became the editor of the Musical Viistor [sic] and head of the publication department of the John Church Company. Among the most popular of his books are "Pure Diamonds," "Royal Gems," "The Prize" and "Murray's Sacred Songs." The following titles will recall some of his best loved sacred songs: "At Last," "Calm on the Listening Ear of Night," "I Shall Be Satisfied," "There Shall No Evil Befall Thee," "Thine, O Lord, Is the Greatness," "The Way Was Mine," "How Beautiful Upon the Mountains," "Angels from the Realms of Glory." His last great labor in the publishing department of the John Church Company was the seeing through the press five volumes of Wagner's music dramas, with full score and original German text, and an English translation. The immense and careful labor involved in the preparation of these volumes, with a really smooth and excellent English translation, had perhaps, as it was done under pressure, something to do with Mr. Murray's breakdown. Although for some reason Mr. Murray's name does not appear on the title page of these volumes, his friends knew of the place the work held in his affections and ambition. Mr. Murray was a member of the Church Council of the Cincinnati Society for the last four years and took a deep interest in the building of the New Church, and in the inauguration of services, with all the changes looking to the improvement of the musical part of the service. The vested choir, organized by Mr. and Mrs. Lawson, which Mr. Murray as councilman had urged from the beginning, in their entrance to the church each Sunday singing the processional hymn participated in the funeral service, with a congregation of brethren and friends, all moved by deep love and profound respect for the consistent life and faith of a worthy Churchman and beloved friend. --DNAH Archives =================================== For a discussion of Murray and the tune MUELLER, see: Stulken, M.K. (1981). Hymnal companion to the Lutheran Book of Worship. Philadelphia : Fortress Press, p.170. =================================== Also available in the DNAH Archives: 1. An excerpt from Christie, George A. (1927). New Free Church. In Music in Andover. Papers read at "Fagot Party" of the Andover Natural History Society. 2. Unsourced essay about Murray written soon after his death, likely from Andover, Mass., perhaps authored by Charlotte Helen Abbott.

William Gardiner

1770 - 1853 Meter: 11.11.11.11 Arranger of "LYONS" in Mil Voces para Celebrar William Gardiner (b. Leicester, England, 1770; d. Leicester, 1853) The son of an English hosiery manufacturer, Gardiner took up his father's trade in addition to writing about music, composing, and editing. Having met Joseph Haydn and Ludwig van Beethoven on his business travels, Gardiner then proceeded to help popularize their compositions, especially Beethoven's, in England. He recorded his memories of various musicians in Music and Friends (3 volumes, 1838-1853). In the first two volumes of Sacred Melodies (1812, 1815), Gardiner turned melodies from composers such as Haydn, Mozart, and Beethoven into hymn tunes in an attempt to rejuvenate the singing of psalms. His work became an important model for American editors like Lowell Mason (see Mason's Boston Handel and Haydn Collection, 1822), and later hymnbook editors often turned to Gardiner as a source of tunes derived from classical music. Bert Polman

K.

Person Name: "K" Meter: 11.11.11.11 Author of "How Firm a Foundation" in The New Christian Hymnal In John Rippon's A Selection of Hymns (1787, plus numerous subsequent editions), "How Firm a Foundation" (no. 128) is attributed simply to "K—". Two other hymns in the collection bear the same mark, "In songs of sublime adoration and praise," and "The Bible is justly esteemed." The author of the hymn has never been definitively identified, but the most common candidates are listed below. I. Robert Keen(e) The most likely possibility is Robert Keene, who served as precentor at Rippon's church. The evidence for connecting K with Keene comes (1) from his close acquaintance with Rippon, (2) Rippon's tune book, and (3) the testimony (of sorts) of Thomas Walker. After Rippon started publishing a tune book, A Selection of Psalm and Hymn Tunes (1792), to go with his hymnal, both books were cross-referenced against each other; the tunes suggested for "How Firm a Foundation" were GEARD (no. 156) and BROUGHTON (no. 172). Both GEARD and BROUGHTON first appeared in Rippon's tune book and were probably written for it. BROUGHTON is by T. [Thomas] Walker., and GEARD is by R. [Robert] Keene, thus the association with "K.", but the connection is speculative at best. Julian, in his article on "How Firm" in the Dictionary of Hymnology, notes that Walker later assisted Alexander Fletcher with his A Collection of Hymns (1822), and in that collection the text is attributed to Keen. II. George Keith In Josiah Miller's Singers and Songs of the Church (1869), "How Firm" is attributed to George Keith. According to Julian, the motivation behind this attribution was Daniel Sedgwick—-Miller credits him in the preface with having contributed special hymnological knowledge--yet Julian notes that Sedgwick garnered his information from "an old woman whom Sedgwick met in an almshouse." Keith was a publisher in London, and was the son-in-law of Dr. Gill, Rippon's distinguished predecessor at Carter Lane. III. Thomas Kirkham In 19th century editions of Rippon's Selection, the hymn was attributed to "Kirkham." Thomas Kirkham published A Collection of Hymns in 1788, yet "How Firm" was not included. His connection to Rippon is unclear. IV. Kennedy/Kennady Still other collections offer a different possiblity: a Kennedy or Kennady. This attribution appears as early as 1826 in Nettleton's Village Hymns. In Spurgeon's Our Own Hymn Book (1866), he offers "Kirkham or Kennedy, 1787." This person has yet to be identified. V. John Rippon In his preface to the Selection, Rippon wrote: In most places, where the names of the authors were known, they are put at full length, but the hymns which are not so distinguished, or which have only a single letter prefixed to them, were, many of them composed by a person unknown, or else have undergone some considerable alterations. Since Rippon is known to have significantly altered hymns in his collection ("All hail the power of Jesus' name," being a notable example), Rippon likely deserves at least partial credit for texts bearing the mark "K." —Chris Fenner with contributions from Eric Stedfeld, Peter Irvine, and Peter Rehwaldt See also "How Firm a Foundation".

Adoniram J. Gordon

1836 - 1895 Meter: 11.11.11.11 Composer of "GORDON" in Psalter Hymnal (Gray) Adoniram J. Gordon (b. New Hampton, NH, 1836; d. Boston, MA, 1895) was educated at Brown University, Providence, Rhode Island, and Newton Theological Seminary, Newton, Massachusetts. After being ordained in 1863, he served the Baptist Church in Jamaica Plain, Massachusetts, and the Clarendon Street Baptist Church, Boston. A close friend of Dwight L. Moody, he promoted evangelism and edited The Service of Song for Baptist Churches (1871) as well as The Vestry Hymn and Tune Book (1872). Both Gordon College and Gordon-Conwell Theological Seminary are named after Gordon. Bert Polman ================== Gordon, Adoniram Judson, D.D., born at New Hampton, N.H., Apr. 19, 1836. Graduated at Brown University, 1860; entered the Baptist ministry; Pastor of Clarendon Street Baptist Church, Boston, 1869; and died in 1895. He published The Vestry Hymn and Tune Book, 1872; and was one of the editors of the Service of Song for Baptist Churches, 1871. His hymns in common use include:— 1. O blessed Paraclete. [Holy Spirit .] Given in Sursum Corda, 1898, as having been written in 1890. 2. O Spirit's anointing, for service appointing . [Foreign Missions.] This hymn was "written in the summer of 1886, at Northfield School for Bible Study, organised by Mr. Moody. More than one hundred college students connected with this school gave themselves to the work of foreign missions during their stay at Northfield. Four of their number were chosen to visit the colleges in different parts of the country, and endeavour to awaken a deeper interest in missions during the succeeding academic year. At their request Dr. Gordon” wrote this hymn. Baptist Hymns and Hymn Writers. 3. Where art thou, soul! I hear God say. [Divine Chiding.] Published in social meeting edition of The Service of Song, 1881. --John Julian, Dictionary of Hymnology, New Supplement (1907)

William Henry Monk

1823 - 1889 Person Name: William Henry Monk, 1823 - 1889 Meter: 11.11.11.11 Composer of "EVELYNS" in The Hymn Book of the Anglican Church of Canada and the United Church of Canada William H. Monk (b. Brompton, London, England, 1823; d. London, 1889) is best known for his music editing of Hymns Ancient and Modern (1861, 1868; 1875, and 1889 editions). He also adapted music from plainsong and added accompaniments for Introits for Use Throughout the Year, a book issued with that famous hymnal. Beginning in his teenage years, Monk held a number of musical positions. He became choirmaster at King's College in London in 1847 and was organist and choirmaster at St. Matthias, Stoke Newington, from 1852 to 1889, where he was influenced by the Oxford Movement. At St. Matthias, Monk also began daily choral services with the choir leading the congregation in music chosen according to the church year, including psalms chanted to plainsong. He composed over fifty hymn tunes and edited The Scottish Hymnal (1872 edition) and Wordsworth's Hymns for the Holy Year (1862) as well as the periodical Parish Choir (1840-1851). Bert Polman

Thomas H. Troeger

1945 - 2022 Person Name: Thomas H. Troeger, b. 1945 Meter: 11.11.11.11 Author of "God Made from One Blood" in Worship (4th ed.) Thomas Troeger (1945-2022), professor of Christian communication at Yale Divinity school, was a well known preacher, poet, and musician. He was a fellow of Silliman College, held a B.A. from Yale University; B.D. Colgate Rochester Divinity School; S.T. D. Dickinson College, and was awarded an honorary D.D. from Virginia Theological Seminary. He was ordained in the Presbyterian Church in 1970 and the Episcopal Church in 1999, and remained dually aligned with both traditions. Troerger led conferences and lectures in worship and preaching throughout North America, as well as in Denmark, Holland, Australia, Japan, and Africa. He served as national chaplain to the American Guild of Organists, and for at least three years he hosted the Season of Worship broadcast for Cokesbury. He was president of the Academy of Homiletics as well as Societas Homiletica. He had, as of 2009, written 22 books in the areas of preaching, poetry, hymnody, and worship. Many of his hymn texts are found in New Hymns for the Lectionary (Oxford, 1992), and God, You Made All Things for Singing (Oxford, 2009). Laura de Jong

Robert Murray M'Cheyne

1813 - 1843 Person Name: Robert M. McCheyne Meter: 11.11.11.11 Author of "I Once was a Stranger" in The Cyber Hymnal McCheyne, Robert Murray, son of Adam McCheyne, W. S., was b. at Edinburgh, May 21, 1813, and educated at Edinburgh University. In 1835 he became Assistant at Larbert,near Stirling, and was ordained in 1836 Minister of St. Peter's Established Church, Dundee. In 1839 he went to Palestine as one of the Mission of Enquiry to the Jews from the Church of Scotland. He d. at Dundee, March 25, 1843. His hymns, a few of which were written in Palestine, appeared in his Songs of Zion to cheer and guide Pilgrims on their way to the New Jerusalem, By the late Rev. B. M. McCheyne....Dundee, W. Middleton, 1843. These hymns were reprinted in his Memoir and Remains, edited by Dr. Andrew A. Bonar, 1844. The Songs as reprinted in 1844 number 14, and date from 1831 to 1841. The best known are, "I once was a stranger to grace and to God;" and, "When this passing world is done." In addition, "Beneath Moriah's rocky side," written at the "Foot of Carmel, June, 1839" (Sent from God); "Like mist on the mountains," written "Jan. 1st, 1831" (Children called to Christ), and "Ten Virgins, clothed in white" (The Ten Virgins), dated 1841, are in common use. [Rev. James Mearns, M. A.] --John Julian, Dictionary of Hymnology (1907)