A Practical Discourse on Some Principles of Hymn-Singing By: Robert Bridges (1844-1930)
In "A Practical Discourse on Some Principles of Hymn-Singing" by Robert Bridges, the author delves deep into the art of hymn-singing and provides valuable insights for both amateurs and professionals in this field. Bridges' expertise in poetry and his passion for hymnology shine through his meticulous analysis and practical advice. From the very beginning, Bridges establishes a solid foundation by discussing the historical context and development of hymn-singing. His extensive research and knowledge on the subject are apparent, as he explores the origins of hymnody and traces its evolution throughout the centuries. This historical backdrop adds depth and substance to the discourse, making it a comprehensive guide for anyone interested in the topic. One of the strengths of this book is the author's emphasis on the importance of proper rhythm and meter in hymn-singing. Bridges illustrates effective ways to identify and maintain an appropriate tempo, thereby enhancing the musicality of hymns. His detailed explanations, accompanied by musical examples, provide a clear understanding of the principles behind successful hymn-singing. Furthermore, Bridges highlights the significance of the relationship between hymn lyrics and music. He emphasizes the need for a seamless fusion of these two elements, arguing that hymns should be sung in a manner that enhances their meaning. By exploring various poetic techniques and musical nuances, he shows readers how to effectively convey the intended message of a hymn through their singing. Another noteworthy aspect of this book is the inclusion of practical exercises and suggestions for improvement. Bridges recognizes that hymn-singing is a skill that can be honed through practice and dedication. He offers exercises that focus on breath control, diction, and vocal technique, enabling readers to develop their capabilities as hymn singers. These exercises, along with his invaluable tips and suggestions, make this book an invaluable resource for aspiring hymn singers. Despite its merits, "A Practical Discourse on Some Principles of Hymn-Singing" may not be suitable for those without a genuine interest in the topic. The book is highly specialized and may not appeal to a general audience. However, for individuals passionate about hymn-singing, Bridges' expertise and passion make this a worthwhile read. In conclusion, Robert Bridges' "A Practical Discourse on Some Principles of Hymn-Singing" is an insightful and informative book that serves as a comprehensive guide for hymn-singers. The author's deep understanding of hymnology, combined with his practical advice and exercises, make it an essential resource for those seeking to enhance their hymn-singing abilities. While it may not appeal to a broad readership, this book is undeniably an invaluable asset for enthusiasts and professionals in this field. First Page: A Practical Discourse on some Principles of Hymn Singing By Robert Bridges 1901 Price, One Shilling, net A Practical Discourse on some Principles of Hymn Singing By Robert Bridges Reprinted from the Journal of Theological Studies, October, 1899 Oxford: B. H. Blackwell, 50 & 51 Broad Street London: Simpkin, Marshall, Hamilton, Kent & Co. 1901 The Author's thanks are due to the Editors of the Journal of Theological Studies, and to the Publishers, Messrs. Macmillan, for permission to reprint. A PRACTICAL DISCOURSE ON SOME PRINCIPLES OF HYMN SINGING What St. Augustin says of the emotion which he felt on hearing the music in the Portian basilica at Milan in the year 386 has always seemed to me a good illustration of the relativity of musical expression; I mean how much more its ethical significance depends on the musical experience of the hearer, than on any special accomplishment or intrinsic development of the art. Knowing of what kind that music must have been and how few resources of expression it can have had, being rudimental in form, without suggestion of harmony, and in its performance unskilful, its probably nasal voice production unmodified by any accompaniment, one marvels at his description, 'What tears I shed at Thy hymns and canticles, how acutely was my soul stirred by the voices and sweet music of Thy Church! As those voices entered my ears, truth distilled in my heart, and thence divine affection welled up in a flood, in tears o'erflowing, and happy was I in those tears[1]... Continue reading book >>

A Practical Discourse on Some Principles of Hymn-Singing By: Robert Bridges (1844-1930)

In "A Practical Discourse on Some Principles of Hymn-Singing" by Robert Bridges, the author delves deep into the art of hymn-singing and provides valuable insights for both amateurs and professionals in this field. Bridges' expertise in poetry and his passion for hymnology shine through his meticulous analysis and practical advice.

From the very beginning, Bridges establishes a solid foundation by discussing the historical context and development of hymn-singing. His extensive research and knowledge on the subject are apparent, as he explores the origins of hymnody and traces its evolution throughout the centuries. This historical backdrop adds depth and substance to the discourse, making it a comprehensive guide for anyone interested in the topic.

One of the strengths of this book is the author's emphasis on the importance of proper rhythm and meter in hymn-singing. Bridges illustrates effective ways to identify and maintain an appropriate tempo, thereby enhancing the musicality of hymns. His detailed explanations, accompanied by musical examples, provide a clear understanding of the principles behind successful hymn-singing.

Furthermore, Bridges highlights the significance of the relationship between hymn lyrics and music. He emphasizes the need for a seamless fusion of these two elements, arguing that hymns should be sung in a manner that enhances their meaning. By exploring various poetic techniques and musical nuances, he shows readers how to effectively convey the intended message of a hymn through their singing.

Another noteworthy aspect of this book is the inclusion of practical exercises and suggestions for improvement. Bridges recognizes that hymn-singing is a skill that can be honed through practice and dedication. He offers exercises that focus on breath control, diction, and vocal technique, enabling readers to develop their capabilities as hymn singers. These exercises, along with his invaluable tips and suggestions, make this book an invaluable resource for aspiring hymn singers.

Despite its merits, "A Practical Discourse on Some Principles of Hymn-Singing" may not be suitable for those without a genuine interest in the topic. The book is highly specialized and may not appeal to a general audience. However, for individuals passionate about hymn-singing, Bridges' expertise and passion make this a worthwhile read.

In conclusion, Robert Bridges' "A Practical Discourse on Some Principles of Hymn-Singing" is an insightful and informative book that serves as a comprehensive guide for hymn-singers. The author's deep understanding of hymnology, combined with his practical advice and exercises, make it an essential resource for those seeking to enhance their hymn-singing abilities. While it may not appeal to a broad readership, this book is undeniably an invaluable asset for enthusiasts and professionals in this field.

First Page:

A Practical Discourse on some Principles of Hymn Singing By Robert Bridges 1901

Price, One Shilling, net

A Practical Discourse on some Principles of Hymn Singing By Robert Bridges

Reprinted from the Journal of Theological Studies, October, 1899

Oxford: B. H. Blackwell, 50 & 51 Broad Street London: Simpkin, Marshall, Hamilton, Kent & Co. 1901

The Author's thanks are due to the Editors of the Journal of Theological Studies, and to the Publishers, Messrs. Macmillan, for permission to reprint.

A PRACTICAL DISCOURSE ON SOME PRINCIPLES OF HYMN SINGING

What St. Augustin says of the emotion which he felt on hearing the music in the Portian basilica at Milan in the year 386 has always seemed to me a good illustration of the relativity of musical expression; I mean how much more its ethical significance depends on the musical experience of the hearer, than on any special accomplishment or intrinsic development of the art. Knowing of what kind that music must have been and how few resources of expression it can have had, being rudimental in form, without suggestion of harmony, and in its performance unskilful, its probably nasal voice production unmodified by any accompaniment, one marvels at his description,

'What tears I shed at Thy hymns and canticles, how acutely was my soul stirred by the voices and sweet music of Thy Church! As those voices entered my ears, truth distilled in my heart, and thence divine affection welled up in a flood, in tears o'erflowing, and happy was I in those tears[1]... Continue reading book >>

Genres for this book
Music
Religion

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