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By the 13 th century, imported tunes began to be replaced by English adaptations, which explains the English stanzas frequently followed by French or Latin refrains. Gauntlett's Comprehensive Tune Book , Hallelujah Pusey Tractarians. Dix's "As with gladness men of old" and "Alleluia! Sing to Jesus".

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Lyte's "Abide with me". Stone's "The church's one foundation". Plumptre's "Thine arm, O Lord, in days of old," "Rejoice, ye pure in heart". Havergal's "Take my life, and let it be consecrated". Elvey's ST. Wesley's The European Psalmist. Moody and Ira D. Sankey, outstanding personalities in British evangelical activity for more than two decades. Lyon's "Lift up your voice, ye Christian folk".

Chesterton's "O God of earth and alter. Baker's "Lord, thy word abideth". Briggs --an evangelical Anglican minister, who wrote hymns that expressed new ideas in simple vocabulary "God has spoken by the prophets". Sharpe chairman of Music Advisory committee ; influenced by Sankey. Arthur Pollard texts , Robin Sheldon Music. Anthony Petti and Geoffrey Laycock.

The Bay Psalm Book. Baptists had moved in the direction of the "protracted meeting" held in church buildings. Root, William B. Smith; preparing for the ministry at Andover Theol. Seminary; premiered by a children's choir directed by Lowell Mason.

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O blessed thought" --Joseph H. Gilmore, pastor of First Baptist Philadelphia; inspired by a sermon he had preached on Psalm Shurtleff: "Lead on, O king eternal" for the graduation ceremony of his class at Andover Theological Seminary. Everest: "'Take up thy cross,' the Savior said". Lathbury: "Break thou the bread of life" Benson: "O sing a song of Bethlehem" Sears: "It came upon the midnight clear" Doane--collaborated with Lowry and Fanny Crosby; composed over 2, tunes.

Bliss, in connection with Moody's early work in Chicago.

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Whittle, a prominent evangelist. Stebbins continued with Sankey after Bliss' death in Towner--head of music department at Moody Bible Institute from to his death.

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Kirkpatrick--a Methodist involved in the publication of approximately gospel gong collections. Sweney--Kirkpatgrick's principal business partner and collaborator; wrote over 1, tunes for gospel hymns. Elford, respectively. Caldwell and A. Robinson's Psalms and Hymns and Spiritual Songs, ed. Johnson, published by the American Baptist Publication Society; the Baptist collection that most reflected Anglican influence.

Graves and J. Park and Austin Phelps. Onderdonck; bound with the Book of Common Prayer. James White; drew freely from existing hymnals of Methodists, Baptists, et al. Kieffer; promoted singing schools. Rodeheaver--important more in their roles as compliers and publishers than writers. Austin Miles. Gabriel--music editor and hymn writer for Rodeheaver's publications.

The Songs of Southern Zion: Confederate Hymnology

Samuel Charters. In the spring of , Lucy Mc Kim, the nineteen-year-old daughter of a Philadelphia abolitionist Quaker family, traveled with her father to the Sea Islands of South Carolina to aid him in his efforts to organize humanitarian aid for thousands of newly freed slaves. During her stay she heard the singing of the slaves in their churches, as they rowed their boats from island to island, and as they worked and played. Already a skilled musician, she determined to preserve as much of the music as she could, quickly writing down words and melodies, some of them only fleeting improvisations.

Upon her return to Philadelphia, she began composing musical settings for the songs and in the fall of published the first serious musical arrangements of slave songs.

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She also wrote about the musical characteristics of slave songs, and published, in a leading musical journal of the time, the first article to discuss what she had witnessed. Letters reveal the story of young women's lives during the harsh years of the war.

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At the same time that her arrangements of the songs were being published, a man with whom she had an unofficial attachment was killed in battle, and the war forced her to temporarily abandon her work. In she married Wendell Phillips Garrison, son of abolitionist William Lloyd Garrison, and in the early months of their marriage she proposed that they turn to the collection of slave songs that had long been her dream.

She and her husbanda founder and literary editor of the recently launched journal The Nationenlisted the help of two associates who had also collected songs in the Sea Islands.