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Many of the earliest parlour songs were transcriptions for voice and keyboard of other music. Thomas Moore's Irish Melodies, for instance, were traditional (or "folk") tunes supplied with new lyrics by Moore, and many arias from Italian operas, particularly those of Bellini and Donizetti, became parlour songs, with texts either translated or replaced by new lyrics.
The lyrics were written by Frank Lebby Stanton and published in his Songs of the Soil (1894). The tune was composed by Carrie Jacobs-Bond and published as part of Seven Songs as Unpretentious as the Wild Rose in 1901. Harry T. Burleigh also composed a tune (copyrighted in 1906), [1] but it never approached the popularity of the Jacobs-Bond tune.
The second stanza borrows language from the Nicene Creed, giving Jesus the title "Light of Light". The third stanza reflects Colossians 1:16, which describes how all things were created "by him and for him". [13] The fourth verse describes the incarnation, life and death of Jesus, who was "humbled for a season". [14]
This category contains songs that are Parlor music or Parlour music. Pages in category "Parlor songs" The following 17 pages are in this category, out of 17 total.
The song was a hit record for Elsie Baker in 1912 (Victor B-12069). [9]It has since been recorded by numerous artists, including Sophie Braslau (1916), Dusolina Giannini (1926), Al Bowlly (1934), Bing Crosby (1934 and 1945), Erskine Hawkins (1942), Helen Traubel (1946), Jeanette MacDonald (1947), and as duets by Jo Stafford and Nelson Eddy (1951), and Pat and Shirley Boone (1962).
The first published use of the term "gospel song" appeared in 1874. The original gospel songs were written and composed by authors such as George F. Root, Philip Bliss, Charles H. Gabriel, William Howard Doane, and Fanny Crosby. [3] Gospel music publishing houses emerged. The advent of radio in the 1920s greatly increased the audience for ...
Thousands of traditionally-styled songs of praise or worship, called "hymns" (from the Greek word hymnos meaning, "song of praise"), were written over hundreds of years. Eventually, these songs were compiled into books called "hymnals", from which pastors and congregants would read during Christian services – a practice that continues in many ...
Jahn's verses [7] [8] express a close, friendly, and familiar friendship with Jesus, who gives life to the poet. It has been noted that the original German hymn was characteristically a lively hymn of praise, which is carried over somewhat into Bach's arrangement; whereas a slower, more stately tempo is traditionally used with the English version.