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The phrase "hallelujah" translates to "praise Jah/Yah", [2] [12] though it carries a deeper meaning as the word halel in Hebrew means a joyous praise in song, to boast in God. [13] [14] The second part, Yah, is a shortened form of YHWH, and is a shortened form of his name "God, Jah, or Jehovah". [3]
The hymn was published with the current music (the "Winter Quarters" tune) for the first time in the 1889 edition of the Latter-day Saints' Psalmody. The hymn was renamed "Come, Come, Ye Saints" and is hymn number 30 in the current LDS Church hymnal. A men's arrangement of the hymn is number 326 of the same hymnal. [3]
The name of the national god of the kingdoms of Israel (Samaria) and Judah is written in the Hebrew Bible as יהוה (), which modern scholars often render as Yahweh. [6] The short form Jah/Yah, appears in Exodus 15:2 and 17:16, Psalm 89:9, (arguably, by emendation) [citation needed] Song of Songs 8:6, [4] as well as in the phrase Hallelujah.
Te Deum stained glass window by Christopher Whall at St Mary's church, Ware, Hertfordshire. The Te Deum (/ t eɪ ˈ d eɪ əm / or / t iː ˈ d iː əm /, [1] [2] Latin: [te ˈde.um]; from its incipit, Te Deum laudamus (Latin for 'Thee, God, we praise')) is a Latin Christian hymn traditionally ascribed to a date before AD 500, but perhaps with antecedents that place it much earlier. [3]
"O Come, All Ye Faithful", also known as "Adeste Fideles", is a Christmas carol that has been attributed to various authors, including John Francis Wade (1711–1786), John Reading (1645–1692), King John IV of Portugal (1604–1656), and anonymous Cistercian monks. The earliest printed version is in a book published by Wade.
Alford wrote "Come, Ye Thankful People, Come" in 1844 while he was rector of Aston Sandford in Buckinghamshire, England. [2] It was first published in Hymns and Psalms in 1844 with seven verses under the title "After Harvest". [1] "Come, Ye Thankful People, Come" was set to George J. Elvey's hymn tune St. George's, Windsor in 1858. [3]
The cantor then repeats the opening Alleluia, and the choir repeats only the jubilus. The music is generally ornate, but often within a narrow range. The Alleluia for Christmas Eve, for instance, has an ambitus of only a perfect fifth, a rather extreme example. Alleluias were frequently troped, both with added music and text. It is believed ...
Werner writes that "unique in the history of music is the firm belief in the purifying and sin-atoning power of the Temple's music, ascribed to both chant and instruments." [9] The music had to be free from blemish or fault, and avoided magical elements. Even the High Priest's garment had symbolism: (Exod. 28:34–35): "a golden bell and a ...