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The hymn proved popular: in 1907, John Julian, in his Dictionary of Hymnology, stated it was the most popular Palm Sunday hymn in the English language at that time. [3] The hymn is viewed to be full of dramatic irony. [5] The third line of the first verse "Thine humble beast pursues his road" has been disliked by some hymn book editors.
"All Glory, Laud and Honour" is an English translation by the Anglican clergyman John Mason Neale of the Latin hymn "Gloria, laus et honor", which was written by Theodulf of Orléans in 820. [1] It is a Palm Sunday hymn, based on Matthew 21:1–11 and the occasion of Christ's triumphal entry into Jerusalem. [2]
The New Century Hymnal is a comprehensive hymnal and worship book published in 1995 for the United Church of Christ.The hymnal contains a wide-variety of traditional Christian hymns and worship songs, many contemporary hymns and songs, and a substantial selection of "world music" selections (hymns and worship songs from non-European-American) origin, a full lectionary-based Psalter, service ...
A Church hymnal: compiled from "Additional hymns," "Hymns ancient and modern," and "Hymns for church and home," as authorized by the House of Bishops (1870) [58] The Parish hymnal: for "The service of song in the House of the Lord" (1870) [59] The Sunday School Hymnal (1871) [60]
Inspired by a French Christmas carol of the mid 1800s and set to the tune of the ancient hymn “Gloria,” this song is a glorious musical celebration of the birth of Christ.
Gloria, Laus et Honor is a Christian hymn composed and written by Theodulf of Orléans between 810 and 817, and sung as a processional for Palm Sunday, based on the story of Jesus's arrival in Jerusalem before his passion and death. It was most likely composed by Theodulph of Orléans in the early ninth century. [1]
The hymn was later altered and renamed "Good Christians All, Rejoice and Sing" to avoid confusion with the earlier Christmas carol, "Good Christians All, Rejoice". [2] The words "Good Christian Men" were later changed to "Good Christians all" as a result of ecumenism which started a trend of altering older hymns to use inclusive language. [ 3 ]
He also said praise bands had a hard time finding good music, but played the contemporary music because the church wanted it, with the only criteria being how contemporary the music sounded. Gordon also said churches were adding hymns to contemporary services, but that in the past the main concern had never been how new the music sounded. [23]