Emma Oh My God Hymn Mp3 Download
Mazie Machain
Featuring instrumental arrangements by Mark Geslison and Geoff Groberg along with 6 other guest musicians, this award winning CD is a selection of sacred hymns from the original 1835 edition of the LDS Hymnbook that Emma Smith compiled herself.
In 1835 Emma Smith, wife of the prophet Joseph Smith, was given the assignment to compile a collection of hymns. She relied on common hymns and standard melodies as they were known among the Christian congregations of Ohio and New England at that time. She included hymns that would have been popular among early Latter-Day Saints, hymns that reflected their feelings and beliefs.
Many people today may not realize that 19th century hymnals contained text, but did not contain musical notation. This is the case with the 1835 edition of the LDS hymn book. When people sang hymns they referred to the hymnal for the text, but the tune, or melody, was typically interchangeable and flexible from hymn to hymn.
Between 1835 and 1985 the LDS hymnal went through several changes resulting in new editions that began to include musical notation for most, and eventually all of the hymns. Over the years many of the 1835 melodies were replaced with new or different tunes. By 1948 most of the original melodies were lost or forgotten.
A Collection of Sacred Hymns for the Church of the Latter Day Saints was published in 1835. These hymns had a great influence on the Saints during the early days of the Church. Some of them are still included in the current hymnbook that was published 150 years later in 1985.
Many of the Saints were converts who had sung hymns before. However, the hymns Emma selected were particularly special. The hymnbook she created included familiar favorites from other denominations and hymns newly written specifically for the Latter-day Saints.
That is a great question! Those refer to the meter used in the hymn text. LM is long meter, CM is common meter, and so forth.
Here is a link to LDS.org that lists all the meters used in the hymnbook. If you look in the back of an LDS hymnbook, there is a whole section talking about meter as well.
Hope this helps!
-tune-meter?lang=eng&_r=1
Hymn #16 was a hymn about Cumorah and glad tidings. The hymnbook was published in 1835. The authors of Saints Vol 1 (1815-1846) knew the truth, but deliberately censored Cumorah in Saints Vol 1. Here is the 1st of 3 verses.
The call for hymns for an upcoming Latter-day Saint hymnal was simple, yet direct. And a woman named Hannah E. Adams sent in her submission of four sets of lyrics with the hope they could be useful for the new hymnal.
The next hymnbook Emma Smith compiled was published in 1841. And due to slow communication with the missionaries in England, Brigham Young had published a hymnbook in 1840 in England. Many of the British Saints brought that Manchester hymnal with them as they immigrated.
Hymns are sung at temple dedications. Joseph Smith requested a song in Carthage Jail. There are also many stories of the pioneers singing hymns around campfires, Jensen said. Eliza R. Snow, who wrote poetry and hymns, would write songs on pieces of paper and share them as the pioneers went west.
"Jesus of Nazareth Passeth By" was inspired by an 1864 religious revival in Newark held by the Rev. Edward Payson Hammond, specifically a sermon mentioning Luke 18:37 and the story of Jesus healing the blind Bartimaeus. Campbell's hymn was first published using the Greek letter Eta as a pseudonym, which has led to Campbell being misidentified as Eta or Etta Campbell. The hymn was anthologized numerous times and was frequently performed by the gospel singer Ira D. Sankey.[1][3]
It is an essential reference resource for scholars of global hymnody, with information on the hymns of many countries and languages, and a strong emphasis on the historical as well as the contemporary. It will be of interest to literary scholars, musicians, church historians, and theologians, and a delight for those who love the hymn as an art form.
At the age of twenty-nine she was married to Robert C. L. Bevan, of the noted Lombard Street banking firm, who was well-known for his benevolence and untiring devotion to the Lord's work. Years after, when writing the biography of her husband, Mrs. Bevan tells the story of how she came to the house of Mr. Bevan to his Bible readings, which were to be the means of leading her into "newness of life." Then Mrs. Bevan reveals to the reader: "As time passed on, I was no more a visitor, but at home in his house." In the "Believers Hymn Book" the familiar martial air assigned to "Midst the darkness, storm and sorrow" rather detracts from the spirit of the hymn. A more appropriate melody, and one which exactly suits the theme of the song, is the tune set to the hymn in Sankey's hymn book, "Precious thought my Father knoweth." Mrs. Bevan wrote this hymn whilst residing at Princes Gate, London. Much doubt has from time to time arisen as to the authorship of the hymns of this gifted writer because of the fact that when sending each composition forth, instead of placing her own name or initials to it, Mrs. Bevan invariably used the initials of the name of the house where the hymn was written. This has occasioned much perplexity to hymnal editors, as nearly a score of her compositions have different initials affixed to them. For instance, the hymn just referred to bore the initials P. G. ("Princes Gate.").
Frances Bevan wrote a considerable number of original hymns and has published several volumes of poems, but her name, in the realm of hymnody, is best remembered by her excellent translations from the German. Notably amongst these is the well known Gospel hymn from Neumeister (1671-1756).
And now to the patient reader who has accompanied me along the pleasant bypaths of hymnody, one word more. It may have been observed that our particular sphere has in a measure been somewhat limited, inasmuch as only the hymns of our assemblies have engaged our particular attention. The mention of these, with their many associations, may have awakened cherished memories, as well as having afforded some pleasurable hours to the spiritual uplifting and edification of those who have accompanied me in our wanderings. It is my sincere hope that the reader may be better able to appreciate the hymns we sing, when we know their story. During our sojourn I have made many friends. We have wandered together through the fragrant meadows of song, our melodious hearts singing in unison the praises of Him, the source of all our song. Thus shall we sing "till some sweet day," when, responsive to the summons of our Lord and Saviour, we shall rise to join the everlasting song in the heavenly courts above. Then:
Joseph asked Emma to collect hymns to be used at worship services almost immediately after the organization of the church. Emma spent the next five years compiling what would become a collection of ninety hymns. She was careful in her selection and took time to pick and organize the best.
William W. Phelps helped her as he wrote some new poems to be used, adapted other text, making them doctrinally correct, and prepared the book for publication. Thirty-nine of the hymns were written by LDS poets.
The hymnbook was finally published in 1836, measuring approximately 3 x 4 inches. Only the text was published. Tunes were borrowed from other churches, as well as folk tunes, well known during the time period. These tunes could be selected at random by the person leading the congregation.
Today, our hymnbooks have the text and music together and we typically only sing one tune with each text. Back in the days of the early church, various tunes could be sung to the same text. Each tune had its own name and was easily identified.
In the back of our hymnbook, you will see a section on Meters. This is where you can play around with some of the tune options. For example, it could be interesting to sing Away in a Manger to the tune of More Holiness Give Me, or The Spirit of God to the tune of Now Let Us Rejoice, or visa versa. I have found by doing this, different words will be emphasized and a new meaning will emerge in the singing of these hymns.
The hymnbook is mainly for the use of the congregation. The music is simple with typically four-part harmony. However, this form of composition is more complicated than in earlier days where everyone sang the same tune, with possibly a simple harmony added by musical people. Choir numbers have been added to past hymnbooks, where the music was much more elaborate than typical congregational singing.
Today, we have been asked to sing congregational and choir hymns straight from the hymnbook. These hymns can be beautifully sung, and simply rendered, as they are. But within the pages of the hymnbook, the variety is endless as we can mix various text with various tunes, change tempos, etc. Nowadays, many hymns are not sung because they are new, or forgotten. We sometimes rely on the more familiar hymns singing one or two verses and ignoring the additional verses added at the bottom of the page. There is much variety of beauty and gospel learning that is available in our hymnbooks, if we but study and experiment a little more with what we have.
Having just written up a very long comparison of the three adaptations, including a section treating the song choices, I find it notable that the songs chosen for Emma to sing are extremely indicative of the productions' respective attitudes toward their heroines.
"Silent Worship" is a lovely song, and sung very well by Paltrow and McGregor; however, given that we are told that Emma is not personally vain (although this seems to be eblied bu Paltrow's costuming and hairstyles), we cannot believe that Emma would, in company, choose to deliver herself of a hymn of self-praise.
"Father, Father, Build Me a Boat" is illustrative of Mr. Woodhouse's failure to cooperate in his daughter's maturing into her own adult life - the singer desires to search for her departed love, but must seek her father's assistance in the endeavor. The reference to Ireland, too, allows a meaning glance between Frank and Jane, which is a nice touch.
"Blue Bells of Scotland" is delightful, and emphasizes Emma's devotion to home - she longs for her love's return, but will remain at home, and wait for him.
All three are so telling, and the latter two are wonderful dramatic choices, but McGrath's fawning over Paltrow is too much, throughout the film, and has a contrary effect on me. I dislike Paltrow's supercilious, condescending Emma, and the film as a whole.
Love the other two, though the Beckinsale/Davies/Lawrence version is the most strictly faithful to the novel.