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AN HISTORICAL STUDY OF THE CAROL "IN DULCI JUBILO"
THESIS
Presented to the Graduate Council of the North
Texas State Teachers College in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF ARTS
By
'3jy17Mabel Parker, B. A.
Denison, Texas
August, 1945
i tv; " - - ,'POW WW
'4 i
TABLE OF CONTETiS
LISTP OF
ChapterI.
IV.
V.9
vI.9
VII.
VIII.
IX.
X.
iUUVLOAL EXAPLE6 . . . . . . . . . . . .
INTBODUCTION . . . . . * . * * * . * *
BIBLE. HYMNS, UEBR1h AND CHRISTIAN . .
TVE BEGINNING 9o CHYIISTIAN CAlT . . . .
LATIL HYkrb . . . . . . . . . . * .
PRt-REFOR\TION tYNNS . . * * * . . . .*.o
THL CHO L . . . . . . . . . . . . . .
THE CAROL: ASSOCIATE IONS AND XAILPIES .
"Il DULCI JULILO", ITS ORIGIN ANDHISTORIC REFERENCES . . . . . . .
)USIC SETTINGS . . . . . . . . . . . . ..
SUMMARY AND CONCLUSION . . . . . . . * . .
APPENDIX . . . . . . . . . . 9 . 9 0 . . . . . . . .
BIBLIOGRAP pT ( * * * 9 9 9 S 9 9 9 9 . 9 9 9 . 9 0 9
Pageiv
1
4
11
20
30
36
41
53
58
74
76111
iii
LIST OF MUSICAL EXAMPLES
Zxaraple
1. Prose de l'Ane . . * . . . .- .-
2. Lullaby . . . . . . . . . . . - - -
3. Susani, Susani .* . . . . . . . .
4. Resonet in Laudibus . . . . . . .
Es ist eMn Ros' entsprungen . . . .
6. Original version oi- "In dulci jubilo".
7. Version II of "In dulci jubilo". . .
8. Cadeutial M1easure . . . . . . . . .
iv
Page
- 43
* 43
* 44
* 47
. 49
. 5'8
. 60
* 71
Sacred song: Its final cause is none other than
this, that it ministers solely to the honor of God and
refreshment of the spirit; whereof, if one take not
heed, it is no proper music, but devilish din and
discord.- Johann Sebastian Bach
CHAPTER I
INTRODUCTION
A study of the carol form immediately leads into the
field of the hymn; each is a form of praise or worship.
The hymn is as instinctive as life itself, and as uni-
versal as the air man breathes. Hymns to the sun god, to
the many Babylonian deities, to the Great Spirit of the
American Indian - these are found, along with others in
all ancient literature.
The word "carol" once meant to dance in a ring; its
derivation has been traced through the old French "caroler"
and the Latin "choraula" to the Greek "choraules" which
meant a flute player for chorus dancing; then ultimately
to "choros" which was a circling dance and the origin of
the Attic drama. Whether this be its true derivation or
not, the term is difficult to define satisfactorily; but
the carol does have certain qualities that set it apart.
John Julian, the distinguished lexicographer, estimates
Oxford Book of Carols, Preface, p. v.
I
2
these characteristics as a simplicity of text, a rhythmic
brightness of melody, and a subjective praise of God. He
says, "It seems not too much to assert that from the
very beginning the Christian Church used sacred lyrics,
which, whether we range them under the head of Psalms,
hymns, spiritual songs, odes, canticles, or simply songs,
had among them some at least, if not many, having the2
special characteristics of the carol."
Whether the song be hymn or carol, its music is in-
dependent of any creed or sect; no one church can claim
it for it belongs to all. No historical study of religion
can ignore the place of music; next only to the Bible must
come the Christian hymn as a medium of Christian culture.
It rouses, teaches, comforts, guides; its rhymed form is
a memory aid, making it more readily available to the in-
dividual who turns to it for the nurture of his inner life.
Because the carol is a particular type of hymn, this
study begins with the story of hymn development, tracing it
from Bible hymns as early as 1220 B.C. through apostolic
days, early centuries of church history, and on through the
chorale of the sixteenth century. A chapter is given to
2John Julian, ictionar f HyMnol p. 20.
Awl
3
general history of the carol form, then the particular
carol of the study is discussed, textually and musically.
Musical examples are given in an appendix. The data
have been collected through intensive research in church
and music history and music literature.
CHAPTER II
BIBLE HYMNS, HEBREW AND CHRISTIAN
In its unique continuity, Jewish history givesthe best picture of typical evolution in the fieldof music. The times of the patriarchs and the judgesrepresent a primitive stage in which emotion and freeeffusion shaped the patterns of melody and rhythm.Everyone in Israel sang, and playing the lyre and thetimbrel was a common achievement, at least among women.When the children of Israel had walked upon dry landin the midst of the sea and were saved out of the handof the Egyptians, (1220 B.C.)Moses himself struck upthe holy tune to glorify the Lord, and all men joinedthe leader's voice, while the women, led by jiriam,the sister of Moses, responded antiphonally.
The song began:
"Sing unto the Lord, for He hath triumphed gloriously,
The horse and his rider hath He cast into the sea." 2
This same Joses is credited as the author of the hymn
which is continually being sung before the throne of God
in heaven.
Great and marvellous are Thy ways, Lord God Almighty;Just and true are Thy ways, Thou King of saints'Who shall not fear Thee, 0 Lord, and glorify Thy Name?for Thou only art holy; for all nations shall come andworship before Thee: for Thy judgments are mademanifest.
Another song, quoted in entirety, celebrated a victory
over an enemy (1150 B. C.). It was sung by Barak and
Curt Sachs, The Rise of Music in the Ancient World,p.59.2 3Exodus, 15:1-21 Revelation, 15:3-4.
4
Deborah, the triumphant leaders of the Hebrew tribes. The
opening lines are:
Praise ye the Lord for the avenging of Israel when thepeople willingly offered themselves. Hear, 0 Ye Kings:give ear, 0 ye princes:4 I, even I will sing praise tothe Lord God of Israel.
Saul and Davisd, (1025 B.C.) returning from the victoriousbattle against the Philistines, were welcomed by womensinging, playing, and dancing.5 Music exulted andwailed; it was both whipped up and soothing; it causedecstasy to take possession of the seers, and it drovethe demons from Saul's soul when David, the shepherdboy, played for him. 6
Then this shepherd David became king, a new era of
appreciation for music was ushered in. Professional
musicians of both sexes were supported by the court. The
Temple worship used great bodies of singers and instrument
players. First Clironicles2:7 . gives the number 288.
When King Solomon consecrated the temple (950 .C.) a
definite approval of the musical service was given by God.
Also the Levites which were the singers, all ofthem of Asaph, of Heman, of Jeduthun, with their sonsand their brethren, being arrayed in white linen, havingcymbals and psalteries and harps, stood at the east endof the altar, and with them an hundred and twenty priestssounding with trumpets: it came even to pass, as thetrumpeters, and singers were as one, to make one soundto be heard in praising and thanking the Lord; and whenthey lifted up their voice with the trumpets and cymbals
Judges,5:1,31. 5Sachs, 2R. &fl., p. 59.
6I Chronicles 16:25.
6
aad instruments of musick, and praised the Lord,saying, For he is good; for his mercy endurethforever: that then the house was filled with acloud, even the house of the Lord; so that thepriests could not stand to minister by reasonof the cloud: for the glo y of the Lord hadfilled the house of God.
As a writer and collector of hymns David stands with-
out equal. His anthology, the book of Psalms in the Bible,
was for centuries. considered the only songs worthy to be
used in divine worship. Even today there are sects which8
confine their hymns to the psalms of David.
The powerful influence of song was known by King Je-
hoshaphat (875 B.C.) who appointed a singing regiment to
accompany his army into battle. Their definite assignment
was "to praise the beauty of holiness as they went out be-
fore the army, and to say, Praise the Lord; for his mercy9
endureth for ever."
The fame of the singing Hebrews spread into Other
countries, themselves less musical. A vivid picture of a
garden party and a group of captive Hebrew musicians, utter-
ly homesick, is given in one of the Psalms. The writer sad-
ly asks "How shall we sing the Lord's song in a strange
land?"1 0
II Chronicles 5:12-14,
8 For example: Associate Reformed Presbyterian Church.
9 :2lIT.Chr onicle s 20:21 b. Psalm 137.
7
"Holy, Holy, Holy, Lord God of hosts,
The whole earth is full of His glory."
These reverent and adoring words which form a part of
the text of the Sanctus were first recorded by Isaiah
(750 B.C.) in the account of his vision of the throne of
God. They are repeated by John in a similar vision
hundreds of years later. (96 A.D.)12
The Sanctus was used in the second c entury Christian
liturgies; 3 it is today a part of worship, not only in
churches with a formal liturgy, but also in other groups,
less formal.
To the cultured Greek writer, Luke, (55 A.D.) author
of the third Gospel, we owe the inclusion of several hymns
of eternal beauty and value:
My soul doth magnify the Lord1 Anr my spirit hath re-joiced in God my Saviour. For he hath regarded the lowestate of his handmaiden: for behold, from henceforthall generations shall call me blessed. For he that ismighty hath done to me great things; and holy is hisname. 14
These words were sung by Mary after the Annunciation,
voicing her spirit of joyful surrender to the will of the
"Lost High " ;they have been preserved to us as the MLg-
nificat;
1 2 Revelation 4:3.
13Hugo Leichtentritt, Music, Histgy, and Ideas, p.37.
14 Luke 1:46-49.
8
Now letUtest Thou Thy servant depart in peace, accordingto thy word: for mine eyes have seen thy salvationwhich thou hast prepared before the face of all people;a light to lighten the Gentiles and the glory of thypeople Israel. 15'.
This hymn of old age was sung by the aged prophet Simeon,
vho had been perraitted to hold the infant Saviour in his ars;
it is called tne Iunc Dimittis.
Ls to carols, the very first Christmas 'carol was given
to the world in the Angel's Song at Bethlehem, and is known
as the Gloria -in Excelis. pith a vain wish for the accompany-
ing melody, we give thanks for the words which have been in-
corpor'ed into countless oratorios, anthems, hymns, and
carols.
"Glory to God in the highest, and on earth peace16
good ill to men."
Only one occasion is mentioned in vhich Jesus sang with
his disciples. This was on the night before his death. after
Ie hlad talked a long time to them, trylnc to prepare their
minds for what was iramediately ahead, we are told "ttey
sang an hymn and went out."
After His resurrection, the groups of believers Leeting
together were filled with a radiant new joy that coUpelled
expression in song. These believers demanded hymns written
1% 16Luke 2:23-32. Luke 2:14.
17ark 14:26.
9
more directly and specifically about the Saviour than
those psalms of David which had been sufficient for the
temple service.
In his letter to the Ephesians, St. Paul speaks of
religious songs under three distinct terms: psalms,181
hymns, and spiritual songs. The first two are mentioned
elsewhere in the Scriptures; the expression spiritual song
is new. It is possible that this terra is used to name a
new type of song, written especially for Christian worship.
If so, this vould be the beginning of a Christian hymnody.
In one of Paul's churches there were singers whose
words were unintelligible. Paul wrote, rebuking them, and
emphasizing the importance of the words to be sung. He said,
So likewise ye, except ye utter by the tongue wordseasy to be understood, how shall it be known what isspoken? for ye shall speak in the air. There are itmay be, so many kinds of voices in the world, and noneof them is without signification. Therefore if I knownot the meaning of the voice, I shall be unto him thatspeaketh a barbarian and he that speaketh shall be abarbarian unto rme. Etven so ye, forasmuch as ye are zeal-ous of spiritual gifts, seek that ye may excel to the edi-fying of the church. Wherefore let him that speaketh inan unknown tongue pray that he may interpret. For if I prayin an unknown tongue, my spirit prayeth, but my under-standing is unfruitful. uhat is it then? I will pray withthe spirit, and I will pray with the understanding also:I will sing with th spirit, and I will sing vith theunderstanding also.'9
13 19t~Iesas41.ICo3tias 1:-~Ephe sla ns 5019.0 I Corinthians, 14**9-15.
10
Scattered through the New Testament writings there
are several groups of sentences in rhythmic form which
may be fragments of early hymns.
Nianifest in the flesh,Justified in the Spirit,Seen of angelsPreached unto the Gentiles,Believed on in the worlddeceived up into glory.26
Awake, thou that sleepest,And arise from the dead,And Christ shall give thee light. 2 1
Great and marvelous are Thy works,0 Lord God, the Almighty!Righteous and true are Thy ways,Thou King of the ages.Who shall not fear, 0 LordAnd glorify Thy name?Por Thou only art holy;For all the nations shall comeAnd worship before Thee;For Thy righteous actsHave been made manifest."
20 21I Timothy, 3:16 Ephesians 5:14.
22Revelation 15:3-4.
CHAPTER III
THE BLGINNINGS OF CHRISTIAN SACRED CHANT
The first centuries of Christian history saw a remark-
able spread from the small beginning at Jerusalem. Church
authority had not yet centered itself and the eager mis-
sionaries pressed out from many established congregations.
The movement toward Syria and the Near East was particularly
strong and Christianity there became a flourishing religion.
Armenia, Greece, and Syria - each with its own language -
contributed poetry and music to the growing library of1
liturgical chant.
Contemporary comment on music in the Grecian world is
given in the writings of the philosophers. Plotinos, a
neo-Platonist thinker of the third century, believed that
music had a magical power, and, according to its nature,
might lead one toward either good or evil. Philo of
Alexandria combined the Bible with Plato to form his
philosophy. His writings contain many references to music.
In a work titled On the Contemplative Life he tells of an
ascetic Christian sect, the Therapeutae, whose musical
activities included antiphonal singing.
Gustave Reese, Music in the Middle jgjs, p. %7.
11
12
They all stand up together, and... two choruses
are formed..., the one of men and the other of women,and for each chorus there is a leader... selected who
is the most honorable and most excellent of the band.Then they sing hymns which have been composed inhonor of God in many metres and tunes, at one time all
singing together, and at another, answering one anotherin a skilful manner...The chorus of male and femaleworshippers, throughout the singing and the alternationof the melodies, makes...a truly musical symphony, theshrill voices of tse women mingling with the deep-tonedvoices of the men.
The history of the primitive Christian Chant has been
divided into three periods, the first of which covered the
first two centuries. Music was used as a proselyting agent
during this time. The second period embodied the third
century and was a time of real growth. The new converts to
the Christian faith were residents of highly civilized cities,
and were often educated and trained in the arts and sciences.
The Church was alert in utilizing these elements of culture,
particularly in the field of music, but the strong influence
of Judaism with its "Thou shalt make unto thee no graven
image" still shut out the sculptor. The church leaders
carefully watched for musical manifestations that might
carry undesirable associations from the pagan world. Some-
what overlapping this period, the third began in the year 313
when Constantine the Great issued the edict of Milan, assur-
ing a tolerance toward Christianity throughout the empire,
2Reese, 9M. cit., p. 60.
3Exodus 20: 4a.
0 44 W-40M OWV, D*40WA mmw#xw M PAW010 m
13
and paving the way for its ultimate adoption as the of-
ficial religion of the Roman Empire. Now the adherents to
the new faith might come out of the catacombs; their de-
votion might express itself in beautiful architecture, and4
suitable music might be provided.
Training for vocal execution was of three general kinds
first, cantillation, in which portions of the Gospels were
solemnly intoned to certain melodic formulas; psalm and hymn-
singing which ranged from cantillation to full-grown song;
and third, the joyous chanting of the single word "alleluia"
to florid melismas.
A particular reverence has always been attached to the
writings of the Church Fathers. Their nearness to the be-
ginnings of Christianity has lent a sanctity to their words,
making them almost scriptural in significance. We have
writings in all three periods from these men, and we find
frequent references to the practice of music. There is no
technical analysis to aid the theorist, but there is in-
teresting comment on the ecclesiastical attitude toward
music and the manner in which it was utilized by the early
Christians.
4Reese, 2p. cit., p. 61.
Ibid., p. 62.
14
Tertullian (155-222) describes an ideal Christian
home thus: "Between the two (husband and wife) echo psalms
and hymns; and they mutually challenge each other which6
shall better chant to their Lord." Eusebios (260-340),
aUthor of the Ecclesiastical History, disapproved of the
use of instruments in divine worship. He said, "We sing1
God's praise with living psaltery....Far more pleasant and
dear to God than any instrument is the harmony of the whole
Christian people...We sing the psalms in melodious tones."7
St. Basil (330-379), author of the liturgy known by his
name and still used in the Eastern Church, declared that the
psalms had been provided with melodies to attract children
and youths to the end that their souls and minds might be en-
lightened while, as they thought, they were merely enjoying8
the music.
St. Jerome (340-420), author of the VAlgate, the standard
Latin translation of the Bible, acted as adviser to Pope
Damasus, whose interest raised the Roman liturgy to a higher
level. St. Jerome, like Eusebios, opposed the use of in-
struments, but favored more elaborate vocal music. His in-
fluence brought about the addition of the Alleluia to the
Roman mass. At the end of the Alleluia there is a long and
6 7.Ibid., p. 62. Ibid., p. 62.
8_ia., p. 63.
florid vocal flourish which is called the jubilus. Concern-
ing this, he wrote: "By the term 'jubilus' we understand
that which neither in words nor syllables nor letters nor
speech is it possible to express or comprehend how much man
f 9ought to praise God.
St. Augustine (354-430), author of The Confessions and
De Civitate Di, introduced into the African Church the prac-
tice of singing psalms as the'gifts were offered. This
brought about the inclusion of the Offertory in the Mass.
He described the "jubilus" thus: "It is a certain sound of
joy...A man rejoicing in his own exultation, after certain
words which cannot be...understood, bursteth forth into
sounds of exultation without words, so that it seemeth that
he...filled with excessive joy cannot express in words the10
subject of that joy."
In his Confessions, St.Augustine writes of the power-
ful effect music had on him: "How greatly did I weep in Thy
hymns and canticles, deeply moved by the voices of Thy sweet-
speaking church! The voices flowed into mine ears, and the
truth was poured forth into my heart, whence the agitation of
my piety overflowed, and my tears ran over, and blessed was I11
therein."-
St. Silvia (or Etheria) of .quitaine made a pilgrimage
9 10 11Ibjid. Ibid, p. 64. Ibid., p. 64.
r 4b
to the Holy Land about the year 385. Her diary describes
the chanting at the Church of the Holy Sepulchre, built at
Jerusalem by Constantine. She tells of hearing psalms,
hymns, antiphons, and responsories; she also mentions the12
presence of boy choristers.
St. John Chrysostom (345-407), the most famous of the
Greek Fathers and bishop of Constantinople, explained why
psalms are sung rather than recited: "When God saw that
many men were lazy, andgave themselves only with difficulty to
spiritual reading, He wished to make it easy for them, and
added the melody to the Prophet's words, that all beings, re-
joiced by the charm of the music, should sing hymns to Him13
with gladness."
Syrian Chant
From the earliest apostolic days Syria was a center of
intense Christian activity. It had been the church at An-
tioch, Syria, which first felt missionary zeal and sent out
Paul and Barnabas on a preaching tour. Syria was near to
Palestine with its holy associations, while its commercial
interests were strong and far-reaching in the Roman Empire.
It was thus a natural and ideal center for the development
of the basic elements characteristic of Christian chant, and
for the spread abroad of the new ideas.
12pi p. 65 13
17
In the fourth century antiphony is said to have been
introduced into the orthodox practice of Antioch, Syria.14
An effort to make the service more attractive and to in-
clude more of the people in active participation assigned
the chanting of the psalm-verses to the congregation. Two
semi-choruses were formed, one of men, the other of women
and children; these groups alternated in the psalm-verses
and combined in an alleluia or sometimes a new refrain. The
practice of intercalating a passage of song between psalm-
verses was adopted; the passage was called an"enyand', and was15
later taken over by the Western Church.
The Syrian preference for an organized rhythmical
structure led to important results. They favored a line in
which a tonically accented syllable alternated with one or
two unaccented; lines were made to correspond by an equality
in the number of accents. This accentual concept of verbal
rhythm was eventually transformed to hymns in the Latin
language as well, replacing there the quantitative "long
versus short" principles of classical prosody.
If a poem of several stanzas was sung to a particular
strophe, adjustments were often necessary in the melody.
Light beats might be added or suppressed, but the accented
beats remained constant. Up to this time the word "hymn"
14 15Ibid., p. 68. Ibid.
I
18
had been used in a general sense for spiritual songs; now
it began to mean "versified poetry intended to be sung in16
praise of Christian truths or events."
Byzantine Chant
The founding of Constantinople by Constantine the Great
in A. D. 328 provided a great center for the mingling of
cultural forces. Hellenic and Oriental influences merged
here. So we find in the hymns of the Byzantine Church a
distinctive contribution to music and poetry. As in Syria,
intercalations between verses were adopted. The psalm-
verse was called a "stichos" and the intercalation a17
"troparion."
Among the early Greek hymn-texts is the famous Pho
hilaron ("0 Gladsome Light" in Longfellow's translation)
which is still sung as a Vesper Hymn in the Eastern Church.
An interesting legend is told concerning the hymn
writer, Romanos, a converted Jew, who lived in the, latter
half of the fifth century. He was called by his contempo-
raries "Ielodos" (maker of songs). According to this
legend, the Virgin appeared to Romanos and ordered him to
eat a scroll. He did so, and found himself able to write a
new form of hymn called "kontakion".
The 'kontakia", based on passages from the Bible and
16 17
i
.I lbid., p.69 Ibid.,I Po 78.
19
and performed at holiday seasons, were really poetic
sermons, and sometimes included dramatic effects.
Until the ninth century, the poet and the musician,
in Byzantine hymnology, were one; after the functions were
divided, the poet was called a "hymnographer." Accompanying
a hymn-text, there often appeared the direction: "To be18
sung to the melody of ."f
18_Ij, p. 82.
CHAPTER IV
LATIN HYMNS
Oriental hymns were introduced in western Europe by
Bishop Poitiers in the early part of the fourth century.
About a generation later, Ambrose, Bishop of Milan, a man
of vision and consecration, recognized the value of hymn
singing by the congregation and began to write hymn texts
of his own. These were not Scripture fragments, but new
poetry, Latin verse, employing the accentual treatment of
accent derived from Syria.
Compared with the irregularity of psalmody, the new
poetry had a pleasing symmetry. Ambrose borrowed from the
Greeks the use of the ancient modes, fitting to a plain,
easily remembered tune, regular stanzas of four lines each.
It has been said that the Ambrosian hymn was the model for2
the Protestant chorale, evolved a thousand years later.
St. Augustine's book De Musica mentions four hymns
written by Ambrose: "Deus Creator Omnium," "Iam Surgit
Hora Tertia," "Aeterna Rerum Conditor," and "Veni Redemp-
tor Gentium." Quotations are made from three of these:
Leichententritt, _ it. .fl., p. 29.2 32bit7., p. 31. 3Ibid., p.29.
20
21
Deus, creator omniumPolique rector, vestiensDiem decoro lumine,Noctem soporis gratia,
Artus solutos ut quiesiieddat laboris usual,Mentesque fessas allevetLuctusque solvat anxios.
Aeterne rerum conditor,Noctem diemque qui regis,Et temporum das tempora,Ut alleyes fastidium;
Praeco diei iam sonat,Noctis profundae pervigil,Nocturna lux viantibus, 5A nocte noctem segregans.
Veni, redemptor gentium,Ostende partum virginis,Miretur omne saeculum:Talis decet partus Deum.
Non ex virili semineSed mystico spiramine, 6Verbum Dei factum est caro,Fructusque ventris floruit.
It seems strange, considering the popularity of thesehymns, that Rome should have barred them from use in thedivine service until the twelfth century. The reason lay inan ancient rule of the Church that only the words of the
Bible should be used in the church service; it is interesting
9. F. A. March, editor, Latin lyxn, With English Notes,
6octi., p. 8 Ibid., p.*263.
22
to observe this same intolerant attitude in the Protestant
churches of France and Switzerland a thousand years later.7
By the time of the seventh century the Church had be-
come a commanding power in religion and in politics.
Gregory I, who was the first pope to establish a leadership,
politically, was particularly zealous for the advancement of8music. Many of the traditions about him cannot be substan-
tiated, but it is clear that his standing was not questioned9during the Middle Ages. Gregorian chant, the basis of
Catholic Church music ever since, is forever linked to his
name. Writers of that period credit Gregory with the com-
piling of a great book, the Antiphonary. It contained his
notation system and a collection of choice hymns adapted to
the principal seasons of the Church. This book was kept
chained to the altar in St. Peter's Cathedral in2cnn=e that10it might be always available for reference. Gregory was
the author of the following hymn:
Veni, creator Spiritus,bLentes tuorum visita,Imple superna gratiaquae tu creasti pectora
7 3Ibid., notes, p. 263. Ibid., p. 31.
9Reese, p.. .cit.., p. 121.
10Edward S. Ninde, Jjneteen Centuries of hristin
.ong, p. 43.
I 1 10 -, --- '' -
23
Accende lumen sensibus,Infunde amorem cordibusInfirma nostri corporis 11Virtue firmans perpetim.
The Schola Cantorum was either founded or reorganized by
Gregory, according to these same medieval writers.12 This
training school for singers provided skilled musicians for
the established centers of worship and for the new fields
which were being continually opened by missionaries of the
Church. It insured a faithful adherence to the Gregorian
chant authorized by the Church.
The student of today can scarcely realize the important
place which Gregorian chants played in medieval life. For
example, the chant which was proper for a particular day would
be named in current records for the purpose of dating an event.
All state ceremonies and important celebrations were accom-
panied by the solemn chant.13
Gradually the worship service of the Church was altered,
and the celebration of the mass became the center of the
liturgy. This celebration is not primarily a musical form,
but a liturgical complex, with an appeal to other senses as
11March, _2. jt., p. 77.
12Reese, .op... ciI p. 121.
13Cecil Gray, The History of iisic, p. 23.
24
well as to the religious emotions and the ear.14 The music
of the mass conforms to a careful pattern; it is purely
vocal and normally consists of ten pieces: first the In-
troit, liturgical choir-singing accompanying the entrance
of the priests; second, the Kyrie eleison, sung by the
people, a confession of sins and a prayer for pardon; third,
the Gloria in excelsis, sung by the priest, continued by the
choir; fourth, the Gradual, sung by the cantor and the ..coLa,
followed by the joyous Alleluia;fifth, the Credo, sung after
a reading from the Bible and the sermon;_ sixth, the Offer-
tory, which accompanies and follows the benediction of bread
and wine; seventh, the Sanctus, following a prayer of thanks;
eighth, silent prayers, the procession, the Pater Noster, the
breaking of the Host, then the Agnus Dei; ninth, the Holy
Sacrament and the chanting of the Communion; tenth, final
prayers, benediction, and the dismissal of the people.
The Introit, the Offertory, and the Communion are to be
sung by a double chorus, antiphonally; the Gradual and the
Alleluia are sung by a soloist with responses from the people
or from the trained choir (schola). Originally the Kyrie,
the Gloria, the Credo, the Sanctus, and the Agnus Dei were
less important and were sung by the congregation. But the
14Leichententritt, gpp. cit., p. 35.
15Ibid., P. 36.
rA - -, ,, -,,, -11,11- 1 --- - - -, , - -1, .
25
trained singers became more and more dominant in the
service until they finally took over these forms also. The
form of the mass today in text and liturgical order is, in16the main, as it has been since the eleventh century.
The Kyrie, one of the oldest liturgical forms, is of
Greek origin, and is in Greek; all the other parts of the
mass have Latin words. The Sanctus also is one of the oldest
sections of the mass, since it was used as early as the
second century; it was taken over from the Jewish service.
17The Hebrew word "Sabaoth" remains in the Latin text.
A discussion of Latin hymns would be incomplete without
mention of a few other famous songs and their writers.
Paulus Diaconus in the eighth century wrote a hymn which was
used by the theorist Guido of Arezzo as a basis for his
musical scale. He used the first syllable in each verse to
name the notes of his scale:
Qt queant laxisResonare fibrisMira gestorumFamuli tuorum,Solve pollutiabii reatumSancte Iohannes!
Ut was later changed to Do, and Si was added for the seventhtone; it was probably taken from the first letters of the
words Sancte lohannes.18
16 !h., p. 37. 1 7Ibid.18March, P.c.n
sp2Marh, p.. .. :.t.., notes, p. 263.
26
Bernard, abbot of Clairvaux, in the twelfth century
wrote many hymns, but the following one has been called
"the sweetest and most evangelical hymn of the Middle Ages."1
Jesu dulcis memoriaDans vera cordis gaudia,Sed super mel et omniaEius dulcis praesentia.
1il canitur suvfts,Auditur nil incundius,Nil cogitatur dulciusQuam Jesus, Dei filius.20
Bernard of Cluny was a contemporary of Bernard of Clair-
vaux, From a long poem titled "Laus Patria Coelestis" these
lines are quoted. They were translated by John Neale into the
failiar "Jerusalem the Golden."
Urbs Syon aurea, patria lactea, cive decor,Omne cor obrius, omnibus obstruis et cor et ora.iescio, nescio, quae iubilatio, lux tibi qua s,
uam socialia gaudia, gloria quam specialis.
There is a certain point in the celebration of High bass
where the Gradual is sung; this short anthem ends with the
word "alleluia." For a long period of time the last
syllable of the word was prolonged over many notes in order
Lo give the deacon who was to sing the gospel for the day
time to get to his place. A Swiss monk named Notker had
19 20Ibid., notes, p. 278. Ibid., p. 122.
21Ibid., p. 128.
27
the inspiration to compose words to be sung instead of
the repetitious a, a, . And so was evolved the, "Sequence"(!sequens - following): the song tha t follows the Gradual,sometimes called the Prose because the sequence was firstwritten in prose. These sequences became vry popular inhe tciddle Ages and soon came to be written in verses?
Robert, King of France at the beginning of the eleventh
century wrote this sequence:
Veni, Sancte Spiritus,Et emitte coelitusLucis tuae radium.
.eni, ater pauperum,Veni-, .dator munerumVeni, lumen dordium. 23
Perhaps the most notable of all Latin sequences isDies Irae. Its authorthip has been a matter of question;various scholars have attributed it to Gregory the Great,Bernard of Clairvaux, and Thomas of Celano. It appeared inchurch services in Italy in the thirteenth century; coiesof it dating back to the fifteenth century have been woundin Germany, ASfter Mozart used it in his Requiem it vas
recognized everywhere. Its theme is the Last Judgment.24Dies irae, dies illaSolvet saeclum in favilla,Teste David cur Sybilla.
FKn , p. inloch, An istorisal Account of the. Gurchji-n-rzy, p. 9.23- 24Jarcih, nP.cit., p.92. 24p29-- 9 - bLpd., notes,p.2.
28
Quantus tremor est futurusQuando index est venturus,Cuncta stricte discussurus!
Tuba, mirum spargens sonumPer sepulcra regionum,uoget omnes ante thronum.
0
Rex tremendae maiestatis,Qui salvandos salvas, grat sSalva me, fons pietatis, 26"
Another sequence, the pathetic Stabat Mater, was written byFranciscan lay brother named Jacopone da Todi who lived inthe thirteenth century. It represents the simple Mariolatryof his day. Palestrina, Pergolesi, and Haydn have used it
in their works.
Stabat mater dolorosaIuxta crucem lacrymosa,Dum pendebat filius,Cuius animam gementem,Contristantem et dolentemPertransivet gladius.
o quam tristis et afflictaFuit illa benedictaMater unigeniti,Quae moerebat et dolebatEt tremebat, dum videb5Nati poenas inclyti.
The lasting worth of the Latin hymns and sequences isattested by the fact that hundreds of them have survived
25Lbi.,p. 154.
26 27Ibd., notes, P. 300. Ibid., P. 171.
29
translation; the hymnals of Protestant churches as well
as Catholic carry them. Julian, in his Dictionary of
HyaMnoj lists 458 Latin hymns with their translated
titles and the season of the Church year with which they28
are associated.
28Julian, P.. Ct., p. 656.
CHAPTER V
PRE-REFORMATION HYMNS
Because the carol of the thesis is of German origin,the field of this study is narrowed from here on to theGermans and their wealth of hymnody. No other literaturesurpasses theirs, and their hymns are found in the hymn-books of every land,
Along with the early missionaries who went out fromRome to Christianize the barbarians in western and northernEurope, there went singers who had been trained in Gregory'sseminaries. These musicians tried heroically to drill theirrough converts to sing the Gregorian chant but their effortswere sadly inadequate. The guttural speech of the Teutonictribes had little in common with the flowing, liquid syllablesof the Latin tongue; even more to the point was the fact thatthese simple laymen were not equipped, intellectually orspiritually, to grasp the subjective beauty of the Latinhymn. Yet they must have vocal outlet for their intensereligious feeling for they had been accustomed, before con-version, to singing hymns to their deities. The missionarymusician faced the problem of solving this need of his con-verts.
30
31
The first practice allowed to the congregation by the
Church was the ejaculation of the words jy~rie &leison,
Christe e.leison. These phrases, which had come originally
from the Eastern Church, and which are found in the most
ancient manuscripts of the Church, were sung or shouted by
the Christians on all possible occasions. Social events of
every kind, religious meetings, national events, battles;
in any of these the people uttered the sacred phrases over
and over, sometimes hundreds of timesin succession. The
words were often abbreviated into .yyi4es, Kyytie Eleis,
ki , _Kerleis and Kles. Sometimes, they became mere
inarticulate cries.
'hen the phrase was formally sung, the Gregorian tones
proper to it in the church service were used. Sometimes
these were elaborated into successions of notes, many to a
syllable. Then came the custom, similar to that which
produced the Sequences from the Alleluia, of setting words
to these florid passages; out of this grew the tropes or
"farced" Kyries. These tropes ranged from a few amplify-
ing words to long sentences and sometimes even to entire
poems; they were interpolated between two words of an
authentic text. Examples are: _Kyie fons bonitatis eleison-
Kje hlux et o2rio eleison. Some of the tropes were adapted
to pre-existing melismas; the new text was underlaid to thesingle notes of the melisma, resulting in a syllabic setting.
32
Other tropes were sung to new melodies and came to be a
kind of hymn in which the yerig gljisgon became a refrain atthe end of each stanza. These songs were called Kirleison,or Leisen; they represent the German congregational hymn
in its first form. The Council of Trent abolished the
tropes, retaining only four sequences: ictmae paschali.a~udes,Veni sancte spirts Luda , and Dies irae.Later, Stabat. Mater was adopted for use. However, traces
of the tropes survive, as for example in the two Ky;s
cited above.
When the Roman Church began to discourage congregation-al singing in its service because of its fear that heresyand unchurchly ideas might creep in through the use of thevernacular, it found that the musical instinct of the peoplecould not be entirely repressed. The hymn was a natural ex-pression of religious fervor; if the people could not singinside the church, they would sing outside.
Poets from among them translated the old Latin hymnsinto the vernacular; original poems were added, and allof these were enthusiastically sung on festive occasions and
pilgrimages.
Wackernagel, in the second volume of his collection of
Will Apel, HarvdDictionar of sic.ard ic~onary.......,i p.* 768.
33
German hymns from the earliest time to the opening of the
seventeenth century, includes fourteen hundred and forty-
2eight religious lyrics composed between 868 and 1518,
The tide of religious song reached a high mark in the
twelfth and thirteenth centuries under the intellectual
awakening that followed the crusades. The stimulus of
hivalry and knightly devotion to womankind started a newtrend of adoration to the Virgin Mother. The feminine
element in mythology and religion seems to be in responseto an elemental human craving. Eve, Astarte, Isis, Demeter,along with others, typify the mother goddess who sympathizeswith the weak and needy human soul. The Catholic faith
gathers up these dim yearnings and gives them an ideal inthe pure and tender Madonna.
So this period leads in the worship of the Virgin Mary.Churches were built in her honor; pictures of unearthlybeauty were painted; poets rhymed her praises; flowers werenamed after her: marigold, rosemary; the tiny insect, lady-bird, was honored with her name. 3
2lbid., p. 228. Wackernagei, Dajeutsche Kirchenl_idvon -....... ..... bis zu4nAfan j| VIT, Jahhunderts.
3P$-aerick John Gillman, _ThevoAQtionof .!h e Elish&np. 104.
34
This was the age of the wandering singer; in Germany
he was called a Minnesinger (from linne - love). He was
usually of knightly rank and his song was of heroic deeds,
love, and nature. The art of the Minnesinger declined in the
thirteenth century but its influence was carried on by the
Mastersinger. The former had been of the aristocratic class;
the latter belonged to the trader and craftsman level of
society. The Mastersingers sang on biblical themes, and
usually held their meetings in churches. They were or-
ganized into guilds; admission and promotion were by examina-
tion. Wagner's opera, The Mastersingerso f Nuremberg,
presents a fair picture of an actual guild; even the names4
of the characters belong to actual people of the period.
From the ranks of these minstrel singers came the poets
Valther von der Vogelweide, wolfram von Eschenbach and Hans
Sachs. The first two are represented as participating in
a Minnesinger contest in Wagner's Tannhauser; while the
third is a character in The Mastersingers off NurembMr
mentioned above. Other writers of sacred verse were Gott-
fried von Strassburg, Hartman von Rue, Reinmar der Zweter,
and Kunrad der Marner. Mystics of the fourteenth century -
Eckart, Tauler, and others - wrote hymns of a new quality]
4Oxford CoManion to Music, p. 582.
5Dickinson, 2R. git., p. 231.
35
One need look no further than the medieval religious poetry
to realize that the Reformation was not the restoring of a
lost religious feeling but rather an intellectual re-es-
tablishing of an hereditary devotion.6
This fourteenth century also produced the custom of
adapting secular tunes to religious poems. Along with this
came religious paraphrases or contrafacta of secular songs.
Mixed songs, partly Latin and party German, were popular;an example is "In Dulci Jubilo," the subject of this
writing which begins:
In dulci jubiloNu singet und seyt fro.
6i..dd-,p. 239.
1-101 "-, -WOMPON i . I I
CHAPTER VI
THE CHORALE
The Reformation brought entirely new concepts of wor-
ship. All previous ideas had centered around the altar,
where at each observance of -the mass, the priest repeated
the sacrifice of the Son of God. Now, Luther had shown
that the one sacrifice on Calvary was sufficient for all
time;*
.... We are sanctified through the offering of the body ofJesus Christ once for all. And every priest standethdaily ministering and offering oftentimes the same sacri-fice which can never take away sins. But this man, afterhe had offered one sacrifice for sins forever, sat downon the right hand of God....For by one of ring he hathperfected forever them that are sanctified.I
This departure from the familiar order of worship
eliminated the altar and the priest. In their places Luther
put the pulpit and the pastor. There must be a corresponding
change in the music, for little of the liturgical music as
it stood, would fit in the new servide.
The motet style was still considered the proper form
and the motet was decidedly not adapted to congregational
singing. A contemporary example, "Christ is erstanden,
Hebrews 10:10-14.
36
37
(tainz 1513)2 is given in the Appendix, page 82 of this
study.
Luther's ideal was this: that "God might speak direct-
ly to the people in his Word and that they night directly
3answer Him in their songs." So he prepared a translation
of the ible in order that it might be read from the
pulpit in the vernacular and for the homes of the people
he prepared a catechism. Of the music he needed he had a
clear conception. Since he wished to reach the common
people, the Latin language was of no use to him. Because
Gregorian chant was non-metrical, and complex melodically,
it would not do. He wanted something simple and unpre-
tentious.
A rich treasury of texts was ready and waiting; German
sacred poetry included the ".kirls It~" which were, as has
already been pointed out, a mixture of German verses with
certain lines from the liturgy, translated Latin hymns,
and a store of spiritual poetry which the religious fervor
of the Pre-Reformation poets had prepared.4
For melodies Luther drew from varied sources: he went
back to the Ambrosian hymas of the Catholic church; he used
2Geschichte der Musik in Beispielen, No. 75.
3Julian, P. &it., p. 414.
See page-32 of this study.
38
medieval sequences from Gregorian chant; there were sacred
folk-songs from the religious dramas of the earlier times;
and he did not hesitate to use secular tunes associated with
popular songs of the day. These melodies were not just
copied but were changed and adapted to their new purposes
with a depth of insight and skill. Luther himself was an
excellent musician, a singer, and a performer on both the
lute and the flute. An interesting picture of Luther at
work with his associates is quoted by Schweitzer:
While Walther and Rupf sat at the table, bend-ing over the music sheets with pen in hand, FatherLuther walked up and down the room, trying on thefife the tunes that poured from his memory andimagination to ally themselves with the poems hehad discovered, until he had made the verse-melody a rhythmically finished, well-rounded,strong and compact whole. 0
The first Lutheran chorales were irregular in rhythm,
much like the free plain-song. The melodies alone were
published by Luther for home use in Erfurt Enchiridion
(1524) . For church use they were set for four voices in
simple harmonization with the melody in the tenor. An
example of this is given in Appendix B page 32. In 1586
Lucas Osiander published a book of chorales which placed
5Leichtentritt, 22. cit., p. 105.
6Albert Schweitzer, J.S.Bach, Vol. I, p. 15.
7Julian, 2p. cit., p. 414.
39
8the melody in the soprano with supporting parts below. This
homophonic style kept the melody from becoming obscured.
Luther was especially gifted in the writing of para-
phrases, being able to express the most profound thought in
the clearest language. He made a loose paraphrase of the
forty-sixth Psalm and titled it "Ein Feste Burg" (a tower
of strength is this our God). This is one of the most virile
hymns of all time and is found in practically every hymnal.
Other great hymns of his are: "Aus tiefer Noth schrei ich
zu dir" (Out of the depths I cry to Thee), "Ach Gott, vom
Himmel sich darein" (Help, Lord, look down from heaven above),
"Vom Himmel hoch da k6mm ich her" (From heaven high to earth
I come).
The chorale differs from the english hymn by its greater
variety in length and stanza structure. It insists upon a
pause at punctuated intervals and its harmony is more com-
plex. The chorale must be sung with breadth and dignity;
the tempo should be slow, but never lazy. It has always
been the custom for the congregation to sing chorales in
unison.
The chorale filled an important place in German life.
While the music of Italy and France was serving to mirror
3George Grove, Grove's Ditionay of Music and
Musician s, Vol. III, p. 776?
40
the social pleasures of the day, the music of Germany was
expressing religious devotion. Church choirs walked about
the streets during the week singing chorales. Trumpets and
trombones played them from church towers at certain hours.
They became a kind of religious folk-song for they had
come spontaneously from the hearts of the people, and they
were rooted in the deepest sentiments of the race. There
was such nobility and solid worth in the tunes that a new
form of liturgy was created; it was upon these melodies
that the organist-composers of the seventeenth century ex-
pended the best of their artistic powers. For four centuries
the German chorales of Luther have been tremendously im-
portant in the history of Protestant music.
CHAPTER VII
THE CAROL: ASSOCIATIONS AND EXAMPLES
The carols for Christmas have survived in greater
number than those for other festivals, for example, the
May Day carols. All Christian nations have these Christ-
mas songs; in France they are called Noels. Through the
the Norman influence the word survives iiEZnglaftd as
Nowell, and sometimes occurs as the refrain of a carol.
An example is the familiar:
The first Nowell the angels did sayWas to certain poor shepherds in fields as they lay,In fields as they lay, watching their sheep,On a cold winter's night when snow was so deep.Nowell, Nowell, Novell, Nowell-Born is the King of Israel.
In Germany the carols are called "Weihnachtslieder," that
is, "Christmas songs."
The custom of celebrating the seasons of the year in
song was ancient and universal. Clement, a Church Father
of the first century A. D. said, "Brethren, keep diligent-
ly Feast Days, and truly in the first place the day of1
Christ's birth." This appears to be one of the earliest
Edmondstoune Duncan, The Story of the Carol, p. 10.
41
42
references to the nativity celebration. Since songs always
accompanied a festival, it is easy to believe that Clement's
brethren raised their voices in joyful praise as they ob-
served the birthday of the Saviour.
In the ninth century the clergy turned actors and
presented episodes from sacred books and the Bible, act-
ing them in the churches. These spectacles were well
suited to the use of carols and they became very popular.
Some of the monks went so far as to travesty the per-
formance of the sacred legends; because of this the church
interdicted all plays, concerts of music, and buffooneries
such as were practiced under the names of La Fete de Foux,
de lane, and d Inngons. But these so-called Mystery
Plays continued throughout Europe, especially in times of
festival. Some of the pilgrims returning from Jerusalem
composed songs about their adventures, interpolating also
bits of material from the Bible on the life of Christ, or
about the Judgment Day. These pilgrims traveled in groups
as a sort of strolling actor troupe. They decorated their
hats and mantles with fantastic emblems; carrying their
pilgrim staves, they would take their station in a public2
street and sing their tales.
In Beauvais and Gens, two French villages not far from
Paris, a quaint custom was observed. A young girl holding
a child in her arms and riding an ass was led through the
2Duncan, U a e . .31.
43
town to the cathedral. A crowd followed, chanting this very
old carol, the Prose de lanee 3
Cp-
Fig. l.--Prose de l'Ane4
The fourteenth century brought a definite trend toward
more perfect rhythm and expression in all forms of secular
music. "In Dulci Jubilo" belongs to this century and is dis-
cussed in detail later. Two other fourteenth century carols
are given below; one in English from a manuscript in the
British Museum, the other in German.
A fiaz -r S See- rs.IS - T
-- 'W
< & - ye oI-k a
3Ibid., p. 40.
4Duncan, 22p.. &it., pp.5 6-7.
44
_ _ _ _ II-7--T
V 404- -ap -
Fig. 2.--Lullaby
- - -,_ _ _ __ _ _
t t
oAd_- ++ A -1c tA- -
; ad + ! V%
j . Von WS L--'
Fig. 3. -Susani, Susani6
It is in part, at least, to St. Francis of Assisi that
Ibid.
6Ibid., p. 61.
we owe the stimulating influence which brought forth these
carols of medieval times. This gentle soul wished to teach
the doctrine of the Incarnation in pictorial fashion. In
the little village of Greccio near Assisi he prepared a
stable, having borrowed an ox, an ass, and a bundle of hay.
He and his brother monks sang simple hymns that told the
Christmas story as the villagers flocked in to see the
drama. The custom spread rapidly and the Baby Jesus be-
came a real person to the people. Curious customs arose;
in Germany, the priests impersonated Mary and Joseph, tak-
ing turns at rocking the cradle. Singing and dancing around
the crib were apparently common. It has been said by Sir
John Stainer that the universal singing of carols grew out
of the medieval mysteries and the habit of the priests of
placing in the chancels of churches a crib containing8
either a living baby or a clay doll.
The following carol is plainly a part of a mystery
play acted around the crib. There are singing roles for
Joseph, Mary, and four different servants with a chorus
for the whole group. There are versions in German and Latin
found in Johann Walther's Gesangbuch, 1544. One verse is1~~~g h -4. On .ver.s-e. .-.-s
7,Oxford Book off Carols, Preface, p. vi.
8Duncan, .22. j;., p. 113,
46
quoted here in German, Latin, and English:
Joseph, lieber Joseph mein,hilf' mir wiegen mein Kindelein,Gott der wird dein Lohner seinim Himmelreich, der Jungfrau Sohn MariaEr ist ersehienen am heutigen Tag,am heutigen Tag in Israel,der Marien verkundigt ist durch Gabriel,Eia, Eia9Jesum Christ hat uns geborn Maria.
Resonet in laudibusCum jucundis plausibusSion cum fidelibus;Apparuit quem genuitMariaOnes unc concinite,Nato regi psalliteVoce pia dicite;Sit gloria.Christo nostroInfantialEia, Eia, Eia.Virgo deum paruitQuem divina voluit potentia.Hodie apparuit in Israel,Quem praedixit Gabriel.
Is 0 0
Joseph dearest, Joseph mine,Help me cradle the child divine;God reward thee and all that's thineIn Paradise, 10So prays the Mother Mary.
9Ibid., p. 60.
10Oxford Book of Carol. p. 165%
47
Fig. 4.--Resonet in Laudibus
The association of shepherd life with the Nativity
was observed especially in France and Italy in this century.
In Naples, shepherds from the surrounding hills camd down at
Christmas time and played in the streets before images of
the Madonna and Child. Their instruments were like bag-
12
pipes. According to Percy Scholes, Handel has mentioned
this as the source of his inspiration for the "Pastoral
Symphony" in the Messiah.
11Duncan, _9p_.. cit_., P.60.
12Percy A. Schools, The Oxford _oManion to Music,
p. 140.
48
The fifteenth century brought a great store of carols.
The lyrics of these show more polish, for the influence of
Chaucer was spreading. An example showing particular
charm is "I Sing of a Maiden."
I sing of a maidenThat is makeless (matchless);King of all kingsio her son she ches (chose).
He came all so stillHere his mother was,As dew in AprilThat falleth on the grass.
He came all so stillTo his mother's bower,As dew in AprilThat falleth on the flower.
He came all so stillWhere his mother lay,As dew in AprilThat falleth on the spray.
Mother and maidenWas never none but she;Well may such a 144yGodes mother be.
An example of the macaronic carol which came from the fif-
teenth century is "Make We Joy."
Make we joy now in this feastIn quo Christus natus est:Eya.
A Patre unigenitusThrough a maiden is come to us:Sing we of him and say, 'Welcome,Veni Redemptor gentium.'
13Oxford Book of Carols, p. 401.
49
Agnoscat omne seculum:A bright star made three Kinges come,For to seek with their presentsVerbum supernum prodiens:
0 lux beata, Trinitas.He lay between an ox and ass,And by his mother, maiden free.Gloria tibi, Domine 14
The following carol is more familiar because of the
setting by Y1. Praetorius (1609). The words and melody are
found in the eierschen Gesgbuch, Cologne, 1600.l
Es ist ein' Ros' entsprungenAus einer Wirzel zart,Als uns die Alten sungen:Aus Jesse Kam die ArtUnd hat ein Blumlein bracht,Mitten im kalten Winter,Wohl zu der halben Nacht.
Lo, how a rose e'er bloomingFrom tender stem hath sprung.Of Jesse's lineage coming,As men of old have sung.It came a flow'ret bright,Amid the cold of winter,When half-spent was the night.
OU 1 l>0l-j ,U41t
16Fig. 5.--Es ist ein' Ros' entsprungen
14 15Ibid., p. 49. Ibid., p. 162.
16Ox) ford Book of Carols, p. 162.
50
The seventeenth century with its puritanism brought a
suppression of the carol. Christmas Day in 1644 happened
to fall on the last Wednesday of the month, a day which
the Long Parliament had ordered to be kept as a monthly
fast. This meant real disappointment to the people of Eng-
land, but it was just a hint of what was coming. In 1647the Puritan Parliament abolished Christmas altogether. A
spokesman of the period, Hezekiah Woodward, called Christ-
mas Day "the old Heathen's Feasting Day, in honour to
Saturn Idol- God, the Papist's Massing Day, the Profane
fan's Ranting Day, the Superstitious Man's Idol Day, the
multitude's Idle Day, Satan's - that Adversary's - Work-
ing Day, the True Christian Man's Fasting Day....We are
persuaded, no one thing more hindereth the Gospel work all
the year long, than doth the observation of that Idol Day
once in a year, having so many days of cursed observation
with it." 17
It was some time after the Restoration before the
carol began to recover. A very few sacred carols came out
of the static period - "While Shepherds Watched Their
Flocks by Night," (1698) was so like a hymn that it couldbrave the puritan influence which was still very strong. Theformality of eighteenth century society rather ignored the
17preface, p. xii.
carol, and the Romantic period which succeeded failed to
notice its worth. had not the poorer people kept the
memory of the carols and Preserved th.e i folk-song,
all the treasure of medieval dais might have been lost.
Goldsilith tells in The Vicar of akefiel (1766)
that the parishioners "ket up the Christias Carol." Inhis &eicn Book (1820), Wash 5ington irving wrote about aChristmas night in Yorkshire when he heard beautiful muic
beneath his winaoW. Trough the eighteenth and up intothe nineteenth century there were frequent appearances ofbroadshees which carried texts of the traditional carols,and occasionally a small collection wit some indication
of editing was printed, but these were mostly didactic
in character rather than spontaneously joyful. About
the middle of the nineteenth century two song editors,
the Revernd J. X1. Neale and the Reverend T. Jelmore
came into possesion oC a rare Swedish book caled PiaeQatiornes. This book had been compiled by TheodoricusPetrus in 1582 when he was a student at Rostock nearLubeck. The son,,s spread in the reformed Church of Sweden-and Oinland. The British 4inistor at Stockholn secured acopy o -, a Cantiones and brought it to J. M. Neale inEn4and The songs in the collection wTere these:
1812id., pre -ce, p. xiii.
52
Ecce novum gaudiumOmnis mundus jocundeturAngelus emittiturResonet in laudibusAve, Maris StellaDeitatis cellaIn dulci jubiloCongaudeat turba fideliumIn hoc anno circuloDies est laetitiaeIn vernal temporeTempus adest floridum 19Psallat Schollarum concjo
From it Neale translated some of the carols and, using themusic from the old book, he and Helmore published "Carols forChristmastide."20 In 1871, the Reverend H. R.Bramley andDr. John Stainer, two scholars of Magdalen College, Oxford,published "Christmas Carols New and Old." 21 These twocollections gave the best of the traditional carols forgeneral use and brought the idea of systematic preserva-tion squarely before the public.
Because its essential quality is joy, the carol fillsa vital place in the lives of all people. Nothing can domore to enhance the value of religion than to increase itselement of joy and greater use of carols should mean moreattractive religious services and a more helpful ministryof music.
19Duncan, 91.. cit., p. 241.
20
Ibid., preface, p. xvi.
21Qbid.
CHAPTER VIII
IN DULCI JUBILO: ITS ORIGIN AND HISTO IC REFERENCES
This carol was. composed by a Dominican mystic, Blessed
Renry Suso, who lived in the first half of the fourteenth
century. living been a pupil of both Eckhart and Thuler,
the most celebrated mystics of the Viddle Ages, he natural-
ly turned toward tie emotional and ecstatic qualities in
Christianity. His influence was great and his writings are
still regarded with reverence by the Catholic Church.2
According to Winfred Douglas, Suso composed this carol
one night during the Christmas season when he dreamed that
he was dra.n into a circle of dancing angels. Both the
Latin and the German lines of the macaronic verse voice a
joyous love for the Redeemer and a -yearning to be with Him
in glory.
The carol has clways been a favorite in Germany. Luther
included it in his collection of hymns prepared especially
for home use. This reference will be enlarged upon later in
khe .atholic ncclo-e|ia ol. VII, p. 238
2winfred Douglas, _ 3rief Co-mentary on Selec ted hymns
and Carols, Vol. V, No. 11.
the chapter. The introduction of Ia dulci ju1bilo to the
music circles of England and Scotland is attributed to John
Wedderburn, a refugee from Dundee, who had found sanctuary
in Wittenberg about the year 1539; here he enjoyed the
friendship of Luther and Melancthon. Attracted by the
powerful influence of song in carrying the Reformation for-
ward, Vedderburn decided to make a collection of German
songs and ballads. When he returned to Scotland he and his
two brothers compiled a book, calling it "Compendious Book
of Gude and Godlie Ballates." (1540). This included the
German collection along with native English and Scottish
songs. The pious brothers commended their work to the
young people of Scotland as a replacement of Latin hymns which
could not be understood. John Wedderburn hoped also that his
"godlie ballates" might displace the singing of ribald and
3unclean songs. Among the songs brought over from Germany
was "In dulci jubilo."
The first recorded performance of the carol-in America
was under such novel circumstances that a paragraph of
church history is needed for a clear understanding and proper
appreciation.
The first hymn-book to be published among Protestants
was compiled in 1505 by a sect called the Unitas Fratrum
3Frederick John Gillman, The Evolution of the English
.yn, p. 142.
5.5
of Moravia and Bohemia.4 The descendants of this group took
the nae of the Koravian Church. Fusic was important to
them; they insisted upon high standards in the Collegium
Musicum, which was the musical giild of the Moravian Brethren.
In 1741 a group of them came to America, settling in eastern
Pennsylvania. One log-house had been completed by Christ-
mas Eve, so they gathered there for a service. One of the
songs which they sang was an Epiphany Hymn which included
these words:
Not Jerusalem,
Rather Bthlehem,Gave us that whichMaketh life rich.
The words impressed the immigrants and the name of Bethle-
hem was chosen for their settlement. 5The Moravian Churchrecords in Bethlehem begin with a "Diary" written in thoseearly days, and its pages are full of colorful details.
The people gathered frequently for a Singstunde, or serviceof song, and their singing uas accompanied by various
musical instruments. The entry for Christmas Day, 1743says that the instruments "played for the first time in
the house of God," included the violin, viola da braccio,viola da gamba, flutes and French horns. In 1744 they
4Raymond Walters, _The Bethlehem Bach Choir, p. 5.Ibid.
56
used for the first time a small spinet which had been sent
them from London and in 1751 a large organ was installed.
In 1754 trombones were brought over from Europe; immediately
their use became a peculiar feature of Moravian life, and
this custom is still in force. The death of a member of the
congregation, the hour of Holy Communion, the observance of
the "love *east"- all these are announced by the playing of
a trombone choir. A cherished tradition tells of a night in
1755 when Indians came to attack the settlement; they heard
the trombone choir playing chorales and were afraid to strike.
They slipped away declaring that the Great Spirit was guard-6ing the White settlers. The Moravians were zealous to con-
vert the Indians and their missionaries taught the new
Christians to sing.
The "Diary" dated September 14, 1745, tells of a"love feast" gathering where "In dulci jubilo" was sungin thirteen languages, to the accompaniment of wind andstring instruments. These languages included many differentEuropean tongues and various Indian dialects. Such poly-glot singing would hardly seem musical to the world today,but one can surely reverence the zeal and sincerity mani-fest. It is refreshing to follow this qgravian culture to
6LUid p. 7.
7IbiQd., p. 13.
57
the modern day and see the inspiring Bach festivals held at
Bethlehem, Pennsylvania, the site of the Moravian settle-
ment.
CHAPTER IX
LITSIC SETTINGS
From an un-named source, C. Hubert Parry, in the
Evolution otheAr; o fusic gives this copy of "In
dulci jubilo" from a manuscript dated 1305. The
e 6 Version I
AA
Ac
com pilers of the Oxfod Boopf Caol in a discussion ofof this carol tell of a fifteenth century manuscript whichincludes "In dulci jubilo" and which may now be found in
C. Hubert Parry, E-ution _-- he Art o s p.84.
5,9
2Leipzig University Library. The melody is in Michael
ene's es g2ugch, Leipzi0 , 1537, and is found again in
Babst's Gesangbuch, Leipzig, 1545; the latter work is the
last hymn-book which Martin Luther edited. itzel in-
cluded the carol in his Paltes Ecclesiasticus, Cologne,
1550, and Didrik Pederson gave it a place in Piae Can-4
Stinm s3, 1582.
Few melodies have remained so little changed through
the years. The rocking rhythm of the first rhythmic mode
has never been altered, nor has the essentially triple
rhythm varied, despite differences in metric signatures:
six-two, three-two, three-four, and six-eight. Depending6 6 3 3
on whether the meter is 2 (8) or 2 (4) the number of
measures to the phrase varies. The form is A, two or four
measures, A1, two or four, 3, four or eight measures, B1,
four or eight, C two measures in Version I, four orceight
in succeeding settings. The coda-like effect of C strength-
ens the unity of the whole. Version II, dating c. 1544, is
the version followed almost exactly by all the writers quoted.
The following is the tenor line fror Se tting II that is
described on page 61 of this study.
2Oxford Boo off arols, p. 182.
3Compare p. 38 of this study.
4Oxfo1,rd Book of Carols, p. 182.
60
Example 7, Version II
bA
C2 -0
Version I lacks the auxiliary tone of the sixth between
the fifth and sixth notes of the melody in A and Al; like-
wise, the supersonic which appears in Version II as the
thirteenth note of B and B- is missing in B of Version I
but appears in B1 of the version as cadence tone, so that
the phrase ends on the supertonic instead of proceeding
on to the mediant as in Version II. IMreover in Version II
th~ sixth nd seventh degrees appear as second and third
notes of C, replacing the fifth and sixth degrees of Version
I. Finally, Version II shows an extension of C. The usual
treatment in all the settings is major rather than modal.
Setting I is a harmonized form of the carol from aicrofilr oi a German manuscript collection dated 1544.
The melody is in the tenor, the meter three-two. measureone is fulij notated with rests until the carol begins on
beat three. The voices move independently with frequentsuspensions and syncopations.
Setting II is by Bartholomew Gesius (1555-1621), aLutheranl. cantor who rote a great deal of music coveringthe viol. liturgical field of song in the older Lutheranhurcih. His arrangements and settings fhow a mixture of
Latin and German texts with a combination of :lain-song7and polyphony. his setting of the carol is one of the
See Appendix B of this study, p. 84.
6See Appendix B of this study, p. it
7George Grove, rve's Diction~ar of Music andRusicians, edited by 7. C. Colles, Vol.~II . 372.
62
two selected for inclusion in the Oxford Book of Qarols.It is in the key of G, in three-four meter. The chords
are simple triads, and the rhythm is simultaneous except
for one suspension in the alto part in the fifth measure
from the close. By leading-tone progression modulations
are made into the dominant imiajor and the igelative minorkeys, but they are left immediately.
Bach's treatment of the carol in choral form is quite
8different from the two settings just given. Each part hasa melodic line, yet the carol melody is never obscured.
The bass part is most active - its range covers one andone half octaves, and its counter melody in quarter andeighth notes moves more quickly than the smooth chords ofthe other parts. The alto and tenor parts have frequent
suspensions.
Robert Lucas de Pearsall (1795-1866) is best knownas a writer of part-songs and madrigals, but his sacredcompositions comprise works for both the Roman Catholicand the Anglican Churches.9 His setting of "In dulcijubilo" is simple and, considering his dates, archaic;
10the meter is three-two.lThe musical score resembles
the daily exercise of a first-year harmony class, yet it
8seppeni 13,p.66.9 10jbid., Vol. IV, p. 92. Appendix B, P. 67*
63
produces a strangely satisfying effect. In the repetition
of the phrases, de Pearsall varies the chords, surprising
the hearer and providing an element of wonder about the
next progression. His harmony is widely-spaced. The set-
ting preserves the Latin lines and presents a true
macaronic character.
John Stainer, (1840-1901) organist and composer,
wrote the setting which is probably the most familiar to-11
day. With its text beginning'"Good Christian men, re-
joice, it is found in the hymnals of most Protestant churches.
The six-eicht meter insures the triple rhythm of the
original inspiration. The harmonization is of the simplest
form. A distinctive feature of this setting is an inserted
measure, following measure ten. It contains two chords, a
unison tonic and a sub-mediant triad. The chords voice a
dramatic announcement: "Nevsl NewsP" These words occur
in the Neale translation of the macaronic text which Stainer
used for his setting.
Organ Chorales
Any study of polyphonic compositions for the organ
based upon chorale melodies must go farther back than the
German Protestant chorales and include the organ set-
tins of hymns oL the Catholic hurch. Around the year
1500 ortan pieces began to be used in certain places.
1Se Appendix B, p. 88.
64
in the service instead of the plaiA-song of traditional
chant, In addition to these hymns, parts of the mass were
also treated. Paumann in 1452 gave some primitive examples,
then ofhairer (1459-1537) gave the organ hymn in full
development. Arnolt Schlick in 1512 prepared a tablature
that was particularly worthy. Their settings all be-
longed to the cantus-firmus type, that is, with the hymn
melody in long notes, usually in the tenor, as the basis
of a contrapuntal figure. This treatment dated back to
the q.-a~usi Qt and motets of the thirteenth century. The
cantus-firmus treatment with Vorimitation and examples
of the cantus-firmus in canon occur in Buchner (Ms tablature
from c. 1525). Apel in the Harvard Dictionary o f usic
refers to an anonymous "In dulci jubilo" from Sicher's
tablature which has a canonic treatment+
The Flemish motet-style, imitation of the hymn
melody in all the voices, was alternated with the cantus-
firmas treatment. In these Catholic settings there was an
element of the mysticism which pervades the whole ritual
of that Church.
The Protestant Church made the singing of the choralethe privilege of the congregation, and it was the duty ofthe organist to play the chorale melody which was about
tIng _o 2 533.Unfortunately, thisset-ting Ivs not beenavalable for the present study.
tIN.d
65
to be sung, elaborating it with all the art he could com-
mand. Besides the two forms of development just mentioned,the Ohorale cantus-finus and the Chorale motet, there were
several other ways of doing this: the Chorale fuug in
which the first line or phrase of the, chorale might be
treated as a fugue; the Me.dx l dgchorale, the chorale ap-
pearing as a continuous melody in the soprano with ac-
companying contrapuntal parts in definite figures; r-
QnafQntd qprl~e, the melody in the soprano with
elaborate ornamentations; Qfhorale canon; Chorale fantasia;
Choalct.varia~tio~ns (partitas)V Jhatever style, the pre-
lude was supposed to define and establish the sentiment
appropriate to the chorale being treated.
The earliest example obtainable for this study is a
setting by Dietrich Buxt ehude (1637-1705), an organist atLubeck. He had been so successful with church performances
of vocal and instrumental music called Abendmusik that hisfame had spread and people came from distant cities tohear his programs. One of these visitors was J.6.Bach whowas eager to learn from so great an organist. 5BuxtehUde
was an innovator, bringing a number of interesting new
14Ibid.
C. F.Abdy Williams, &he.otoLr of U.an lui_, p. 106.
66
features into organ music. Two of these are pertinent
to this subject and require mention. I th handling of
a Ugue, Buxtehude developed each nev subject out of the
first, giving unity to the composition. C. F.Abdy Williams
in Ii2e Story o2 Orcan i Lusic states his belief that Bux-
tehude was the first to use an occasional recitative with-16
out xeasuredrhytnhm . or ctheorgan.
His setting of "In dulci jubilo," example of the
Melody Chorale type, with occasional participation of the
lower voices in the chorale places the upper voice part,
thich carries the melody, on one manual, two middle voices
on another manual, and the bass on the pedals. The melody
line (chorale tones are marked) is frequently embellished
with bravura passages and shakes. Leginning with the
eleventh measure the melody passes to the bass pedals for
two and one-third measures. Fragments of the chorale ap-
pear in first one voice, then another, but are lost in the
free treatment that follows. In measure thirty-thiree a
canon begins in the soprano followed by the pedals an
octave below and two measures distant; this lasts six
measures and leads the soprano nart to its close, a tonic,
tied through four measures. One of the middle voices picks
16
IS p x.
17See appendix B, p. 89.
67
up the melody from the bass, carrying it through three
measures of chordal progression with a modal seventh oc-
curring in the other middle voice, then the three parts
ending on the tonic chord.
Friedrich wilhelm Zachau (Zachow) (1663-1712), is
rewerbered chiefly as Handel's teacher, but a large col-
lection of manuscript church cantatas and organ pieces
prom his pen is found in the Berlin Library. Grove speaks
of Zachau's style as marked by good taste and earnestness
of Purpose.
The chorale prelude by Zachau is written for three
parts and is interesting from the contrapuntal point of18
view. The meter is three-two; the spirit of the composition
light. This is treated in the Mvel2d Qgrale style. The
soprano has the melody intact throughout in whole and half
notes while the counter point in the two lower parts keeps
a constant movement in quarter notes. The bass ranges
through two octaves; the middle voice, now as the alto,now in the tenor ranges between the two outer parts hold-
ing them together.
Johann Gottfried ;azther (1684-1748),is said by Grove
to stand next to Bach as a skilled arranger of organ
19chorales in variation style. Besides being famed as
17Grove, fP_.git., Vol.Vp.-754-. bid., p. 621.18
See Appendix B3, p.* 92.
68
a contrapuntist, ialther is known as a lexicographer,
having compiled a dictionary which was the first work to
combine biography and musical subjects, 0
Valther's setting is a combined Qoramotet andantIus-firmus treatment, in the key of F, three-two
meter, and written for three parus, all of which derive21
their material from the chorale. The middle part opens
with a measure alone, the melody beginning without the
usual anacrusis. Two half-notes and two quarters, the
last one moving diatonically upward announce the theme.
An octave downward and one measure distant, the pedal be-gins a second presentation of the theme while the middlevoice is executing a slow trill-like figure through themelody of its second measure. The third measure brings inthe topmost part, two octaves above the pedal part, repeat-ing the first measure with its two half-notes and twoquarters. The chorale theme extends for four measures ineach successive part, with the middle part moving freelyall the vhile. The second imitation begins with the repe-tition of the A phrase, this time on the anacrusi , goingdown to the tonic on the first beat. This figure beginswith the pedal part; the middle part hurries in on the
20 I A20fbid.21
See Appendix BI, p. 93.
69
second half of the first beat ith accelerated melody,
using quarter notes instead of half and gains its measure-
lead in the next measure. Meanwhile the upper part has
come in on beat three of the same measure, two octaves
above the pedal as before, and proceeds with its own
canon. Throughout the forty measures the canon appears
bet een the upper part and the organ point; sometimes one
leads and sometimes the other. The middle part often sug-
gests the melody, then leaves it - it is continually mov-
ing. Shakes ornament both middle and upper parts at fre-
quent intervals.
The chorale preludes of Bach represent the full force
of his emotional nature aud reveal the full sweep of his
technical powers. Perhaps more clearly than much of his
work do they show his response to objective features
presented in the words of the chorale. In addition to his
vocal setting, Bach has employed "In dulci jubilo" three
times as a chorale prelude. These preludes differ as widely
as though written by different composers, yet each is un-
mistakably Bach.
The first one to be analyzed is a simple chorale with
ornamental interludes but it later becomes more like the
Ornamented Chorale. It is written in A with three-two
J.S. Bach, "In dulci jubilo," Twelv Chorale Preludes.L4 Organ_, edited by Franklin Glynn.
70
meter. It opens with four measures of firm chords, five-
voiced, the melody in the soprano, the pedal tones moving
diatonically downward as the melody rises. There is an
interlude in the melody and a rest in supporting parts
while the soprano part returns through four measures of
downward sequence to begin once more with the other parts
a chordal announcement of the theme. A second florid in-
terlude is begun by an inner voice though the soprano is
holding to the chorale. Measures eighteen through twenty-
two show pedal activity, then there is no pedal at all
until measure forty-six. Here Bach gathers up his five
voices, resumes the full chords, allows nine measures of
beautiful counterpoint, finally resolving into a mag-
nificent seven-voiced chord.
Another of the 12elo chorale type of prelude and
one which is quietly pastoral in its simplicity, this
prelude offers a striking contrast to the others built24
around the carol. It comprises two complete settings of
the melody for three parts (two manuals and pedal), with
the melody in the soprano in both settings. The first set-
ting is in G without signature, but with both Mixolydian
and Major VII degree (that is, F and F). The soprano
Clarence Dickinson, "In dulci jubilo," The Tech-niue and Art of . Also: Apendis,~p.~~U2.
71
melody is given in whole and half notes while the middle
part presents a non-thematic counterpoint which begins in
a continuous line in half and quarter notes, breaking up
into short figures at the repetition of the second melodic
phrase. The pedal sustains throughout the first setting
up to the last phrase which it takes in canon with the
topmost voice, two octaves below at two-measure distance.
In order to allow the pedal to finish its canon there is
an extension of about two measures in the upper parts.
Thereafter there is a four-measure xree episode modulat-
ing to D in which tonality the chorale is again presented
in exact transposition of all parts, harmonized with both
C and C# up to the beginning of the canon figure. Here
there is an abrupt return, without modulation, to the
original G tonality, the canon proceeding as before. At
its close there is a four-measure phrase in quarter notes
bringing the soprano voice to an octave-higher close, The
cadencing measure includes both the modal and the major VII:
irs.
An alternative ending places the chorale on a third manual
with one hand playing the sustained tonic on the Great
through four measures, at the same time playing the contra-
pgntal phrase on the Swell. The harmonization is the same.
72
The .gelbchlein (c. 1710) of Bach contains forty-
five preludes. They seem to have been selected and
developed from chorales of particularly strong pictorial
quality. From the collection a third- setting of "In
dulci jubilo" is taken. This is. one of the best of all
Bach's chorale preludes from the point of view of both
skill and effectiveness. It is a Chorale cantus-firmus
combined with Chorale Fantasia. The composition is for
four parts with a doable canon moving simultaneously dur-
ing the first half of the movement; the melody is in
canon between the treble or soprano and bass (pedal) an
octaVe below and a measure later. A second canon of
running triplet figures is heard at the same time be-
tween alto and tenor. These parts are an octave apart
and a measure distant.
A notation problem rises in this setting - there are
frequent occurrences of three notes against two. Whether
Bach intended this exact proportion is a matter of question
since notation in his day was more or less an approximate
affair. Naumann, in the Breitkopf and Hartel edition of
the Orgelbuchlein puts the repeated two notes into triplet
'Lori, coinciding with the triplet figure in the other part.
"In dulci jubilo," The Chorale Preludes of J.S.Bach.(Novello). Also: Appendix B, p. 106.
73
ihis is easier to play and adds to the brightness of the
rhythm.
The last setting is written by the modern French or-
ganist and composer, Marcel Dupre (1886- ).
This chorale prelude on "In dulci jubilo" is a
XeloQ chorale. The key is A, the meter three-four.
The setting is in five parts with the melody in the soprano;
the dominant E truly dominates the composition, sounding
as a tied note in the next to lowest part through eleven
measures. At the same ttie the pedal is sounding E on-the
second beat of the measure. A curious syncopation in the
third voice and the pedal tone suggests the rocking cradle
ith its instant of stopping at the end of each swing. The
soprano and alto are played by the right hand and comprise
har onic intervals of modern tonality. The atmosphere of
the prelude is more like a lullaby than most of the
settings.
iiarcel Duore,"In dulci jubilo, "SeventL-nineChorals, op. 28. Also: Appendix B, p. 106.
CHAPTER X
SUMMARY AND CONCLUSION
Summary
In bringing to a close this stud; of the carol
"In dulc& jubilo" a brief resume will be given of the
points brought out in each chapter in order to obtain
a concise picture of hymn and carol development.
The Hebrew race contributed hymn texts of lasting
vorth; they recognized the value of music in various
situations of life. The early Christians used the
hymn as a proselytirg agent as well as for their own
inspiration. The Catholic Church preserve the best
of the early hymns; the Gregorian chant and the Latin
hymn prepared the way for the Protestant chorale.
Medieval times with their lviracle Plays, Minnesingers
and Meistersingers, provided a realism which moderated
the aloofness of liturgical music. The Lutheran chorale
gathered together much of the best from all earlier
sources and gave back a hymn-form that appealed to all.
The carol was originally a ring-dance and a certain
gaiety has always been its main characteristic. "In
dulci jubilo," one of the earliest carols, dates from
the fourteenth century, and has since enjoyed continuous
74
popularity. The various settings given which represent
the musical ideas of many different generations snow that
it has always been a loved carol. The chorale preludes
show its possibilities in artistic development.
Conclusion
The tracing of the development of the hymn and the
carol has been of great value to the writer. It is hoped
that more professional church musicians may become in-
terested in the rich resources of the earlier music of the
Church.
APPEDIX A
The original macaronic lines of the carol were these:
In dulci jubiloNu singet undcseyt fro;Unsers herzens wonne Leyt:Lieght in praesepio;Und leuchtet als die sonneMatris in gremio.Alpha es et 01Alpha es et 0
0 Jesu parvuleNach dir ist mir so we:Trost mir myn genilte,0 puer optime:TDurch aller Juncfrowen gute,o princeps gloriae!Trahe me post te!Trahe me post te!
(Third stanza missing)
Ubi sunt gaudia?Nirgend mer denn da,Da die engel singenNova cantica.Und die schellen klingenIn regis curia.Eya, wrn wir da 1Eya, warn wir dal
From this original text many and varying versions were
made. Jui ian's Dictionay of Hymnol refers to ackernagel
as giving eight versions, varying from three to four stanzas
of eight lines. The first lines in English translations as
given by Julian are:
Oxford Booo f Carols, p.182. Julian, op..citp.564W
76
77
"In dulci jubilo, now let us sing with mirth and jo
(sic) - " in three stanzas. Fund in the Psaltes Ec-
clesiasticus, (Mainz, 1550), and in the QuQe and Godly
Ballates referred previously.
"Let Jubil trumpets blow, and hearts in rapture
flow- " in four stanzas. Found in Klug's Gesang-Buch,
(Wittenberg, 1529), and in Lyra Davidica, (1708).
"In dulci jubilo - to the house of God we'll go"-
by Sir J. Bowing in his Hymns (1825).
"In dulci jubilo, sing and shout all below"-"
in four stanzas (as in a Breslau fifteenth century manu-
script) by Miss Winkworth, (1869).
A recast of the original German begins "Nun siAget
und seid froh." This is in four stanzas and was first
published in the Hannover Gesan-Buch, (1646). It has been
repeated in many later collections, as in the Berlin G. L.
S. Edition, 1863.
The Moravian Hymn _Book published in 1754, has a trans-
lation beginning "We all indeed were perished," a line from
stanza three.
The melody and words are found in a fifteenth century
manuscript at Leipzig University Library. The developed form
of the melody is in Michael Vehe's G.sang-Buch, (Leipzig,
1537), and in Witzel's fslits ErC1.jsiasticus, (Cologne,1550).
78
In Ba-st's Gesang-Buck, (Leipzig, 1545), the last hymn-book
produced for Luther and representing his final text editor-
ship, the third stanza was changed to its present form.
Originally it had stressed the place of the Virgin Mary in
the plan of salvation; this was objectionable to Luther,3
and he wrote the stanza. From this origin comes the
translation made in 1851 by Arthur Tozer Russell, a hymn
writer of note in England. Quoted are the German lines
and their English translation:
Nun singet und seid froh,Jaucht all und saget so;Unsers Herzens WonneLeight in der Krippe bloss,Leuchtet als die SonneIn seiner Mutter Schoss.Du bist A und 01Du bist A und 0!
Sohn Gottes in der HohNach dir ist mir so wehUTroste mein GemUte,O Kindlein zart und rein,Und durch deine Gute,o liebstes Jesulein,Zeuch mich hin nach dir,Zeuch mich hin nach dir.
Gross ist des Vaters Huld,Der Sohn tilgt unsre Schuld;Da wir ganz verdorbenDurch Sund und Eitelkeit,Hat er uns erworbenDie ew'ge Himmelsfreud'Eia, warn wir da.Eia, warn wir daJ
3TheH Handbook to the Lutheran _1mna, compiled byW. G. Polack, p. 197.
79
Wo ist der Freudenort?Sonst nirgend mehr denn dort,Da die Engel singenDem lieben JesuleinUnd die Psalmen klingenIn Himmel hell und rein.Eia, warn wir da,Eia, warn }ir da!
Now sing we, now rejoice,Now raise to heaven our voice;He from whom joy streamethPoor in a manger lies;Not so brightly beamethThe sun in yonder skies.Thou my Saviour art:Thou my Saviour art.
Come from on high to me;I cannot rise to Thee;Cheer my wearied spirit,0 pure and holy Child.Through Thy grace and merit,Blest Jesus, Lord most mild,0 raw me unto Thee!Draw me unto Thee!
No through His Son doth shineThe Father's grace divine;Death o'er us had reignedThrough sin and vanity;He for us obtainedEternal joy on high.May we praise Him there!1day we praise Him there:
O where shall joy be found?Where but on heavenly ground?(here the angels singingWith all His saints unite.Sweetest praises bringingIn heavenly joy and light.O that we were there! 4,0 that we were there:
Lutheran Hymna-, No. 83.
So
Another translation, less true to the original
German text, but far more widely used was made in 1861
by John M. Neale, a contemporary of Russell. This begins
"Good Christian men, rejoice," and is found in presentdagy
hymnals of both Methodist and Presbyterian churches.
Good Christian men, rejoiceWith heart and soul and voice;Give ye heed to what we say:News! News! Jesus Christ is born today;Ox and ass before Him bow,And He is in the manger now.Christ is born today!Christ is born today!
Good Christian men, rejoicelith heart, and soul, and voice;Now ye hear of endless bliss;Joy! Joy! Jesud Christ was born for this!He has oped the heavenly door,And man is blessed evermore.Christ was born for this!Christ was born for this.
Good Christian men, rejoiceWith heart, and soul, and voice;Now ye need not fear the grave,Peace! Peace! Jesus Christ was born to save!Calls you one, and calls you allTo gain His everlasting hall.Christ was born to save!Christ was born to save
In 1887 R. L. de Pearsall published a macaronic
version first in the Musical Times, then in Jovello's Part
LBook, (Second Series, Volume X, 1887),
In dulci jubiloLet us our horiage shot!Our heart's joy reclinethIn praesepio,
01
And like a bright star shineth,Iatris in gremio.
Alpha es et 0!Alpha es et oI
0 Patris caritas -0 lati lenitas!Deeply were we stainedPer nostra criminal;But Thou for us has gainedCoelorun gaudia.o that we were thereo that we were there25
Through the kindness of Professor E. S.Clifton of the
English Departrment of the North Texas State Teachers'College,
the following early text has been -lassifie s a rnacaronic
Latin, GermanScandinavian translation.
In dulci jubilo,sneij 1 '1O
Then all tingh for oss formoLigger in praesepio.Och som solen skijneratris in gre.mio
Alpha es et wAlpha es et w.
In the second line the word "wij" is Dutch; "io" is merely
a phonetic rendering of an earlier word for "joy." The rest of
the text is Latin and $wedish. A free translation would read,
!Now let us sing with joy, because all our joys lie in the man-
ger; also the sun of the sky is in the lap of the Loter."
Kenneth S.Clark, editor, L egp oo nSinLing, No. 13.
Appendix B
Page"Christ is erstanden", 16th. century, Anonymous 82
'Vocal Setting I , anonymous 84
Vocal Setting II by Gesius 85
Vocal Setting7 III by iaci 86
Vocal Setting IV by de Pearsall 87
Vocal Setting V Chorale by Stainer 88
Chorale Prelude by Buxtehude o9
horale Prelude by Zachow 92
Chorale Prelude bV Walther 93
Chorale Prelude by Bach 97
Chorale Prelude by Bach 102
Chorale Prelude by acb 106
Chorale Prelude by Dupre 109
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BIBLIOGRAPHY
General
Books
Adams, Mrs. Crosby, Studies iHymnolog, Nashville,Tennessee, Nhitmore and Smith, 1938.
Apel, Willi, Harvard Dictionar of usic, Cambridge,Massachusetts, Harvard University Press, 1944.
Bible, EghElish, King James Version.
Breed, David R., Th Histr ad Use of Hyrns and Hyma -Tunes, Chicago, Fleming H. Revell Company, 1903.
Catholic Encyclopediah, edited by Charles G. Herber-mann, New York, The Universal Knowledge Foundation,1913.
Dickinson, Edward, Music in jhe History of the JWesternChurch, New York, Charles Scribner's Sons, 1902.
Douglas,Winfred, A Brif Commenary 2n Setlecgte4 Hymnnand CarolsChicago, Northwestern University Informa-tion, V, No. 11, 1936.
Duncan Edmondstoune, h Stor f the Carol, New York,Charles Scribner's Sons, 1911.
Encyclopedia of Relig*on and E thicsedited by JamesHastings, New York, Charles Scribner's Sons, 1928.
Gillman, Frederick John, he Evolution of the Englishismy, New York, The MacMillan Company, 1927.
Grace, Harvey, The Organ Works of Bach, London, Novelloand Company, 1922.
Gray, Cecil, The Histo MusicNew York Alfred A. Knopf,1928.
ill
112
Grove, Sir George, Grov0s Dictionary of Music and Musicians,edited by H. C. Colles, New York, The MacMillan Company,
1938.
Handbook to the Lutheran Hymnal, 1he, edited by W.G. Polack,St. Loul7 Missouri, Concordia Publishing House, 1942.
Julian, John, A Dictionary of Hmnoloay, London, John Murray,Albemarle Street, 1925.
Kinloch, T. F., An Historical Account of the Church $mnar,Cambridge, England, I. Heffer and Sons, Ltd., 1926
Leichtentritt, Hugo, Music, History, 4 Ideas, Cambridge,Mass., Harvard University Press, 1944.
Marcd, F. A., Latin Hymns with English Notes, New York,Harper and Bros., Publishers, 191.
Newman, ErnestAn Introduction to the Chorale Preludes ofj. .B , Longon, Novello and Company (no date).
Ninde, Edward S., Nineteen Centuries of Christian .S.ng,New York, Fleming H.Revell Co., 1938.
Phillips, William I., Carols: Their Origin, Music, adConnection ith Mystery lays, New York, E. P. Duttonand Co., 1921.
Reese, Gustave, Music in the Middle Ages, New York, W. I.Norton and Co., 1940.
Sachs, Curt, TheRise ofjMusi c in th Ancient World, NewYork, W2M. Norton and Co., 1943.
Scholes, Percy A., The Oxford Companion to Mus, New York,Oxford University Press, 1935.
Schweitzer, Albert, L .J agh, New York, MacMillan Co.,1938.
Smith, Leo, Music of the Seventeenth and EighteenthCenturies, London, J. M. Dent and Sons, Ltd, 1931.
Spitta, Philipp Johann Sebastian Bagj, New York, H. W.Gray Co., 1899.
113
Taylor, Stainton De B. The Chorale Preludes _. _New York, Oxford university Press, 1942.
Walters, Raymond, ST Bethlehe Bac h Choir, A Histor anda Critical compendium Boston, Houghton, Mifflin Co.,1923.
Williams, C. F. Abdy, The aStory ofgZan Music, New York,Charles Scribner's Sons, 1905.
Music Sources
Bach, Johann Sebastian, Four-Part Chorals, edited by CharlesS. Terry, New York, Oxford University Press, 1929.
Bach, Johann Sebastian,Tlwlg Chorale Preludes for Organ,selected and edited by Franklin Glynn, New York, 0.Schirmer, Inc. , 1931.
Bach, Johann Sebastian, The Chorale Preludes, London,Novello and Company, (No date).
Buxtehude, Dietrich, Orgelcompositionen, herausgege ben vonPhilip Spitta, Vol. II, Leipzig Breitkopf and H1rtel,Publication No. 14208, 14361, lH88.
Dickinson, Clarence, Thea Te&hnjue nQ t"In dulci jubilo," Chorale Prelude by J.S.Bach, NewYork, H.W.Gray, Agent for Novello and Co., Ltd., 1922.
Dupre, :arcel, Seventy-nine Chorales, op. 28, New York, U..Gray and Company, 1924.
jyqnal for Christian Worship, Richmond, Virginia, John KnoxpressT, m V i h
Kee non Sjnging, edited by Kenneth S.Clark, New York, Paull-Pioneer Music Corporation., 1938.
Manuscript , W._J D 30, found in The Evolution of the Art ofMusic, C. Hubert Parry, New York, D. Appleton-CenturyCo., Inc. , 1932.
Oxford Book of Carols, New York, Oxford University Press,1938.
114
Rhau, Georg, Newe. hdeudsc leistlghe es, :ittenmberg,,5 4 4 , Denkmailer deutscher tonkunst I, Folge...BdXIV, Leipzig, Breitkopf and Hartel, 1908.
Schering, Arnold, sihte der ilusik in BeIs4L,Leipzig, Breitkop> and Hirtel 1931
Waiter, Jolinn Gottfried, Gesrmre1tQjQWkg fur _r4 gl,herausgegeben von Maax eiffert, Leipzig, Breit-kopf h a rt, 19o6.
Zachow, Friedrich ;ilheLm, Ggesa, rk Ke r u .rQrcr_her.aus r7 geDen von Miax 3eif ert. DenkmIfnler tonkunst,
Folg e...Ld 21/22, Leipzig, Breitkopf deutscherand,
