Boston University

School of* Theology

Dissertation

THE MUSIC OF THE PROTESTANT HYMNALS USED IN PUERTO RICO

by

LUIS A. OLIVIERI -

Submitted in partial fulfillment

of the requirements for the degree of

/■
Master of Sacred Music

1976
 B o s to n U n i v e r s i t y

School of Theology

Dissertation

THE MUSIC OF THE PROTESTANT HYMNALS USED IN PUERTO RICO

by

LUIS A. OLIVIERI
6

Submitted in partial fulfillment

of the requirements for the degree of

Master of Sacred Music

1976
 APPROVED

by

First Reader

Professor of Church Music

Second Reader
 ACKNOWLEDGMENTS

This work is dedicated to the following persons

in grateful acknowledgment of their encouragement and

help we have received from them• To my parents,

Rosa María and Arturo Olivieri from whom we learned

the first hymns during our childhood; to Dr. Paul Pisk,

visiting professor at Boston University, who gave us

the initial orientation for this work; to Dr. Max Miller,

from Boston University School of Theology, who has been

our advisor, faithfully reading the draft papers and

giving very significant and helpful suggestions; and

finally, to my dear wife Evelyn, who with a great deal

of patience and love has done the proofreading and

typing; and to our children Luis and Emanuel.

 TABLE OF CONTENTS

INTRODUCTION ...,........ ........................... ...... 1

Reasons Tor the study
Origins of Protestantism in Puerto Rico

CHAPTER I THE DEVELOPMENT OF HYMNODY........ .,.......... 6

Sources of early "hymns used
Use of hymns
Criteria for the selection of Content
The learning of hymns

CHAPTER II THE HYMNALS AND THEIR CONTENT.......... 49

Description of the main hymnals used
Musical content of hymnals
Observations on melodic and harmonic usage

CHAPTER III TOWARD A NATIVE HYMNODY........?...... .138

In the Pentec os tal churches
In the Disciples of Christ churches
Melodic and rhythmic elements
Choruses
Present hymnals with South American hymns
Other contemporary collections
Contemporary Puerto Rican hymn composers

CONCLUSIONS ..... ..184

APPENDIXES.... ......... ................ ................. 190

BIBIIOGRAPHY..... ......................... .............. 22 6

 L IS T OF APPENDIXES

APPENDIX I
Best Represented Gospel Songs Composers
in the Spanish Hymnals ••.... ........... ........... . .190

APPENDIX II
Melodic Content of the Hymnals Used by Churches*... *.191

APPENDIX III
Two-hundred best-known tunes ........... 193

APPENDIX IV
Hymn texts given with different tunes.................197

APPENDIX V
Hymns translated more than once ........ 2.0h

APPENDIX VI
Tunes Used For more than One Hymn................... .209

APPENDIX VII
List of hymnals which have been known in the
Protestant Churches ........ 215

APPENDIX VIII
List of hymnals and collections with chorus es»....o..221

APPENDIX IX
Hymns of Latin American origin in
Himnos de Fe y Alabanza. ........ •223
 INTRODUCTION

Reasons Tor this Study

About 40 different hymnals have been used in Puerto

Rico since 1 8 9 8 , when Protestant churches began to be
organized, Most of these hymnbooks are very similar in
their musical and literary content• It is not very
difficult to realize that most of their content was
translated from hymnals in English, from the United States
and England, particularly the gospel song type of hymn
which is predominant in these hymnals.1

Although there are different types of hymn tunes in

these hymnals, the average congregation knows more gospel
songs than any other type of hymn.
Some of the questions we would like to answer through
this study deal with the predominant use of the gospel song
in our churches, Why the churches have not learned more
hymns of the traditiona1 type? What does the gospel tunes
have that justify or explain this popularity in our
hymnals and churches? Do they have any relationship to the
folksongs orpopular music of our country? How have the
churches learned the melodies of these tunes? Are they
easier 1 0 learn than chorale melodies?

We would like to indicate which are the different types

For a complete list of the hymnals see Appendix VII*

 2

of hymn tunea represented in our hymnals, besides the

gospel songsj and which are the best from the musical point
of view*
Many of these hyranbooks have been edited by denominational
committees $ except for the earlier ones which were edited by
interdenominational agencies» In which way has this influenced
the selection of the hymn tunes? Which criteria have they
used to make the selection of the hymns included? Is there
any particular advantage of having a denominational hymnbook?

Recently we have had the publication and use of new

collections of hymns in pamphlets and small hymnals * Some
of these include the production of native composers• Is
there something new in these hymns? Can we speak of an
indigenous hymnody?

Besides the music of the tunes in the hymnbooks we

would like to say something about the so called "coritos”
(refrains or choruses) which are very popular in most of
our churches * It has been said that their music is an
attempt to use the indigenous music in our church singing.

In this study we are trying to give a general picture

of the music in the hymnody of the Puerto Rican churches, its
hymnals, its development and present status•

As far as we know, this is the first attempt to write

about the music of Spanish hymnody, The only study already
done in this field is the one done by Cecil Me Connell in
his book La Historia del Himno en Castellano, but no
evaluation of the hymnals * music is done in it•

This study will be limited to the hymnals and hymns

that have been used by the churches in Puerto Rico #
especially those which are the official books for the
various churches• Our main subject of study will be the
hymn tunes although some comments will be given on the
 3

words and how they have been translated and adapted into the
Spanish language*

Origins of the Protestantism in Puerto Rico

Probably, ”the first services to be held in Puerto

Rico took place in 1598 when the British took San Juan and
held it for five months. Another reference to the
Protestantism origins in Puerto Rico is the presence of a
Protestant European merchant called Heileger, who in 1861
organized in Aguadilla* at the home of José A. Badillo, a
Bible study :
group which came to be known as the Bible
Believers or "Los Bíblicos”« Under the Spanish government 9
religious 1ibertj was very restricted and the official churcIi
was the Roman Catholic* The only organized Protestant church
was an Anglican* established by an English-speaking group
from the Brittanic islands in the Caribbean who were living
in Puerto Rico » On November 2 0 * 1 8 6 9 they got permission
fr ora the government to worship as the Holy Trinity Church
in the city of Ponce * with the invassion of the United
States into the Island in I8 9 8 , it was also invaded by
different Protestant denominations 9 which established
formally Protestantism in Puerto Rico•

Baptists * Presbyterians, Methodists, Episcopals,

Congregationals and Lutherans were the first Protestant
congregations to establish missionary work. The Disciples
of Christ group came in 1906*

Most of the first missionaries who came to Puerto

Rico had previously been in Mexico* Among them was Charles
W. Drees (1851-1924)* a graduate from Boston University

Justo L, González, The Development of Christianity

in the Latin Caribbean * (Grand Rapids, Michigan: W* B,
Eerdmans Publishing Co** 1 9 6 9 ) p. 1 0 1 .
 k

School of Theology, who came to Puerto Rico and founded the

First Methodist Church of San Juan in April, 1900* He had
b e e n a missionary in Mexico since 187^ where he participated
in the production of Himnario Metodista, in 1881,

Another missionary who came to the Island after being

in Mexico was the Englishman John Edwards (1840-1911). He
worked as the direct or of the evangelistic work of the
Congregational Church, The first Presbyterian missionary,
Milton E, Caldwell (d, 190?) came to Puerto Rico in 1899
after serving in Mexico, Hugo P, McCormick and A, B, Rudd
were the first Baptist missionaries. .Both were from
Virginia and educated in Southern Baptist schools, but
worked for the Northern Baptist Mission Society, Other
missionaries and early pastors were ex-Roman Catholic
priests like Angel Vlllamil Ortiz {1873-1937)$ a Puerto Rican
ex-Franciscan who founded the Christian and Missionary
Alliance Church• This mission began its work in 1900,
4
By this year there were several churches of the
various denominations organized. The missionary work was
divided among the different denominations, This was the first
ecumenical enterprise in the Island• In 1 9 0 5 the Federation
of Churches was organized, It is now known as the Evangelical
Council, Other early ecumenical projects were the churches1
periodicalf in 1912, and the Evangelical Seminary in 1919*
The Evangelical Seminary was the result of the merging of
various Bible institutes and small theological schools from
the principal denominations,

The Pentecostal Church began its work in the city of

Ponce in November of 1916, under the leadership of two
Puerto Ricans who were related to the Assemblies of God
in the United States, Frank 0, Finkerbinder was sent to
Puerto Rico to organize the church under the name of Iglesia
de Dios Pentecostal, Inc,, being this the first native and
autonomous church in Puerto Rico and the most growing one
up to the present time• Other small Pentecostal churches
were organized by dissidents of this church and other
denominations. Later on, the Defenders of Faith and the
Assemblies of Christian Churches were organized; both by
the year of 1931.
After 7^ years of life, most of the Protestant
churches and institutions depend on the Mission Boards of
the mother churches in the United States for their
economical support, The only self-support churches are
Baptist, Disciples, and Pentecostals, although the first
two are related to their Conventions in the United States *
The Protestant population in Puerto Rico is estimated to
be 15 to 20 percent of the Island population, which is
about 3 »000,000 people *^

Figures are estimated taking into account the

information given by D* Moore, Puerto Rico para Cristot
(Cuernavaca, Mexico: CIDOC, 19^9 )» P* 5/l2*
 CHAPTER I
THE DEVELOPMENT OF HYMNODY

Sources of Early Hymns Used

The missionaries brought to Puerto Rico the hymns

they used to sing in their countries , most of them
^istimlated in Mexico and Spain during the last half of
the nineteenth century.

About the impact of the Protestant hymns in the

Puerto Rican culture t the Puerto Rican musicologist
Maria Luisa Muñoz says s

No podemos olvidar la influencia ejercida

por las iglesias protestantes con @1 canto de
sus himnos• El himno fue el fiel acompañante
del misionero predicador del Santo Evangelio, y
el pueblo agrupado en congregaciones tgáa o menos
numerosas , descubrió un alborozo y satisfacción,
de una manera armoniosa de alabar a Dios•
The first hymnal used by Puerto Rican evangelical
worshipers was Himnos Evangélicos. also called Himnario
Evangélico, published in 1893 and 1895 by the American
Tract Society of New York, an interdenominational
agency. It is interesting to note that by that time,
churches were using what may be called an ecumenical
hymnal9 produced by a committee with representation of
the various denominations•

1
María Luisa Muñozy La Mdsioa en Puerto Rico.
(Sharon 9 Conn; The Troutman Press , 1 9 ^ ) ( PP« 3^*35•
 7.

The hymns included in this book came from different

sources and hymnals which had been published before^this
one. According to Cecil Me Connell, the first hymnal in
Spanish was edited by the English Wesleyan pastor William
Harris Rule (I8 I2 -I8 9 0 ) in 1835 in Cadiz, Spain. This was
an edition published without music• The American Tract
Society in New York published in 1848 the hymnal Himnos
para el Uso de las Congregaciones Españolas de la Iglesia
Cristiana. Another edition of this hymnal was published
in 1880, with 350 hymns• Most of the hymns included were
translated by pastor W • H. Rule» Some of the Spanish free
thinkers and liberals of the nineteenth century contributed
with their poems» Melodies of well-known tunes of English
hymns were adapted to these poems• Among these poets was
Francisco Martinez de la Rosa (1 7 8 7 -I8 6 2 ) who wrote "Venid
Pastorcillos" , to be sung with the tune MULL1SR• J o s é Joaquin
de Mora (1783-1864) wrote "Oh Dios, Padre Mío", to be sung
with tune WAS LEBET, WAS SCHWEBET, and "Ni *en la tierra ni
en el cielo", to be sung with tune WELLESLEY * Another of
the liberal poetá was J osé Zorrilla y Moral (1817-1893)#
who wrote "Señor yo te conozco", to be sung with the tune
MISSIONARY HYMN by Lowell Mason. The last one in this group
is Tomás J osé González Carvajal (1753-183*0 who did in
Spain a similar work to the one Isaac Watts did with the
Psalms in England• In 1819 González Carvajal published
Los Salmos traducidos Nuevamente al Castellano en Verso
y Prosa Conforme al Sentido Liberal y a la Doctrina de los
Santos. From this collection probably comes the hymn-psalm
"Cantad Alegres al Señor", based on Psalm 100, to be sung
with tune DUKE STREET.1

1
Cecil Me Connell, La Historia del Himno en Castellano.
(El Paso, Texas: Casa Bautista de Publicaciones, Í9¿3)»
P « 113•
 On© of the earliest Spanish hymnbooks with printed
music was Lira Sagrada» published in 1874 by Mateo CoSidá #
a Spanish ex-catholic priest# Two of his translations were
included In this hymnbooks "Iglesia de Cristo" by Charles
Wesley# to be sung with tune LYONS and "Hoy es dia de reposo"
a sabbatical hymn from B. Richards # to be sung with the
tune ARMSTRONG.
The most outstanding figure of Spanish hymnody was
Juan Bautista Cabrera (1837-1916)• bishop of the Spanish
Reformed Church# He edited two hymnbooks: Himnario para
#1 Uso de la Iglesia Española and Himnos y Canciones for
the Sunday School and parochial schools. The first one
was published in I8 7 8 'with 300 hymns • There were original
hymns , paraphrases from other languages and translations
from the English and Latin# most of them done by Cabrera,
We owe him the best and most known chorale by our churches#
"Castillo Fuerte es Nuestro Dios"# from Luther *s EIN PESTE
BURG 1ST UNSER GOTT. *

The German chorales were first translated into Spanish

by Fritz Fliedner (1845*1901)# a German pastor who lived
in Madrid by 1870. None of these chorales were used in the
earliest Spanish American hymnals, The hymnal which now
includes some of his translations is Cántico Nuevo. edited
in Argentina in 1962,

The first evangelical church founded in Mexico was

in 1864# by the English missionary Thomas M, Westrup
(1837-1909), Later on he became the first missionary of
the Baptist Convention in Mexico and spent moat of his
life there• Realizing the need for hymns in Spanish# he
translated many of the best known English hymns # and
•dited a hymnbooki Incienso Cristiano. which went through
two editions # in 1875 and 1889, One hundred and twenty-
five of his translations were included in the Himnario
Evangélico of 1895* Among them, "Rock of Ages", "Abide
with Me"9 and "Jesus Lover of my Soul"• He also translated
«any gospel songs and wrote some original poems*

The Presbyterians in Mexico published in 1877 the

Himnario de las Iglesias Evangélicas under the editorship
of M* N, Hutchinson. The Methodists published in I876 the
first edition of Himnario de la Iglesia Metodista Episcopal
which had a music edition^ in 1881• William Butler and
William H. Rule were the editors and translators for most of
the hymns in this hymnboolc.

In Argentina, the first hymnal with music was printed

in 1881 3 Himnos Evangélicos. The publication was sponsored
by the Methodists under the direction of Henry G. Jacks on,
a missionary from United States who translated, adapted and
wrote some of the hymns included. After this, in 1 9 0 5 , he
was member of the Methodist Hymnal Committee in the United
States. 4

Another important source for the early hymnals was

the collection Estrella de Belén. published in 1 8 6 7 and
prepared by the missionary Henry C . Riley for the American
Tract Society. The collection consisted of 16 pamphlets of
ft pages each, words and printed music• They were used in
the services of the Spanish speaking congregations of the
o
Americas for many years. From this hymnbook comes the
well-known hymn "A nuestro Padre Dios", which has been
always sung with the tune AMERICA•1
2

1 ;
A copy of this edition is at the Boston University
School of Theology Library»
2
Cecil Me Connell, Op. cit.. p. 126•
 10

example , in Hinmario Evangélico there are 513 hymns*

The most important translators in this hymnbook are:
Juan Bautista Cabrera with 53» Thomas »M* Westrup with 10,
William H* Rule with 7 » Pedro Castro, a Spanish pastor»
with 11» M* N * Hutchinson with 5# and Ramón Bon with 6 *
With original texts in Spanish, the most important are
Tomás González Carvajal with 4, and Mateo Cosidó with 5*

The hymn tunes in this hymnal are for the most part
from English and North American hyranbooks* The following
list shows the most represented composers i

Lowell Ms®cm 32 tunes

William Bradbury 16
Phillip Bliss Ik
Ira D* Sankey Ik
Joseph P* Holbrook 12
James Me Granaham 9
George F* Root 7
William H* Doane 7
George 0, Stebbins 7
4
There are some tunes with Spanish names, but' no source or
composer is given* For example, CADIZ, CUBA, HABANA,
MALAGA, MEXICO, PUEBLA, SANTIAGO, MI BIEN and FUENTE* In
total, there are 3 9 8 melodies, many of them repeated for
different hymns * There are some non-English European tunes
such as WACHET AUF identified with the name ALAMEDA, BAVARIA,
ELLACOMBE, GERMAN and some tunes arranged from MendsIssohn1s
music 1 among them, WILSON*

Two more hymnals should be mentioned among the early

hymnbooks in Puerto Rico* The first one is El Nuevo Himnario
Evangélico, published in 191^ by the American Tract Society
as a revision to the Himnario Evangélico of 1895* The
Society appointed, a committee composed of representatives
from the different denominations working in Mexico* There
were two missionaries 3 Rev. John Butler and Rev* William
Wallace, and three Mexican pastors who were also hymnwriter®»
 IX

Vicente Mendoza, Eplgmenio Velasco and Teófilo

Barocio. About the work on the production of the new hymnal
the same committee expressed*
La Comisión ha trabajado con tanta fidelidad y
entusiasmo como le ha sido posible, revisando y
estudiando cada himno , estrofa por estrofa y verso
por verso, comparando a veces dos, tres y hasta
cinco traducciones de un himno} asi como las músicas
que mejor se adaptan a ellos % revisando más de diez
diferentes colecciones d© himnos de E s p a ñ a S u d
América y Méjico• No es aventurado decir qu® revisó
y estudió lo menos unos tres mil himnos de toda proce­
dencia y de carácter para llegar al resultado que
ahora ofrece al pueblo evangélico.***

The hymnal was first used as a substitute to Himnario

2
Evangélico of 1895* It was considered for many years as
the hymnbook published in Spanish. It contained 3^9 hymns.
Seventy tunes were from English composers, most of them from
Dukes , Sullivan, Barnby and Smart * One hundred fifty tunes
3
from United States were used, including JO gospel songs• ^
i
There were Z J melodies from German composers, most of them
arrangements from master works and some folk melodies. Prom
Mexican composers were included 19 tunes, 6 of them by
Epigmenio Velasco. Other melodies were from Spain, France,
Italy, Chile and Sicily* Anglican chants were given for the
"Psalm 23" and "The Lord *s Prayer"•

The second hymnal which may be considered among the

earliest in Puerto Rico, although it is still in use, is

American Tract Society, Nuevo Himnario Evangélico.

(San José, Costa Ricaj Editorial Caribe, 19l4), pp. v-vi»
?
2
It was the official hymnal at the Evangelical Seminary
of Puerto Rico until 1 9 6 2 .
3
Seven of the gospel songs were from John P, Sweney
(1837-1899) who wrote them specially for Himnario
Metodista Episcopal of 1881, in Mexico.
 12

Himnos de Gloria» Xt was edited in 1921 by the missionary

H* C* Ball (b, 1 8 9 6 }* This hymnb 0 ok was not used as a
substitute for the Nuevo Himnario Evangélico» but as a
supplement of it, because it included more gospel songs
of the evangelistic type, although some churches began to
use it as their only hymnal and still do up to the present
time» According to Revf Ball, more than 800,000 copies of
this hymnal have been sold among the Spanish speaking
congregations throughout the world.^ Word editions of the
hymnal were published previously in 1916 and 1919•
In Himnos de Gloria there are 2 3 0 hymns. The most
represented translators are:
Vicente Mendoza 39
Henry C # Ball 3h
Juan Bautista Cabrera 13
Pedro Grado 11
H» ¥« Cragin 9
Thomas Westrup 7
Pedro Castro 5
Included in the hymnal are some original poems by these
translators and 7 poems by Fanny Crosby» Most of the
translated hymns are gospel songs from the United States
and 21 hymns translated from English writers. The most
represented gospel-song composers are x

Charles H, Gabriel l4
William J* Kirkpatrick 13
John R* Sweney 8
George C • Stebbins 6
William H, Doane 6
Mrs. C. H» Morris 6
Phillip Bliss 6
William Bradbury 5
George F. Root 5

■^Henry C. Ball, personal letter, December 28, I9 6 X*

Of the n o n gospel song tunes, 10 are from English composers,
from United States composers including 6 by Lowell Mason,
and 4 from other European composers• Folk and secular
melodies from different countries are used but none of them
from Latin America» Among them are LILUOÍÍALANI or ALOHA
from Hawaii, JUANITA and PUEBLA from Spain, LILY OF THE VALLEY
„pr THE LITTLE OLD CABIN from Kentucky and AUTUMN from
Scotland.
However, for the most part, the hymnal is a collection
of 00 spel aong tunes, including a total of 200 of that kind»
..Ip its content this hymnbook is very similar fco the gospel
songs collection published in the United States by the end
of the nineteenth century. Most of the original poems and
tunes are the same that were included in the gospel songs
publication of Ira D* Sankey and Phillip P . Bliss which
were sung at the gospel meetings• Other similar hymnbooks
in English are Awakening Songs. compiled by pilarles H.
í
Gabriel and published by the Rodeheaver Co. of Chicago in
1917 } Uorld ¥ide Revival Songs, by C. P* Curry, It. Rode­
heaver and Charles Gabriel, published by the Revival
Publishing Co. of Chicago in 1915? Life and Service Hymns
of 1917, compiled by Bentley B. Ackley, with tunes by
Charles Gabriel, P. P. Bliss, ¥. H. Doane and George C •
3tebbins•

Among the denominational hymnals, the first one to

be used and produced in Puerto Rico was Cant os Sagrados:
Un Hironario para la Fe Católica. words only, published in
San Juan, Puerto Rico in 1924 by the Episcopal Church.^

Phillip P. Bliss and Ira B. Sankey, Gospel Hymns

No, 2♦ (Ohiog John Church Co., 1 8 7 6 )•
2,
. A copy of this hyinnal is in the Douglas Collection
at Washington Cathedral Library, as listed in The Papers
pf_-_the Hymn Society. No, XXIII, (The Hymn Society of
America, New York, 1958) p* 45•
 14

This hymnal won't into seven ©ditions ( th© Iasi? one In 1949,
considerably enlarged to include 263 hymns. For the music
it depends on the Hymnal 1940, and the Church Hymnal. A
music supplement was published to include the music not
found in these hymnals. Most of the translations for th©
1042 and 1949 editions were don© by Rev. Lorenzo Alvarez
(1 8 9 7 -1 9 6 9 ). who was an Episcopalian priest. This hymnal
was the main source for the present hymnal, El Hlmnariot 1 9 6 1 •

Different hymnals in English have been used as melodic

sources for the Spanish translations of the hymns• Reference
to some of them is done in the local words-edition hymnals»
Among the most used are Hymns of Praise. 1922, by the
Rodeheaver Co.; The Modern Hymnal; The Church School
Hymnal for the Youth, 19^9, Westminster Press. The
Methodist Church used in his early annual meetings The
Methodist Hymnal« 1 8 7 8 ,^ for the singing of hymns in
English until 1905 when they adopted the Hlmnario Evangélico»

See page 7 of Official Minutes of the Porto Rico

Mission of the Methodist Episcopal Church, 1902, San
Juan, Puerto Rico.
 15

The Use o f Hymns

In the early years of the Church In Puerto Rico the

hymne used were mainly for evangelistic purposes, to com*
municate the gospel teachings in a Roman Catholic country.
The lively melody of the gospel song became a favorite among
the new converts, expressing their joy of the new life in
Clirist. In the southern part of the Island the Congregational
missionary Rev. Huffman held "evangelistic meetings in public
market places and in the homes of members of the congregation,.
These meetings usually consisted of singing, praying and
preaching.tT^
This has been the practice up to the present time in
most of the evangelical congregations• Hymn singing is a
very important part in the evangelistic meeting. Generally,
the text of the hymns used is a testimony of conversion or
&n invitation for conversion to the faith. Some of the
titles of the hymns most frequently used wea*e:

Acogida da Jesús music by J • McGranaham

Allí la puerta franca está music by Silas J . Va.il
Grato es decir la historla music by William Fischer
Hay un inundo feliz music by J . P, Webster
Ven a Cristo music by John Fawcet
Pecador ven al dulce Jesús music by J, P, Webster
A Jesucristo, ven sin tardar music by George F» Root
Salvo en los tiernos brazos music by W« H, Doane
Aún hay lugar, escucha pecad or music by Ira I). Sankey
Oh Salvador mi fiel Jesús music by G* S , Schiler
This list is not complete but gives an idea of the type of
melody and text of the hymns used•^ The text deals
^ _ - :

Donald Moore• Puerto Rico para Cristo. (Cuernavaca•

Mexicos CIDOC, 196977’p. 2 / 6 5 ,
2_
¿rom an interview with Rev. Angel Acevedo, one of
the early Baptist ministers, February 26, 1 9 6 2 *
 16

mostly with the initial stage of the Christian life, the

conversion. There is little place for Christian nurture
snd development and lack of educational ideals. Melodies
ar© catchy and sentimental# with a soft martial rhythm*
Evangelistic campaigns have been very common in the
churches since their beginning. They follow the style of
Dwight Moody, Billy Sunday and Billy Graham, where hymn
singing has an important role. They prefer gospel songs•
Between the years 1921-1928, there w e r e several evangelistic
campaigns in the Island, with preachers like Henry Strachan
and Fred J » Peters• The Association of Churches sponsored
one called "Puerto Rico Para Cristo" (1921-1922)$ later on,
one called "Cruzadas d e la Fe E v a n g é l i c a " O n e pastor,
commenting about the campaign in his town, said about the
role of singing:
Mr, Peters spends half hour of each service
for the spiritual and lively singing. He has a group
of refrains (choruses) which the audience learns
easily and they continue singing the gOod news. In
this way, even the children praise the Lord•
During these years churches started using Himnos
de Gloria which contains many of the songs and hymns used
in these evangelistic crusades• The emphasis was given to
the learning and use of gospel songs and the evangelical
type of hymn* This type of hymn is described by an out­
standing hymnologist:
It consisted in cultivating the mystic,
personal side: communion with God, fervent life of
Christ as God, prayer, contemplation of heaven
as the reward for the faithful endurance of the

X )
A little hymnal, Himnos Evangélicos. words only
was published in 1922 by the Protestant publishing house
Puerto Rico Evangélico especially for this campaign» It
included 57 hymns taken from Hlmnario Evangélico, Nuevo
Himnario Evangélico. Himnos de Gloria and Himnos Selectosg
^5 of them, gospel songs. Other different revised and
enlarged editions were published in 1934 and 1950,

^Francisco Rodriguez, "Avivamiento en Guayama, P ♦R •"

iMfrto Rico Evangélico. May 26, 1928, Vol, No. 48), p, 12.
 ill® of life| nature as a approach to God, the winning
of soul® through conversion rather than through^
baptism* the spread of the gospel to all lands.

Himnos de Gloria d id not have any thematic guide to

the hymns because they were conceived for the evangelistic
meeting and the Sunday School, in which most of the hymns
used were also of this type• This is somewhat different
fro® Himnario Evangélico and Nuevo Himnario Evangélico
where the hymns were more appropiate for the worship
service * although a section of evangelistic hymns was
included•
Worship services in the Puerto Rican evangelical
churches followed the pattern of the mother churches in
the United States• The sermon was the most important
part and the main service was the preaching service• Also
the communion service was important; it was celebrated
every three months. Generally three to four hymns were
included* the first one a praise hymnj the Second, a
testimonial one or related with the sermon, and the
third an invitation to conversion or re-dedication. This
pattern is still followed in many churches in Puerto Rico-
This is different in some way to the so called liturgical
churches, as the Episcopal and Lutheran, where the hymns
are chosen to fit into the parts of the liturgy and the
liturgical calendar. The only occasions that evangelical
churches follow the liturgical calendar when choosing the
hymns to be sung are Christmas, Holy Week and Easter*
Among these, the best known are *
Noche de Faz, Noche de Amor F . Gruber
Suenen Dulces Himnos G. F. Root
Oh Santísimo Sicilian song
Venid Pastorcillos Ira D* Sankey
Td Dejaste Tu Trono Ira D. Sankey
Oid un Son P, Mendelssohn

Albert E. Bailey, The Gospel in Hymns. (New Yorks

Charles Scribner*s Sons, I9 5 0 ), p, 477.
 18

AI Calvario solo Jesús Charles H* Gabriel

Hay un precioso manantial U. S. Melody
Rostro Divino G. LÜders
Me hirió el Pecado Ralph Hudson
Hubo Quien por Mis Culpas Grant C* Tullar
En el Monte Calvario Ge orge Bennard
Junto a la Cruz J A H* Stockton
La Tumba le Encerró Robert Lowry
Ved a Cristo, Rey de Gloria Geo• C . Stebbins
El Señor Resucitó Lyra Davldica
Al Cristo Vivo Sirvo A. H* Ackley
IResucitó 5 La Nueva Dad J • Lincoln Hall

A favorite kind of worship service is what in some

churches Is called ”Praise Service”• In Spanish they are
called "Servicios de Alabanza” or ”d© Canto”. In the
United States "they were originated by Eben Tourjée in
1851 as part of the Young Men Christian Association
(YMCA) activities* It consisted of singing hymns selected
at randosp or around a theme. Scripture selections and
prayers were included between the hymns * During our child­
hood in the 1940fs this service was done very often in
the youth and women meetings of the United Brethern and
Congregational Churches•

Another use of hymns in worship services of the

churches is a "special music” section by choirs, quartets,
and soloists• Many hymnals included choral arrangements
of the hymns and choral groups used these hymnals as their
main source for repertoire, singing the hymns in block
form as they are printed• Following is a list of choral
arrangements included in Hjmnarj 0 Popular of 1932 and
1955* The title» number in the hymnal and composer are
given. This list is based on the ones we have heard
most often*
Maestro s© encrespan las aguas 70 H, P. Palmer
Bendecido el gran manantial 71 H. S . Perkins
Ven pródigo a Cristo 99 c. H. Gabriel
Arrolladas las neblinas 230 Ira- D. Sankey
Si estás tú triste 243 M. González
 19

En Cruenta Cruz 64 John R . Sweney

Al huerto Van a Visitar 271 J, Lincoln Hall
Es el Tiempo d© la Siega 382 Charles H. Gabriel
Dignó es el Cordero 38I Frank Davis
Usa mi Vida 372 G. S, Schiller
Siembra que Hicimos 343 P* P* Bliss
Cantad del Amor de Cristo 309
309 E, D. Wilson
Maravillosa Gracia 167 Harold Lillenas

The last six hymns are from 19551s edition of Himnario

Popular*
A last comment on the use of hymns by the Puerto
Rican churches is what we may call "social purposes”• This
is the use of hymns with non-worship purposes« One of the
traditions in Puerto Rico in the matter of folk music is to
sing at the funeral wakes (velorio) of infants.
The ceremony is more festive than religious
or sad. ..*In the development, of the ceremony
there are songs| stories are narrated and dramatized,
riddles are said f etc * ».*The festive atmosphere
or mood is justified because the infant died Without
sins• Besides that, the child will be ^n angel ^
at heaven to watch for his relatives and friends•

When an adult dies, the tradition is to sing the

Rosary. They call it the "Rosario Cantao de Difuntos"»
Xt is sung during the nine days following the funeral and
at the anniversary of the death. The Rosary for the Dead
is sung three times during each of the nights•

Protestants do not follow the tradition of the "Rosa­

rios" because of its theological implications• Protestants
sing at the "velorios", either of infants or adults * Among
the Pentecostals there is the practice of singing hymns on
the way to the cemetery. Instead of the "Rosario Cantao".
Protestants have a memorial service a week after the
funeral and every year on. The sadness atmosphere is

Francisco L<5pez Cruz, La Mdsica Folklórica de

Puerto Rico. (Sharon, Conns Tr 0utmas Press, 19^7)# p. 164•
 20

combined with some sort of festive mood» ©specially if

the dead was a convert, who is suppose to go to live
with the Lord in Heavens in eternal peace * The life in
the heavenly home and the hope of resurrection from the
dead are stressed* Comfort is given to the relatives and
friends by singing hymns that emphasis® these two ideas*
In this way the funerp.1 is conceived as an evangelistic
occasion* In the following list we give the the most
frequently used hymns at the "velorios" and funerals»
Notice that most of them are from gospel song composers *

Cuando suena la trompeta J* M* Black

Hay un lugar do quiero estar J* M* Black
En presencia estar de Cristo G* C* Tullar
Hay un mundo feliz J* P* Webster
Meditad en que hay un hogar T. 0 *Kane
Voy al cielo, soy peregrino Italian air
En la mansión do Cristo está C « H. Gabriel
Gloria sin fin c* H* Gabriel
Alguna vez ya no estaré G. C* Stebbina
Cerca de ti. Señor L. Mason
4
Some temperance hymns have been included in the
hymnals* El Btminario of 1964 has two* The women*®
Society for Temperance has published word pamphlets
with temperance hymns to be sung with the tunes of t*ell~
1
known gospel songs* One of the hymns in the book
mentioned before uses ST* ABAN *S tune, a melody arrange­
ment from F. J • Haydn« In some other hymnals this hymn
uses Sullivan*s ST* GERTRUDE because the text is a
paraphrases of "Onward Christian Soldiers"• In the
hymnal Lluvias de Bendición there is one temperance
hymn. It is sung with the melody of "Oh Christmas Tree"*

Another occasion in which hymns are used with social

purposes is the celebration of Mother *s Bay in the churches•1

1
The best known of these song books is Cancionero
de...Temperancia by Liga de Temperancia de Puerto Rico,
with 2A temperance hymn®*
 21

Many of the hymns are addressed to the mothers instead of

God# Few of them are addressed to God in thanks giving for
the mothers• Of the first type we can find:

Un cant o para mi madre^^

Los años dg mi infancia
A mi madre «
Cantará oh madre m í a J
Hogar de mis recuerdos^

Of the second type, these are some:

En tu templo 3 „
Fe de las madres"' «
Oh Dios por nuestras madres*'

There arc some others which have been printed in pamphlets,

to be sung with familiar hymn tunes* Most of them are
paraphrases of hymns*

Hymns have been used also just for the reason of doing
something while the service begins * The hymn tunes were used
to gather the people into an evangelistic meeting. This
was the practice of Ver® C • Carpenter, a missionary of the
Disciples of Christ who "carried an old fashioned gramophone
with a few records to call the people together, His wife1s
folding organ also interested them, and usually the music
4.
attracted the curiosity of a number of Puerto Ricans7

Another interesting account of the use of hymns9 just

for fun is recorded in the minutes of a church1s assembly#

In the hymnal Lluvias de Bendición

^In the hymnal Himnos de la Vida Cristiana * 196 7

3
In the hymnal El Himnario

Mooret Puerto Rico para Cristo, p. 2/49•

 22

A singing service was held in order that the congre­

gation had something to do before the worship service
started *3.
Evangelicals in Puerto Pico use hymns everywhere| at
home, at work, in a party or on the street* They prefer to
hum or whistle a hymn rather than a popular song or folk tun©•
Hymns are part of their lives and not only for church services»
Describing the evangelistic and educational work of Rev. J * L.
Santiago Cabrez”a , a Sunday School Missionary in the Presby­
terian church, Dr* Odell says s ”At night there were com­
munity *sings 1• By the time he (Santiago) had passed a few
months in a locality the people were singing gospel hymns
2
at their work and play”*

42*

Association of Baptist Churches of Puerto Rico *

”Actas de Asamblea de Iglesias Bautistas”• (San Lorenzo,
Puerto Rico, 1926) ,

2
The influence of the hymn tunes is also evident in
the pamphlet of hymns of the Respetable Logia Sinceridad
No. 9686 (Odfellows), where k o f the 5 hymns included are
sung with Protestant hymn tunes:AMERICA, BRIGHT1N THE
CORNER, ONWARD CHRISTIAN SOLDIERS, LET THE SUNSHINE IN*
3Edward A * Odell, It Came to Pass * p* 5 6 *
 23

Criteria for the Selection of the Hymnal1s Content

The criteria used for the selection of hymns were

based on two main needs % hymns for evangelistic purpose©
and hymn® for the worship service# Two types of melodies
seem to b© roughly associated with each one* For the
worship service, tne classical or traditional hymn tune,
and for the evangelistic service, gospel song tunes * This
does not mean that gospel songs are used exclusively for
evangelistic purposes, because many of these tunes have
been used also for the worship service. Most of the hymnals
have selected the hymns to be included according to the
evangelistic point of view.
Robert Stevens on describes very well the content
of the hymnals in Spanish, when he says:
i
The gospel melodies of the Sankey-Bliss-Stebbins-
Doane type ha © been the staple of evangelical
hymnals published for use in missionary areas•
••.Hymnals published during the first half of the
twentieth century in China, Japan, Mexico and
Latin America, designed for evangelical situations
(unfortunately or fortunately depending on one1s point
of view), have specialized in ngospel hymns.fI^*

According to the editors we may classify the Spanish

hymnbooks in three kinds. First, those which have been
edited by interdenominational committees; second, those
edited by denominational committeesj third, those edited
by individuals• Although they are very similar in content

Robert M. Stevens on, Patterns of Ppotestant Church

Music, (Londons Duke University Press, 1 9 5 3 )* PP* 1 5 9 ~l6 0 .
v# may point out some of the different criteria used for the
selections of hymns included*
Hymnals prepared by interdenominational commissions
are the best in Spanish, except for the Lutheran and
Episcopal which are also good in their content. These
hymnals follow a topical arrangement and selection of
hymns departing from the liturgical year* Having
representatives from several denominations, the selection
tends to be more inclusive in terms of hymn tunes. The
first hymnals used in Puerto Rico, Himnario Evangélico and
Muevo Himnario Evangélico were of this type. In 1931♦
the same editors, American Tract Society , published
another hymnbook called El Himnario * requested by the inter­
denominational committee ’'Comité de Cooperación en la
América Latina” and representatives of the denominations
working in Spanish speaking countries. The following
words are taken from the preface of El Himnario *
4
•».The texts have been submitted to the
rigorous exam?nation of various experts in music
and language• ..,All the hymns that long experience
has proved to be good and appropiate for evangelical
work are included in this hymna1 ....... it includes
the best of Spanish hymnody, .specially those
which seemed to be more popular and sung with more
enthusiasm. ...We have tried hard to satisfy all
the needs of religious life •A

Although they were very careful in editing a broad

hymnal and took into consideration the best translations
and music, they depended somewhat on the popularity of
the hymns as criteria for the selection. This Was the
last Interdenominational hymn in many years, The next

„__ v American Tract Society, El Himnario (Hew York,

1931), pp, v-vi.
 25

on© was Himnario Evangélico of 1943, edited in Argentina

by three denominations , but it was not used toy any denomi­
nation specificly* It was used by the choirs. In 1 9 6 2 was
e d i t e d what we consider the best interdenominational hymnal•

This hymnb 0 ok is Cántico Nuevo. It was prepared in Argentina

toy a commission representative of the Methodist, Disciple
of Christ, Mennonite and Waldense churches. Their aim was
to revise the book of 19^3 but at the end of their work
the result was a new and different hymnb 00 k. They took
into consideration doctrinal, poetical and musical qualities,
the %©w concept of the church and the worship service.”
These factors extended the limits of their xvork. They tried
to include the best of the different hymnic traditions of
the Church, no matter if they were popular or not. A hymn
contest was held among the churches in Latin America to seek
contemporary hymnsf the best being included• No hymn was
included or excluded without the consideration of the com­
mission. The hymnal was edited by on© of tl£e best church
musicians in Latin America, M r • Pablo D . Sosa. For the
first time we have in our hymnals the best of the Latin
melodies, German chorales tunes , Genevan psalm tunes 9 and
the contemporary hymn tunes from Europe and the Americas•
The main difference between this book and those edited by
the American Tract Society is that in the latter the
selection of hymns was made to include mostly gospel songs
and Victorian tunes» In Cántico Nuevo gospel songs gave
their place to other hymnic source© as the German, French,
old English and contemporary*

El Himnario'of 1964, edited by "The Council in Spanish

American Work" was the last of the interdenominational
hymnbooks• It followed, in a way, the criteria used in
Cántica Nueyo,
 26

El Himnario is the result of ten years of intensive

work by the editor and the committee^ during these
years many groups of ministers and laymen from United
States , M e x i c o $ Puerto Rico and South Central America
were interviewed and consulted, The hymns were selected
carefully according to their theological and musical
value, and their popularity through the years* It
offers a complete variety of appropiate themes for the
different seasons of the Christian Year,^
The hymnal commission was composed of representatives
o f the Council denominations and the editor was Rev* George
p* Simmonds, who has translated many hymns into the Spanish
language. This hymnbook (El Himnario) consists of h k j
hymns; 157 translatíons of gospel songs and standard
hymns were done by Rev* Simmonds• The hymns selected
in this hymnal seem to have been selected according to the
church service• The melodic material has more variety than
in other hymnbooks, except Cántico Nuevo» It has a better
balance between gospel songs and the standard melodies.

There are two types of denominational IiyiiAals i those

for the liturgical churches and those for the non-liturgical
ones• About the first we will comment later * The best
known and the most used hymnal in Puerto Rico belongs to the
second type» It is Himnos de la Vida Cristiana * which was
published in 1939 and revised in 1 9 6 7 • This hymnb 0 ok was
published by the Christian and Missionary Alliance, with
offices in New York for the Spanish speaking churches * It
has been adopted by many other denominations * According
to A, C * Snead, the 1939 edition of this hymnal was a
response 1 0 petitions of pastors from this denomination in
Latin América* They asked for a new hymnal in which were

:-6M
^The Council of Spanish American Work, El Himnario.
(Winonalake, Indiana: The Rodeheaver Co, 1 9 6 5 ) , p, 3 •

li
 27

included the best old and new hymns* so that the evangelical
message would be represented in a more effective way la the
Spanish language# A committee was appointed to collect the
hymns#”^
As this was the reason for editing the hymnal * most of
the melodies included are gospel song tunes * and 16 refrains
of those used in the evangelistic campaigns•

The revision of 19^7 does not show too many changes; the
refrains were eliminated and some standard hymn tunes from
English hymnals were added * About the criteria used for
the revision* Jorge S « Constance * Secretary for Latin America
for the Christian and Missionary Alliance says s

I sent a questionnaire to all our customers

and friends in all Latin America * asking for their
opinion* ideas and selection óf hymns for the new
edition; which hymns we should eliminate and which ?
we should include» We also asked for some suggestions**
In another letter announcing the publication of the
revised edition he listed some of the criteria used. Among
them were* to Include more hymns * to eliminate those which
were not used * to include more hymns by popular demand * to
include hymns from Latin American origin and more hymns
for special occasion*»3

The result of this revision was 35° hymns; 68$ are

gospel song tunes mostly by Bliss * Gabriel* Kirkpatrick*
Stebbins* Bradbury* Sweney* Doans* Simpson and McGranaham.*
3
2

*A, C. Snead* Himnos de la Vida Cristiana. (New Torkí

Christian and Mi sa ionary Al1lañoe * 1939)* P • ill*
2 f
Jorge S. Constance * personal letter* July 21* 196?*
3
Mime ographed letter* May 1 * 1 9 6 7 *
 28

There are 17 Latin American melodies« Eight of them belong

to the hymn writer from Guatemala, Alfredo Colomj most of them
are in gospel-song style* There are only 12 melodies not
published previously in any other Spanish hymnbook* Other
melodies called new are taken from previous hymnals in Spanish*
A group of hymns known in Puerto Rico with melodies, as
EVENING PRAISE, GALILEE, MARTYN, CANONBURY, HIDING IN THEE
(Sankey), MEET ME THERE (Kirkpatrick) and ZION were dropped*
However, 57 melodies which were not used by the congregations
were dropped; unfortunately, some of them good hymn tunes *

Other denominational hymnbooks follow more or less the

same criteria. The Nazarenes published in 19^7 Lluvias de
Bendici6n* "to offer to the Christian world a group of
hymns with spiritual themes, and that at the same time could
bring out the doctrines of the evangelical faith and present
the essential of the Spirit1s life which are indispensable
requirement to enter in heaven*
i
In this hymnal, most of the melodies are of the gospel
song style * About 40 of them are used for the first time in
a Spanish hymnal* Harold Lillenas, editor of the hymnal
includes 2 3 melodies of his own and 14 of Mrs• C* H. Morris *
The rest of the melodic material is taken from gospel song
collections as Cantos de Triunfo * Himnos de Gloria * and Arpa
X V°z de Salmodia * edited by Henry C* Ball*

The Methodist, Baptist and Presbyterian hymnbooks are

very similar in their approach and selection of melodic
mate±ial« It is very interesting to read how the Methodists

^From the Introduction, Lluvias de Bendición (Kansas,

Mo 1 Lillenas Publishing Co*,19^7)#
 29

g,ade the selection of hymns*

The hymns included in this hymnal were chosen by
many persons: ministers, and laymen from the States
of Texas, New Mexico, Arizona» Colorado and California;
also from Cuba and Mexico, In 1940 a blank was sent
to more than 800 persons in these places asking them
to list their 20 favorite hymns and the hymnals in which
they could be found• More than 5 0 0 sent the list,
The hymnal included 300 hymns, The Conference1s ^
Christian Education Board published the hymnbook.
The Presbyterians in Mexico published in 1961 the
hymnal Himnario. Evangélico Presbiteriano recommended to
be used in the Spanish speaking churches in Latin America•
The two main criteria were:
1, "Selection of hymns in which the doctrine
contained be the genuine, biblical, according
to Presbyterian Theology,

2, The exclussion of any melody with secular

rhythm in order to preserve the spirit of
genuine reverence in sacred song.

The selection of hymns was very broad with a total

of 5 0 0 . However, half of them are gospel song tunes• Xt
miso includes 46 Latin American melodies, also in gospel
song style, The other melodies are the standard English
and American hymn tune s ,

As we pointed before, the only denominational books

that have a more balanced selection of melodic material are
IMl-tp Cris tiano of the Lutherans and El Himnari o de la Iglesia
B.pisc opal> According to the preface of the Lutheran hymnal
published in 1964, the book tries to avoid regionalisms in
the words of the hymns• The editorial committee was* 2

From the prologue, Himnario Metodista. (San Antonio,

Texas: Methodist Building, 1955.)
2
, The Commission, Himnario Evangélico Presbiteriano,
VMexico, D , F ,: Publicaciones ElFaro, 1961)» p. 3
 30

composed of musicologists and experts in liturgy, and Spanish

«peaking writers and journalists# Among the musicologists
and experts in liturgy were Walter Edwin Buszin and Ulrich. S#
X^opold, In the adaptation to the liturgical service and to
the eclessiastical calendar, this book is similar to the
other Lutheran books• A very critical study of the tunes
was done and in some cases the tune of a hymn was changed
in order to fit the text better# "The editorial committee
is conscious that not all the hymns and tunes accepted have
excellent merits".. *.#It has made a great effort to achieve
adequate metrical corresi^ondence between mus leal and gram-
matic accent«”1
Concerning hymnals edited by individuals we should
mention at least two. One is Himnos de Gloria« the second
most used hymnal in Puerto Hieo and very well known in
Latin America• Most of its melodic material are gospel
songs for evangelistic and group meetings # Many of them
were translated by the editor# This hymn a1 d-ées not follow
a topical arrangement * For many years this has been the
official hymnal of the Assemblies of God, although it is
2
widely used by many denominations, mostly pentecostals«

The only criterion used by Mr# Ball in the selection

of hymns for his hymnbooks is that the melodies have light
and martial rhythm, which will be easily caught by the
people in the Sunday Schools and revival services» He seems
to follow the criterion that "although musically the gospel2

From the preface, Culto Cristiano (New York:

Publicaciones El Escudo,'' 1965), p# vii-x.
2
Himnos de Gloria is published now with the addition
Cant os de Triunfo #
 31

s o n g a are of inferior quality, they have proved to be

1
effective for evangelistic purposes.,r
It 1b a pity that many churches use this as their
only hymnal and only know these kind of hymn tunes•
Another hymnal edited by an individual is Himnos
Selectos by Vicente Mendoza, from Mexico* The development
„of this hymnal is traced from 1904 to 1 9 5 2 , when the last
edit!on was published. According to the editor, the hymnal
vas intended for the Sunday Schools, Youth groups and
revival services * The last edition was intended to be more
inclusive and for the use of all the meetings of the church.
This hymnal seems to be the personal collection of the editor,
.Out of 286 hymns, 149 were translated by him, and 35 were of
own» It does not follow any topical arrangement, This
Ibices its use very difficult,

Erik Routley writes about the evangelical hymn $ he

points to the reasons for so many gospel sorfg tunes in our
^■hymnals,
A message that is to be forced home to individual
men can be immensely strenghtened by simple, melodic
music i this is especially true of a message which
proclaims certainty and safety rather than answers
to sophisticated intellectual problems * Exuberant
melody is the natural accompaniment and expression
! of that ecstatic individualism,2

Joseph Ashton, Music and Worship»(Boston % Pilgrim

Ireas, 1943) , p . 116 .
2
Erik Routley, The Music of Christian Hymnodyt
(London: Independent Press, Í957Tf PP*'' 91-92»
 32

The Learning oí* Hymns

Most of the hymns known in Puerto Rico were taught

t>y the early missionaries and pastors* There were few
trained musicians and instruments* Some missionaries
played the piano for hymn singing accompaniment and the
portable reed organ was part of their equipment*1 The
piano or the Eatey harmonium was reserved for the larger
churches who could afford them* Missionaries * wives who
could play the piano also did accompaniments and hymn
teaching in the early congregations * Presbyterian
missionary Edward Odell» speaking of his wife Irene» a
graduate from New England Conservatory says: "Her innate
love for music and her excellent training were to prove
2
helpful in Puerto Rico*" The guitar» which is a widely
used instrument in Puerto Rico was not used because of its
secular association* Pentecostal churches» however» adopted
the guitar as their principal instrument for áaymn accorapa-
niment since their beginning# They also use the "cuatro"*
a Inserto Rican variant of the guitar with 5 double strings»
Pentecostals also use the clapping to keep the rhythm*
The main place for learning hymns has been the
evangelistic meetings* Usually inthese campaigns there is a
singing leader» soloists» or a choral group who sing the
"special hymns" which are learned by the people* A vivid
description of this practice is given b y Rev* Odell» quoting
the impression of a group of North Americans who visited
Puerto Rico and attended one of the Presbyterian evangelistic
services * "The singing of hymns begin and it is a wonderful

I ” 1 ----------
See supra * p. 22*
Edward A* Odell» It came to Pass * p* 42
3
Called "cuatro" because originally it had four
double strings *
 33

thing for us to experience. Mr. Bidot lead the singing*.*

we all sing a hymn together and Mr. Kitchen accompanies us
on the flute”•^ When the campaign is over* people continue
using these hymns in their churches. This has been the
method used in the ”divine healers” campaigns * the ”Latin
American Mission” evangelistic crusades which were held
in Puerto Rico in the 195®fs and later the ”Billy Graham
Crusades”. From the Latin American Mission crusades we
recall the participation of Anton Marco, as soloist * an ex­
opera singer. The singing leader was Juan Isáis from Mexico.
A song book was printed for these crusades, which included
many of t oday1& favorite gospel songs and choruses.^ Marco
used to sing a hymn with the tune OH SOLE MIO* One of
today*s favorite hymns, ”Cuan Grand© es El” (How Great Thou
Art) was learned during the first Billy Graham Crusade in
Puerto Rico. It was included by popular demand in the
revised edition of Himnos de la Vida Cristiana in 19&7•

Some other places where new hymns are learned are

pastors * conferences * youth camps and denominational
assemblies held every year * Church choirs have also
contributed to the learning of hymns. Most of their
repertoire has consisted of four-part hymns * which were
taken from the various hymnbooks. For example * the
repertoire of the Choir of the Christian and Missionary
Alliance Church of Santurce consisted of 7® hymns| 57
3
of them were also sung by the congregation. Most of
the congregations began to organize choirs during the
years 193® 1 0 19^0* especially under the influence of Masa
Coral of the Polytechnic Institute * the Presbyterian

' 1 Edward A, Odell, Op. Cit., p. 6 9 *

2 ^
This was a word edition, Cantos de Campaña9 with 69
hymns * The Billy Graham Crusade Committee published another
with music printed, Himnos Evangélicos8 with 62 hymns•
3
This data was taken from ”Libreta de Tonos”where they
quoted the first two measures of the hymns in their reper­
toire » No date is given, but probably it is from the 1 9 5 ® 1® •
 34

undergraduate College in the town of San Germán* Xt is

now called Universidad Interamericana (Intersmerican
University). Many of its members organized choirs in t h e i r
congregations, Choir leaders in many churches were not
musicians or had little training in piano playing. They
had learned the parts mostly by ear* However, in this
way they contributed largely to the learning of new hymns•^

Another way of learning hymns has been with the use

of records. A series of 78 rpm 'records published in
California and called "Buenas Nuevas" were used in the
churches , mainly with evangelistic purposes and before
the service start. We recall their use in our church in
a rural community. In this way our congregation learned
many hymns. Later, records of Antón Marco and Ray Robles»
soloists of evangelistic crusades, were available ; also
productions by "Difusiones Intei-amoricanas" of San José.
/
Costa Rica, Records have been used largely'in churches ,
homes, and in radio programs presented by churches *
Because of constant listening to these records 0 people
have learned some new hymns 9 especially the gospel song
type.
In the local church program the "hymn singing
services" have contributed greatly to the learning of
hymns• Some of these singing services are conducted by

^Choir hymn festivals have been very helpful* In

May 10, 1942 1 the Evangelical Seminary sponsored an
Interdenominational Choir; they presented a hymn festival•
Another hymn festival with the participation of several
Baptist Choirs was held in October, 19^3• It was
sponsored by the Evangelical Council and the Baptist
Convention to introduce in Puerto Rico the Genevan Psalm-
hymns of Cántico Nuevo.
2
See supra * p. 18,
the choir director or the church song leader * A brief
story about each hymn is given and the congregation is
better motivated to learn the melodies*

There has not been a systematic way of teaching new

hymns nor a planned hymnic program in the churches* Melodies
are learned by their constant use and popularity* Besides
the limitation of trained musicians and adequate instruments,
there are some other factors which contributed to this
situation* Before 19^0, illiteracy in Puerto Rico was
roughly of people from 10 years and over,^especially
among the lower classes from which most of the churches *
membership came» Most of these people depended on the
rote learning for their singing* Music education program
in public schools consisted only of song singing, except
for some high schools that had choirs and bands as
optional offerings * Free schools of music were not
created until 19^6 in the cities of San Juan and Ponce *
Music education at present in our public schools consists
only of organization of instrumental bands', choirs,
chore©graphic groups and ensembles of plectrum instruments•
There is not a systematic music education program in the
public school, although there is a music curriculum gu ide^
published by the Department of Public Instructiont conceived
for the purpose of that kind of program **
2

xPuerto Rico; Around the ¥orld Program* (Nelson

Doubleday Inc*,1973)* P* 38 •
2
See the Manual y Guía para Maestros de Mdsica de
Escuela E l e m e n t a l Depártamento de Instrucei6n Pdblica,
Estado Libre Asociado de Puerto Rico, 1970•
 As few persons in our congregations could read music9
the use of music edition hymnals was limited. All hymnbooks
in Spanish were published in two editions, words and words
with printed music, This practice is still done with Himnos
de la Vida Cristiana t Himnos de Gloria^ SI Himnario t
Lluvias de Bendición and Cántico Nuevo, It was not followed
by other hymnals as Nuevo Himnario Popular of 1955? Culto
Cristiano of 1964 and Himnario Metodista, 1973« El Himnario
de la Iglesia Episcopal combined the two editions in one,
printing the music and the words separated. Since the
beginning, people in our congregations have showed prefer­
ence for the words editions of the hymnals. The main reason
is the lack of music education and perhaps the high index
of illiteracy. It is difficult for many persons to follow
verses underneath the staff; the division of words in
syllables is difficult for those who are not good readers,
Music editions have been used mostly by pastors, pianists,
organistsj choir members and music directorsj also members
of ihe congregation who can read music. Recognizing the
need for instruction in this aspect, the editors of Nuevo
Himnario Popular Included a guide for the use of the music
edition of this hymnal,

We can find also local editions and compilations of

hymns for the use of particular church groups, associations
and ecumenical activities• Among them are: El Misionero
Cantor by Juan Ortiz Le6n t in 1931» & compilation of hymns
taken from other hymnals; Himnos Evangélicos by Editorial
Puerto Rico Evangélico; Salmodia Evangélica and Nueva
Salmodia Evangélica by Virgilio I, González and
_________ 1
This guide is printed in the opposite side Df the title
page of the hymnal under the title "Cantando con Entendi­
miento" , (Singing with Understanding),
 37

Himnarlo de la Juventud by the Presbyterians J . L. Santiago

and huis Angel Toro. This pamphlet is a collection o f hymns
f o r the youth.All hymnals used in Puerto Rico by Pentecostal
churches have been published in word edition only. The most
known is H lomar!o Voz de Júbilo y Salvación. Its fourth
edition was published in 1964.1
An old way of learning and singing hymns has been
introduced recently by the Himnario Cristiano 1974 of the
Church of God in Christ (Mennonite) of Kansas and Mexico•
This is the only hymnal in Spanish f as far as we know, that
is nrinted in shaped notes notation, a system that has been
used in the United States since colonial times in order to
make music reading easier. Each scale degree is represented

I II III IV V VI VII
by a note head with a distinct shape.

Ke have pointed out that most of the hymns learned in

Puerto Rico are of the gospel song type. It has been
accepted that this is the best kind of hymn for our
evangelical congregations• One of our pastors, speaking
about the role of hymn singing in the evangelistic work of
the church said:

I know of a rural community in our Island.••lively

songs...are the best accepted. We should notice their
way of singing. Many people will feel offended if we
try to correct them. We should teach them revival

■ Methodist Church published Himnos x Coros

rt>r the «Cruzada por Cristo”, 1948-49, One hundred eight
lymns from different hymnals and 30 lfc or it osn were included •
 38

hymns and asked. them to learn the hymns by heart

and memorise Bible passages« This is part of rural
evangelism*
This type of rationalization probably give© the reason
why so many gospel songs are in our h y mnody* The repeated
verses in the text and the refrains undoubtedly made their
learning easier* For this same reason the "corito” or
refrain became a favorite type of song in church services *
H o w e v e r t many of these corit os and gospel song tunes are
not very easy to learn* Most of them have been learned
incorrectly* On the common argument that these songs are
not so difficult to sing as the standard h y m n s , there is
an interesting comment by the hymnalogist Hubert McNeill
Poteat:

That statement, made so often in defense of

trash, is wholly false and can be proved by anybody
who knows enough music to sit down at the piano and.
play over songs of both types• 9Onward Christian
Soldiers * is very much easier to play and sing than
9The Fight is O n 9 » The lovely harmony/of 9Oh J e s u s ,
Thou art standing9 is infinitely simpler than the
cumbersome waltz measures of 9Let Jesus come into
your h e a r t 9* * **The cheap song, with its jingling,
jigging verses and its rantankerous chorus requires
considerably more musical (not to say acrobatic)
ability for its rendition than does a devotionalf
worshipful h y m n * .*
”The Fight is O n ” is a melody by M r s • C . H. M o r r i s «
It is found in any Spanish hymnbook* This is one of the
hymns which people have learned incorrectly* Usually they
sing measures 5 to 8 in this way:

Milton D á v i l a , ’'Enfocando la Obra Bautista desde el

punto de vista, del Bvangelismo” t Actas Asamblea Iglesias
Bautistas de Puerto Rico * Barrio Obrero, T. ü * , 1944*
Sí
Hubert McNeill Pote a t , Practical Hymnology* (B o s t o n :
Richard G* B a d g e r , The Gorham P r e s s , 1921), pp. 77-78.
—
...

39

bat in tii® hymnal® the correct melodic line for

these measure® is:

-V „ - n f f f ,v -\ f/ [—rfh— ^
__ ____ f ' ’ N.
- A H— C ' -i----------
" / Vs IJ ^ „z ...J r U .. 4— r #■< J
T*PH ^ y V L>==d

The same thing happened with the melody of HI will

go where you want" by Mrs. C. E. Rousefell in the
last phrase of the chorus # The original is i

0
X -h s L l
— y i f> p is pi Hf — tf--v--------------- \ ■*— v - *
sr
*
__a« [/ ... L
f J. J
---------------------------
Qe-etr io íju« tjcJiCiras Se - ñ o r |ío cscjue Quieras cjueüe-a s e - r e ,

In most of the congregations they make some changes r

as follow! /

0
—hr ^ ...V ~ IV- w 1 _ y - p - X_Js
A kU 7r I --------:b— m * ,,sff
* * + & ^ ^ / | r 0 r j*—1
& -i P
— ..—___ — ------- jt.-----------£~ZJ * - y ---------------- ---

Another example of this is the melody of "More like the

Master" (HANFORD) by Charles H. Gabriel» In the printed
music it goes for the last k measures»
 40

tout the popular version among the congregations is

changed to:

-Q_i
X W1v/ hh-.c;-----
--/L------------ 3---------------------
-- ”---
- £---- P-—u sz ■
^> --------
¡ V
-pp y u ¡ ---- L— L ___ A ----—T
=d {

'h
'/rn-we Soy ¥u— yo p a r /de~itr-Y)l

This seem© to support Mr* Poteat1© statement with

vivid examples taken from our congregational learning
and singing of some gospel song tunes*

Others believe that people like and learn better

and with more interest gospel song tune© because they
think there is a relationship between the rhythmic
patterns of these tunes and the £*olkloric popular tunes*
Probably the rhythmic patterns of*, gospel tunes have some
relationship or similarities with those used in some of
the musical forms of the Puerto Rican folklore* The most
frequent combinations used in gospel tunes^are:

f "1 o
^ — 0 — -0 — W~ d-0 -- ^ +— Q

3)—

The güiro accompaniment for some of the "seis” and

”guaracha”folkloric musical forms follows patterns
like these:

— 0— S2
■ s ) .n n V — 0 — w~ JI2— ^
The Puerto Rican raasurca and polca with the combination
of two eijpht notes in each beat are very similar to the
use of those rhythmic patterns of the gospel tunes* Let
us compare the refrain of the gospel tune ”Vagaba yo en
ij-k oscuridad” by ¥. S* Weeden9 and the rhythm of a Puerto
Rican polca.
 4l

RfifmiVu H m ea su res)

-f)-----n ^— 0 ...p— 0
"V— ~sr — f* M tr"T" W--0 ^ si: -AE<* p —
rw v / b BF
—A *^ r 4—\
L”----- I/—1I_

~s~
TT~
w I i
P *

In some of the "rosario cantaon melodies we find also some

of this rhythmic combinations. For example , in this o n e
2
in honor to Virgin Mary»

•
frrr
# 2 f ' r ..... f t£ a?— h
£
^ y } / .. y - f c k S
£¿d-re¿ de, ios c í(¿ - ¡os Réti^3jr7<¿in-pQ - va ~ bles
i z ^ ^ r>
A
£ t— ¿ {Z=? í
i
Súl-vC ide hs bom -bres Q -ino-ro-Sa yn 3 - d r c ^

The 6/8 rhythm which Is used frequently In gospel song

tunes is also very frequent in the melodies of 11ros ario
canta o11 and "baquinéa* *

In spite of these similarities we think, that it is

the martial beft and rhythm of these hymns that appeal
to people, especially the pattern that according to
Lorens, was probkbly originated by William A, Odgen in
his Silver Song of 1869»

1
Francisco Li5pez Cruz, La Mdslca Folklórica de Puerto
M e o . p. 134.

2Ibid. p. 150 .
3Edmund S • Lorenz, Church Musics What a minister
about it« (New York: Flemming H. Reve 11 Co.,
1 9 2 3 ), p p . 3 3 7 * 3 3 8 ;
 kz

We have also heard how a congregation changes the

rhythm of AURELIA. This was heard in an urban Baptist
Church*

¿
ill -V . P /*
a — k t b --
. —
( I .I 1
| ¡ ---1----;
t 1
_¿3---J— ....
ill A
-I.»|JP b 1] it*F “a — j — » — ¡p~~ /O1*
y H1 *
1 -i
I __ i__r— tl— ® — — —

11 ° o o - - 1— -----
Del cuMoeHiempo lie- go_ co-m ieft-za IcLO -rcL -ción^
111
CORRECT VERSION IS-.
U .b ^
-- --------j---- —
■ t ^ .í z t t z :
WM i -K— i r r r 3 — I I 1 [ \ # .... ^ ----- 1--
-A1 m nl P by l ^liag*-- j^fp—-- --0 ---- 0 a--- ^ ---0 0 -- 1 4 ___r f-___ * * ___ -- Q - * ---
§;i> — --------- 0 * --- & L # --- *-----1----------

!§!
Many of the hymns have been poorly translated into
\\
Spanish, keeping the original melody. Sometimes the
syllables and poetic and musical accents do not corres­
pond or match. People singing seem to do their best to
11 fit them as the following example shows i (”To the Work
■I
liSsSyi:
lf®B
by William H. I)Dane " )
■II
iligB r— t
v
111 77 V
T-
i ra.~h>d - j j d ira -hd -JaJ So-Mor ster'VoS cU Dios se-gut- Y<?-
Corred Vnarsto^

i-J- I J ' j U1 q r r - n , ^ )l£ t

- i J / l1 y I
¡3 fen-ao* tjued Ha-es-íro fya-zo . ^ 7Va-b¿)-jscl fva-lu-jaei

V l\ ÍV
JCZj L.
— ■ — ---------- — ---- /
31 1 — i_
Só-moi sier~m áeb\oí fc-guf -k - biof / a (jued Maedre -ira-zo
!
In the following one they drop the syncopation to
fit the words. These are the first two measures of the
refrain of ”Bright *n in the Corner” by Charles Gabriel.
 43

W--- ----- i.------ 1 I:

p
y = i n r ~ £ - - ___ ------f . ----- ------- fL--- ..- ?- * ■
lw '
i Q -----
- Í7 LA___ u __ 3 = ---- U----- H---------- ----------
J JE ----- 3J ---- :---- 1Í ~
!----------------- c-- ¡¿------K----- ! ----- --------------
S'ri - I\cl en el si- fio don-de es-fe?.

~ki r b— ... P ..7*

s------1
n ------1 ------- -____i ........
-f=Hv•s- m ------b —
-T— --- t----- w r m
\y » L4\ne. con-
.................— v ner
—
___ J ___ J
------- !-----r------ ^ -------¿9
ujhedc you aXe •

There are many ether tunes where the notes of the

melody are changed in different places probably due to
fflisie & r n in g *
Measures 5 to 8 of "Es Jesús el Mejor Amigo51 by P, P* Bilhorns
—

/ te:
Z =Z 3
Tu coi--fa - dc> co ~ r¿-’
2,¿>ru Es Je-¿us el loie-jor a-vnt-go
/
&* > <*
r" 'y b iz=£ j/ ¿

First phrase of "En la Mansión do Cristo está", by Gabriel

s 3 i . Is iv
---- £ , y
iy
f e í
FPi-i t,a do CviV-TO tíj-ta

y a iR Z Z Z — = Vr "V M rrp — -5-------- iT

A J
-C-d-- iC__ ¿a ---- J ---- 3*1
mr 4
t -------
W ^ - : ----- 1—^______ \------ yL.... f ¿ ... 4*
----- é£
p -------
x :
The indicated measures of the "Sicilian Song",
n , I 2- 9 U H |2- l*f
IV__k
urrh i I — f---
?--- n— s . , V-
i i T
l> jiti . i'> , ~I~CZ ' Z Z = B
-A— AIL O rr~ lx — fM id-,, „ < <3-
a
>•*^------------1
j, *—
> *^ ^ T* - A 4~
J X A---
J ^ 4 ^K—----
—;------------ -] j y-^X
iJ"N
-

O h 3 3 1 1 -4 \~S\~Yno j -f)i m a n d ó pen-di - d o Ciristb Hah4 - c i - 3 - l ^ ri

 kk

Measures as indicated in "Guiame, oh Salvador" by

Frank M. Davis are also changed.

C o r t e e ^ v e r s i o n ,'
~T t k . 1t * * K—rb ____ __ ■■■■— '
—V7—for
/.r.___
éí_A — ^ __ __ —f \-
ID __ R------ Y -0 1 ------ ----- , — i— — v~.---

Although there are better facilities and resources

for the learning of new hymns nowadays, congregations
are still afraid of using hymnbooks with many tunes. An
exception to this are the congregations with official
d@nomin.ational books like the Lutherans and Episcopalians.
Moat of the churches stick to Himnos de la Vida, Cristiana
which is a compilation of the best known hyifhs • Many of
the 137 "new hymns" included, almost 100, were published
in previous hymnals, especially Himnos de Gloria. All of
these hymns were included by popular demand.

Very few churches are taking seriously the learning

of new hymns * Some of them have changed to a better
hymnal like El Himnario or Cántico Nuevo« taking interest
in the liturgical hymns and following a Hymn of the Month
frogram. Young trained musicians are doing their part
accompanying congregational singing. This is done mostly
on electronic organs of the Spinet Type, and on pianos,
Some churches do ^not use any particular hymnal at all,
but take the best hymns from different sources and print
them in their Sunday bulletin.

Interdenominational and denomination music workshops

hav© been held f where volunteer church musicians are
 ^5
trained in the learning and use of hymns. The first of
these was held in 1958 by Luis Rosario Nieves at Yuquiyd
Conference Grounds• Others were held by this author at the
same Conference place and for the Baptist Churches during
the 1960’s. The Disciples of Christ have been holding their
own since 1 9 6 9 .
We still have to struggle with the problems of hymns
incorrectly learned, as the following examples show. We
heard this one in a rural Baptist Church, In this church
they sing a cape 11a. The hymn is lfUn Día" , by Charles II*
Marsh, The refrain, however, was sung correctly.

The following is the last verse of the tune MENDELSSOHN.

Note how they drop the quarter dotted note and alter
the melody.

— .
~xzi J—J -iJl-

Cgw-Ííl la. ce-les-te. v o z:" En, los cte- Io s j glo tklcl D/as."
& ' **
& — -<g. -&■

The same thing happens with tune SWEET BY AND BY

from which we quote the first phrase• This conversion
of XV into XV is done in many hymns, probably
due to some laziness in their singing and the need of
a good accompaniment•
;
k6

J )> l> l~W r- -------- _--4^-^-----

---- rj 1. * J —J—---- y— 0 L¿- 0
r $
Pe- cúL-dóYjven olCy is Íí J e - sú s y - f e - l h p a m Sien p r e s t-r a s .

A neglected aspect in the hymnic education in our

churches is the teaching of* hymns to children. They have
not been encouraged to learn the best hymns that are
adequate to their needs and understanding. Almost all the
hymnals have a section for children1s hymns but some of
their melodies and texts are not suitable for children.
The best-known melodies among children are j
Jesus loves me HVC , CC, H M , IIG
When He cosneth CC, HM
Luke (Sweet Story) IIVC HM
Praise Him CC , HM
Little Stars CC HG
I 111 be a sunbeam / HG
Children Praises CC

The best hymnal in Spanish for children, Himnos y

Cant os para los Niños has been used by some churches,
especially by the Baptists.^ This hymnal includes as
hymn tunes, folk melodies from different countries and
standard hymnic melodies as DIX, MUNICH, ORIENTIS,
PARTIBUS, TERRA BEATA, GERMANY and LIEBSTER JESU. Other
hymna1s and song books for children have been published
by Casa Bautista de Publicaciones, in Texas• One of them,
Cantos Infantiles, includes short songs and hymns that
are adequate for children. Another one is Alegres
Cantemos■ by E^fie Chastain de Naylor, published in
1953 by the Presbyterians in Venezuela.

A record, Himnos y Cantos para Niños. with

selections from this hymnal was published by the Baptist
Churches of Puerto Rico, with the purpose of helping the
Sunday School teachers in learning and teaching these
hymns.
! Wñ

I 47
j
i

12. La gratitud de un niño

Bueño Qol&a

lo Por n& ni-B w ven-tu“ ro» s% Mil gramolassism-Jire t e d o y ^ S e ^ o ^

2. Gra-cia$toÜoy por l a lu» na* Tara-bién m il g r a - c ia s t e doy(Se-ñor
3** G ra -cía s t e doy por mis p a -d re s , Y mis m a -e s-tro s y a -m i-g o s .D ic s ;
i
&— te»
."S
m_ gc±rrrr
j &zatz
f.
khs^gaJ
rfrf^=t=zr~~---

Y t e ben-di-*goy t e q u ie - ro For ha~ ber- nos da*»d$ e l be - l i o s o l 9La

Por l a s es-tre-U as á e l c ié - lo Qtue en ais vi-'vos re o -p la n -d o - r e s son Cual
Y p s r la esxue-lay las l i - broa En que es-tu-dio a - te n - to mi la c - e i6 n , To

b e - lio e o -jo sd e u n án- gel Que m o-raen co-les-to raan-sion»

doy m il g ra -c ia a por t o - dos Tus do-nes b en -d i-to e Se*ñor

1®-
S: XZ 3
7 f
Con permiso de Silver Burdett and Co.

This hymn-song is from Himnos y Cantos Para los Niños.

The melody is by the Puerto Rican composer Braulio Dueño
Colón (1854-1934), and the words probably translated by
Manuel Fernández Juncos. It was first published in
Canciones Esc glares in 1901• It is also included in
Cristiano, Himnarjp Episcopal and Cantos Infantiles,
These words are highly altered from the original *which is
preserved in the other hymnals mentioned* See original
version of the song in the next page*
 48
23
NUM.12. L A G R A T I T U D D E U N NINO.
K ate L ouise B rown . B. D ueño Colón .
Andante mosso.
*-g-*-]- Z'^—juZilfL
tj '' V U i ' ' ?
1, Por rai ni-ñez vea*cu - ro - sa Te rin - do gracias, buen Dios,
2, Gra-cias te doy por mis pa - dres, Y tara-bien gracias te doy
3, Gra-cias te doy por los ss - res Qae vi - venen mi derre-dor,
___ __________ *_£555-^_**í3-
:-^ñzz^.
@ -*— ü—
Andante mosso.

.-¡V ■^r ry
sz 0- "SZ 'SZ,
Y te que-ro y te b en -d i - go Por ha - ber cre-ado ei sol. La
Por la es-tre - lia de la tar - ás De tan vi - vo res - pl&n-dor
Por la es-cueia, por los li - broa En que a-pren - do la lec-cióuT

2=± 5
llu - via que nos re - fres ca, La fuen-te, el a-ve y la ñor.
Co-mo los o - jos de un án gei De tu c e -les-tia l man-sión.
Y te doy gra-cias por to do Lo que a - ma m ico -ra-zó n .

—g-
P P 'S

’La Gratitud de un Niño” from the songbook Ganeiones

Escolares, New York:Silver, Burdett & Co,, 1 9 0 1 , Note
the difference between the original use of the melody and the
use of the accompaniment as melody in the arrangement in
M a r i o s y Cant o$ Para los Niños. Himnario Episcopal and
Cantos Infantiles also use the accompaniment as the
melodic line, The difference is in measures 4 and 8*
Children learn the melody in different versions depending
upon the hymnal used. The version in Culto Cristiano is the
most faithful to the melodic use of the original, although
ihe accompaniment is presented in a four-part harmony style.
 CHAPTER II
THE HYMNALS AND THEIR CONTENT

Brief Description of the Hymnals and General Content

As we pointed out before, t h e practice among the

evangelical churches in Puerto Rico has been the use of
the same hymnbook throughout the denominational lines f even
when the denomination has published its own hymnal.
Liturgical churches as The Episcopal and Lutheran have been
more steady in the use of their denominational hymnbooks,
Although there are no official hymnbooks among the evange­
lical churches f sorne church related boards have published
denominational books• The Presbyterians in Mexico published
Himnario Evangélico Presbiteriano a Methodists in Texas
and New Mexico published Himnario Metodistaj Southern
J:
Baptists published Nuevo Himnario Popular. -and the
Nazarenas published Lluvias de Bendici6n, and Gracia y;
Devoción. These books were published with the hope that
their respective denominations would use them. Howeverf
most of the churches use Himnos de la Vida Cristiana,
published by the Christian and Missionary Alliance Churceh.
Some congregations, even the Nazarenos and Southern
Baptists, adopted Himnos de Gloria. They found in this
hymnbook the type of texts and songs that best fit into
the evangelical theology of their churches, and the title
of the hymnal was not an obstacle• The most accepted
and used hymnal^ among the non-liturgical churches have
been: Himnario Evangélico , 1893» Nuevo Himnario Bvangélico .
19^1 $ Himnos de Gloria. 1921 j Himnos de la Vida Cristiana.
1939 and 1 9 6 7 j and El Himnario. 1 9 6 ^, Nazarenas use mostly
 50

Lluvias de Bendición» 194-7; and Pentecostals also use

local publications» as Himnario Voz de Júbilo £ Salvación
and Lira Misionera» These two hymnals are word-edition ones 9
and include some of the best-known hymns from regular hymn-
books , and others written by native composers; also, .
choruses which follow the gospel song pattern. Rayos de
Esperanza, 195s $ is one of the few Pentecostal hymnals
with music, It was published by the missions department of
the Church of God in Texas, but it is not used by Pentecos­
tal churches as a regular hymnal♦
This situation has created what may be called an
ecummenical repertoire of hymns among the churches, because
of the use of a common hymnal and the similarity in content
among the hymnals, We made a list of the best-known hymns
among the evangelical churches and noticed that most of t h e m
are common to most of the hymnals. (See Appendix III) With
the publication of new books during the I9601s , the churches
are becoming more selective when choosing a given hymnal for
regular use• Hymnals like Cántico Nuevo « 1962; El Himnario »
1964j Himnos de Fe y; Alabanza. 1966; Himnos Inspirados y;
Selectos« 1965 and Himnario Metodista<, 1973 are being
considered besides Himnos de Gloria and Himnos de la Vida
Cristiana.
Before considering the musical content of the hymnals ,
we will describe briefly those used in the last ten years.
Himnos de Gloria
Published by Editorial Vida f Springfield, Missouri f
1921, 1 9 2 7 * The last edition includes the hymns of
Cantos de Triunfo« which used to be a separate book of
100 hymns• The hymnal does not have any thematic index
and does not follow any thematic order» The English title
of the hymn is below the Spanish title f indicating that
most of them are translations• The names af authors and
 51

composers are given without dates, and in some cases are

not accurate. It does not include responsive readings*
In many churches it is used as a supplementary hymnal for
prayer meetings , Sunday School and evangelistic services
because of the wide selection of well-known gospel songs
and many old favorites, which cannot be found in other
hymnals,^

Himnos de la. Vida Cristiana

Published by Christian Publications, Inc* , Harris*

burgj Pa, 9 19^7* This is a revised edition of the first
publication of 1 9 3 9 » which was adopted by almost all the
evangelical churches, This hymnal takes its name from
their English version Hymns of the Christian Life, I8 9 I ,
1936, Most of the hymns in the revised edition (about 9 5 )
are drawn from previous hymnals as Cántieo Huevo« Himnos
de Glosóla < Lluvias de Bendición, Joyas Favoritas > El Him-
narío and Himnos de Aspiración, Nineteen tunes from
Latin American sources are included and twelve tunes from
other composersy which are not included in other hymnals *
Eiftyfive tunes which apparently were not used by the
congregations were not included in the 19&7 edition• They
also eliminated from the 1939 edition 27 tunes which were
well-known in the Puerto Hican congregations.

The hymns are classified under three main thematic

headings; 1• The Holy Trinity y Father , Son and Holy
Ghost; 2, The Life of Christ; 3• The Church, The last
two parts are ms,inly composed of gospel s ongs, The hymnal

Some of these are: "Las Pisadas del Maestroy"Cómo

podré estar Triste", "Es Cristo la Roca", "La Cruz me
Guiará", "Soy yo Soldado", "Sembraré", "No puede el
mundo ser mi Hogar", "Brilla en el Sitio",
 52

has about 220 gospel songs out of 350 hymns. There are
24 responsive readings from the Scriptures, and a thematic
index. The names of authors, translators and composers
are given hut they are not organized in indexes»
El Himnario

Since El Himnario of 1931 9 published by the American

Tract Society, El Himnario of 1964 (which has no relation
with the one of 1 9 3 1 ) is the first attempt for an ecumenical
Spanish hymnal among the churches in the United States, It
is edited by the Council on Spanish American Work, in
Alburquerque, New Mexico * It follows very closely the
format of the Presbyterian hymnal in English, The Hymnb 00 k
of 1 9 5 5 * The first part is a section called Aids to
Worship, and the classification of hymns is almost similar;
Worship, God (Jesus, Holy Spirit, Trinity), The Holy
Scriptures, Life in Christ9 The Church, Evangelism and
Missions, and Special Occasions« Finally comes a part
of Service music, called In Spanish liturgical music, which
includes doxologies, introits, responses to the Scriptures,
offertory and prayers, and Amena, It has 68 Scripture
responsive readings and a complete set of indexes with
authors and composers dates• El Himnario is used by some
Presbyterian and Methodist churches«

Lluvias de Bendición

Published by Lillenas Publishing House, Kansas

City, 1947 * This hymnal is u s e d by the Nazarene Church
in all their Spanish~spes,king congregations in the United
States and abroad. Out of a total of 2 5 3 hymns, 204 are
old and new gospel songs. About 45 are published for the
first time; most of them are translations, Twenty^three of
these are by the editor, Harold Lilianas, Some of them
have been published before in Joyas Favoritas, a series
 53
of four pamphlet hymnals by the same edit.or, The hymns are
partially classified, but no thematic indix is provided*
Scripture responsive readings are also included,

Hlmnario Metodista* 1955 and 1973

Published by the Methodist Publishing House, San

Antonio, Texas, 1955* it is out of print* There are 252
hymns, most of them from other hymnals and El Nuevo Himnario
Popular, There are about 17 hymns which are not very
c ommon in the most-used hymnals * Hymns are partially
classified but no thematic index is given. The denomi­
national character of the hymnal is given for the inclusion
of the liturgical orders of the Methodist Communion
Service, There are several responsive readings• The book
was in use in some Methodist churches until the edition
went out of print * A new hymnal was published by the end
of 1973» under the editorship of Dr* Alfredo Nañez of the
Rio Grande Annual Conference of Texas and New Mexico, and
the Perlcins School of Theology. The hymns are classified
under the following titles: The Gospel and Christian
Experience, 217 hymns; The Church, 60 hymns; The Christian
Year, J b hymns $ Special Occasions, 8 hymns; and Service
Canticles; 29 hymns. There is a section of resources
for worship and the Ritual for the main services. Music for
the Communion hymns is as follows: Gloria (Old Scottish
chant); Sane this (John Merbecke ); Agnus Dei (Br aunShwe ig ,
1528). There are less gospel songs and more contemporary
hymns in comparison with the 1 9 5 5 edition* We regret the
absence of tunes, composers and authors indexes, although
there is a good thematic index, and detailed information
1
about each hymn is given, such as composer, author and
translator, tune name and meter, and dates *
 54

EL HUEVO HIMNARIO POPULAR

Published by Ca&a Bautista de Publicaciones, El Paso,

Texas , 1955 * for the Spanishespeaking churches of the
Southern Baptist Convention, although the petition for the
new publication came from the National Baptist Convention of
Mexico, who were the publishers of the old Himnario Popular
of 1927 and 1932* In Puerto Rico this book has been used
by some American Baptist Churches and by Southern Baptists.
Although there is a thematic index, the hymnal is not
organized by topics. Tune names are given in Spanish, and
indexes of authors, translators, composers and tunes are
included, with 27 Scripture responsive readings * Out of a
total of 3 8 9 hymns, 66 are translations and original poems
by Thomas M* Westrup, 33 by Ernesto Barocio» 46 by Vicente
Mendoza, 28 by Juan Bautista Cabrera and 22 by Georg© P*
Simmonds. Horacio P. Westrup in Paladines del Evangelio
en Mexico claims that this hymnal is the only one that
keeps the translations of these authors in their original
form.

El Hiirnario de la Iglesia
Published by the Seabury Press, Greenwich, Conn., 1 9 6 1 »
This is the first Episcopal hymnal for the use of all their
Spanish-speaking churches, ordered by the General Convention
of the Protestant Episcopal Church of America in 1955• X
This hymnbook follows previous hymnals as Cant os Sagrados
de la Fe Católica. It was edited by a committee of
bishops from Guba, Panama, Mexico, Dominican Republic and
2
Puerto Rico, using mostly the material of Cantos Sagrados.
t
Although the hymnal was intended to be provisional it has1

1From the prologue of El Himnario de la Iglesia

Episcopal, p, v*
2
See supra, p« 13*
 55
been in use for the last 12 years in the same original
edition*

The classification of the hymns follows the one of

Hymnal 1940. The first 93 hymns are classified according
to the liturgical year, followed by a group of hymns for
the offices| holy sacraments, the dead, children and
missions* The last group of hymns (95) are classified
as general hymns, which means any hymn not included in any
of the other sections. It is very difficult to use this
section without a thematic index.

The second part of the hymnal includes the music for

the offices and the music for the liturgy of the Eucharist.
It has the Ferial Preces, the Suffrages, Invitatory
Antiphons, the Canticles and s ome Psalms. All of the
using the plainsong formulas and Anglican chant for Psalms,
which are taken from Hymnal 1940. Then follow five settings
from the Eucharist music J 1. the John Merbeclce setting;
2. the plains ong setting of Orbis Factor; 3• setting in
A minor by Juan Cruaeta, adapted by Ignacio Morales Nieva;
4. a setting by H. Caballero, and 5• a setting of the main
eucharist hymns from various foreign composers as T. F. H*
Candlyn, S • Wesley, J . T. Harris and Donald F. Gowe.
Besides the alphabetic index of the hymns, a tune
index is given. Names of authors and composers are not
given, although almost all of the music is taken from
Hymnal 194-0» Alternate melodies are suggested at the
bottom of many hymns.

Culto Cristiano
Published!by Publicaciones El Escudo, New York, 1964,
for all the Lutheran churches in Latin America• Following
the format of its English version, the Service Book and
Hymnal, 1958. Culto Cristiano includes the liturgical texts
 56

for the Eucharist and the offices with its music. The collects ,
gradúala, introits f Psalter, prayers and the order for special
services as wedding funeral, baptism and confirmation are
included, with the general rubrics and lectionaries.
The music for the liturgy is adapted from the early
German lu the ran liturgies and fi^om the Roman and Anglican
traditions• The one for the Eucharist was arranged by
Walter E. Buszln, and the one for the offices by Ulrich S *
Leopold.

The first 108 hymns are classified according to the

liturgical year; then follows a section of hymns on the
Sacraments, another section of hymns on the Church, followed
by a section of hymns about the Christian Life. There is a
large selection of hymns for special occasions and a section
of hymns and songs for children; perhaps the largest in the
hymnal9 with $Q hymns t taking into consideration the Sunday
School Program. Special indexes are provided, including the
authors and composers dates and a very peculiar index of the
original title of translated hymns, which listed hymns from
9 different languages.

The melodic material is d r a w from different traditional

liymnic sources • A anal! amount of gospel songs was considered.
Two features in the music printing are the tying notes in
the harmony9 more adequate for the organ accompaniment, and
j
the indication of phrasing by a comma in the melodic line.

1 page example is given in the following plate.

 57

Viernes Santo 66
M.Muvilliinl. I.K N T O .S S .S-í.aS .S-t.
Ut'miñii Uuli'ríi, i». 1STf?.

-d——<g>—
T F-
f
Jus - tos u - no - jos; Lto - run tos o - jos Quo a - s i te von.
So - un mi g u í - n Y mi u-le - gri - a, Mi nor-te y luz.

3 Bollo costado, 4 Tus pies heridos,

En cuya herida Cristo paciente.
Malla su vida Yo indiferente
La humanidad. Los taladré;
Fuente amorosa Y arrepentido,
Do un Dios elemente. Hoy epic te adoro,
Voz elocuente Tu gracia imploro:
De caridad. Señor, pequé.

5 Crucificado
En un madero.
Manso Cordero.
Mueres por mí;
Por eso el alma,
Triste y llorosa.
Suspira ansiosa,
Señor, por Ti.

Sample page of the Lutheran hymnal Culto Cristiano.

Notice how the notes of the lower parts are tied for
purposes of the organ accompaniment.
 |8

Himnario Bvangálic o Presbiteriano

This hymnb ook published in 1961 by the National

Presbyterian Church of Mexico was adopted by very few
churches (Presbyterians) in Puerto Rico* Its content is
classified under 27 general topics, w h i c h include Steward­
ship, Evangelism, Children,Youth, and Choruses (coritos).
The only index is the alphabetic index of first lines,
which make it very difficult to handle the whole hynmbook
which has a total of 500 hymns, The information about
composers and authors given at the top of each hymn is not
1
accurate• Neither the composer1s name or music source, nor
the author *s name is given. In most of the hymns only the
name of the translators is given, but not the name of the
original writer•

The most interesting note of this hymnb00 k is

that it seems to be the first Latin American hynmbook to
include the largest amount of hymn tunes by Latin American
composers, Forty six tunes are of Latin American origin,
mostly Mexicans, and probably some other 9 melodies not
identified are of this same origin. For the most part
this hymns1 is a very comprehensive anthology of "gospel
songeT and Victorian hymns,
Cántico Nuevo

Published by Methopress, Buenos Airea, Argentina, X9$2•

Interdenominational* The hymns are classified under four
main topics* The first is God, divided into the trinitary
form? the section in Jesus Christ, following the liturgical
year* The second is composed of horrans based on the Church,
including the sacraments, The third is a very large one,
consisting of hymns composed for special occasions, children,
and service music *

1 i
They attribute No. 18 to Franz J. Haydn, N o , 137
to S . Weber, No * 1^7 to Isaac Watts.
 59

Authors, composers and translators* indexes are given,

besides the metrical, tunes and topical indexes, Forty-
seven Scripture responsive readings and a litany for the
dedication of the hymnal are also given. The hymnal is
widely used among the Disciples of Christ, Menonites,
Waldensians , Methodists and Presbyterians in Argentina,
Uruguay and some other South and Central American countries,
In Puerto Rico it is used by some local churches•^

In our opinion this is the best hymnal in Spanish

because of its theological, musical and poetical good
standards• It has included the best of the various
Christian hymnic traditions , and it is a hymnal centered
in the whole church life and work.

Since 1963 it is used as the official hymnbook at

the Evangelical Seminary of Puerto Rico, the theological
school of the main Protestant Denominations•
 60

Musical Content of the Hymnals

Now we shall examine the musical content of the
hymnals in terms of main traditions of hymnody sources}
that is» plainsong, standard folk tunes v psalm tunes,
chorales, English and American hymn tunes f gospel songs,
Latin American composers, tunes from the master musicians1
works, and contemporary composers. We shall make reference
to all the hymnals described in the preceding part and also
to the early hymnal Nuevo Himnario Evangélico in order to
compare its musical content with those of later or recent
use •

1.
Plainsong tunes are used mostly in the Episcopal
hymnal and in Cántico Nuevo« Luther-ans use them for the
communion service music and for the offices. For the
purpose of our study, we shall divide the plains ong in
three groups, that is, psalm plains ong formulas and ancient
chants, the more florid gregorian melodies, and the later
chants including the Anglican,

The simple formulas for the chanting of Psalms and

canticles are used in Himnario Episcopal for the canticles
Venite Exultemosv Te Deum, Benedictus es Domine , Benedictos,
Magnificat» and Nunc Dimittis, In the Lutheran hymnfoook
Culto Cristiano, some of these formulas are used for the
Offices, the Kyrie, the Litany Prayer, and two of the
offertory hymns identified as TONO GREGORIANO NO* VIII
1
and TONO GREGORIANO NO. VI* An arrangement of the TONUS
PBREGRINUS is used for the Gloria Patri• Ulrich S * Leopold
composed some of them following the old patterns, like this
one, for the dialogues of the offices,
 6l

Minister

The only chant formulas used in other hymnals are in

Cántico Nuevo for the "Seven Last Words", adapted by William
Monk? and another chant fragment identified as "Melodía
antigüe", used for a Scripture response in El Hironario.
Both harmonized as follows:

nr— 7j
IT---1Tf-------- O m...... * __ _____
lLD_J— __ —__ _
$

Another chant given in EWL Himnario for the Lord1s Prayer

is identified as "canto llano gregoriano” , harmonized in
the Anglican chant form. This one is based on the form
of Mode I Ending I*

o o M

i
*......~«.........T ------ T ~ a.
W ~~' o
A \ 4
i y\ V o — s*i - it? _ 1
i Sl l A___________ ZZJ2 I
 62

Tiie more florid * non measured plains ong melodies are used
with their original latin hymns adapted into the Spanish
language use. The following are used in Himnario
and Cántico Nuevo. Those marked with asterisk are in the
Sarum rite form as they are given in Hymnal 19^0»
♦SPLENDOR PATERNAE HE CN
♦PANGE LINCTA HE
♦ V E X I L L A REGIS HE
♦VENITE CREATOR HE
*0 LUX BEATA TRIMITAS HE
*ECCE JAM NOCTIS HE
GOLDEN SEQUENCE HE
JAM LUCIS HE
DIVINTJM MYSTERIUM HE CN
YEN! EMANUEL HE CC CH H

Three melodies in Himnario Episcopal« ANIMA CHRISTI,

CHRISTE AUDI NOS, and CONSOLAMI POPULE MEI are also in
plainsong style» The origin of the melodies has not been
traced, but it seems to be arrangements of gregorian chants
and chant forraulas, Examples of the last two are given
here• Another use for the plains ong in the music of the
Eucharist hymns, the John Merbecke *s setting and the Orbis
Factor.

Th e t h ird g r o u p of p l a i n s o n g m e l o d i e s that we have in

the h y m n a l s are those l a ter t u n e s , e s p e c i a l l y the F r e n c h
Church melodies which mark the transition f r o m the plains ong
to the m e a s u r e d hym n in the E u r o p e a n Roman Catholic hymnodv
th th
d u r i n g the 16 and 17 c e n t u r i e s , s i m i l a r to w h a t the
L u t h e r a n R e f o r m a t i o n d id in G e r m a n y w i t h some of the old
p l a i n s ong t u n e s , A m o n g the h y m n tunes of this type we
have the f o l l o w i n g :

iFr om here on, capital letter abbreviations will be

used to identify the localization of tunes in different
hymnals• HE-Himnario Episcopal« CN-Cántico Nuevo»• CC-Culto
Cristiano, H-El Himnario. HG-Himnos de Gloria, HYC-Himnos de
la Vida Cris tiana, NHP-Nuevo Himnario Popular« LB-Lluvias de
Bendición, HM-Himnarlo Metodista,
 63
CHRISTE SANTORUM CN HE
0 FILLI ET FXLIAE CM HE
0 QUANTA QUALIA CN HE
ROYEN {ISTE CONFESSOR) CN
OEXBNTIS PARTIBUS CN
DEUS TOURUM MILITUM CM
MAINZ (STABAT MATER) CN HE
AGNUS DEI CN
ADESTE FIDELES CN
Among the chorales derived from plains ongs there are
three that should be mentioned *. ”Christ ist Erstanden11
(CN, C C ) fr om an Easter Sequence j "Allein Gott in der Hfth"
(C N f C C ) f r o m a v e r s i o n of G l o r i a in E x c e l s i s D e o f and
"Veni R e d e m p t o r G e n t i u m ” (C N ) p r o b a b l y a r r a n g e d b y M a r t i n
Luther•

The Anglican chants developed also out of psalm-tune

formulas, but emphasizing the harmony rather than the melody*
Himnario Episcopal includes 48 of those for the chanting
of psalms * thi?ee of them composed by the Puerto Rican Victor
Burset* Cult o Cristiano uses them f or the Gloria and the
Offices canticles * In the early Nuevo Himnario Evangélico
were included two Anglican chants for the Lord 1s Prayer
and Psalm 23*

1
 Venite, exultemus Domino
271 V. Burset 273 Tone V,¿

—!—f-i

t/ \ 1 I f PP
<y ■Á- -A xx i t .1 J
,7/77 J> f!

1 Venid, celebremos alegremente al $u- iinr; *

cantemos con júbilo a la r tw de nues tra sala j- uón
2 Lleguemos ante su acatamiento con a-ta- banca; *
acia- mé-mos- le con cánticos.
3 Porque el Se- ñor es Dios grande; *
y Rey grande sobre to-dos los dioses.
-1 Porque en su mano están las profundidades de la tierra; *
y ¡as alturas de los mon-tes son sus as.
5 Suya también la mar, pues HI la htao: *
y sus manos for- marón la tie-rra seca.
6 Venid, adoremos y pos- tremónos; *
arrodillémonos delante del Señor mies-tro Ha-ce- dor.
7 Porque El es el Señor nues-tro Dtos; *
nosotros el pueblo de su dehesa y o- sc-jas de su mano,
S Adorad al Señor en ¡a hermosura Je su san- m ano; *
temed delante de El, to- da Ja tierra.
9 Delante de! Señor que vino, porque vino a |ur- g a rla tierra: *
juagará al mundo con justicia, y a los pueblos con su s e r - r dad.
Gloria al Padre, y al Hijo. *
y a! Es- piri-tu Santo;
Como era al principio, es ahora, y se-rá siempre. *
por los siglos de los sí-glos. A- mén.

Anglican^ chant psalmtunes for Psalm 95

from El Himnario Episcopal, 1 9 &1 , No, 2 7 1 ,
by Rdo. Victor Burset, a Puerto Rican priest*
 65

Two plainsong hymns from Himnarlo de la Iglesia Episcopal. 1 9 6 1 .

Cl ARESMA Y PASION
CHRIÓTE. AUDI NO>
Lentamente

Escúchanos.Señor,fenclemencia
Porque pecamos todos contra ti.

1 Ad Supremo Redentor del mundo.

Con lágrimas, los ojos dirigimos
Escucha ;Oh Cristo! estas nuestras preces.
Coroí
Escúchanos, Señor, ten clemencia,
Porque pecamos todos contra tí.

2 Diestra del Padre, Piedra yFundamento

Senda de Vida, Puerta de los Cielos,
Limpia las manchas de nuestros pecados.
Coro

Notice that some melodic motives are from

"Missa de AngelisM
 CONSOLAMINI, POPULE MEUS
M a e sto sa m e n te
Coro

Estrofa 1
 Coro:
Desciendan ios cielos desde lo alto, v derramen las nubes rectitud,
1 ¡Mira, ohSeñor! la aflicción del pueblo tuvo v envía nuestro Salvador.
Envía al Cordero a gobernar la tierra, desde la roca en el desierto.
A! monte de la Hija de Siún, y a quitarnos el tugo de nuestro cautiverio.
Coro
2 Consolaos, consolaos, pueblo mío. se aproxima la saltación.
;Por qué os conmueve la pena y qué os causa este dolor? Te salvaré.
Nada temas. Yo sov el Señor tu Dios, tu Salvador, el Santo de Israel.
Tu Redentor, Q\
0\
Coro
 67

2 Secular and folk tunea

Since the early hymnals there have been secular and

f oik tunes from different countries to be sung as hymns *
Many of these tunes have been used for non-religious texts,
but after being adapted or arranged they came to be hymn tunes.
Others, kno xm as religious folk tunes have come through oral
tradition, preserving the rhythmic and melodic pattern of the
folk secular tune» Very few of these secular songs used as
hymn tunes have been composed by known authors*

The borrowing of tunes from the secular sources and

from folk tunes is nothing new in the church hymnody* Many
chorales of the Lutheran Reformation were developed in this
way # The secular son "Innsbruch ich muss dich las sen” was
transformed into the chorale "0 Veit, ich muss dich lassen",
and the song "Mein G*nmth 1st mir verwirret von einer Jungfrau-
zart” by Hans L* Hassler, came to be the chorale n0 Haupt veil
31ut und Wunden"» From Italy cornes the "Laudi spirituali",
which were religious popular songs , some of them as ALTA
TRINITA BEATA (CO) adopted for liturgical use.

In order t o have a broader idea of the 3 ounces of the

many secular and folk tunes in our hymnals we will list them
by countries, giving the hymnals in which they are us&d and
commenting some of the most interesting ones.

United States of America

NETTELTON NHE HO 1,3 XHP iw c H

CLEANSING FOUNTAIN NHE HG LB NHP uvc H
BATTLE HYMN NHE HG LB VHP H
HAPPY LAND \ NHE
AMAZING GRACE LB NHP H
DE FLEURY nhe NHP H
AT THE CROSS (HUDSON) NHE HG LB HUP HVC H
 68

I WANT TO BE A CHRISTIAN
LET US BREAK BREAD CN
BOURBON CN
CON CRISTO TENGO NHP
ELLESDXE NHE
BN LA VERGONZOSA CRUZ JIVC
CRADDLE SONG( AMERICAN
CAROL) CN HE

Tune NETTELTON which is ascribed to Ashel Nettelton

in El Hlmnario is from "A Repertory of Sacred Music” of 1813,
published by John Wyeth, Although ascribed also to Veyth 9
it is supposed to be one of the earliest American folk hymns.
Mettelton , who was an evangelist, probably used very often
this tune•

CLEANSING FOUNTAIN (Hay im precios o manantial) is another

th
American foik tune of the 19 ~ Century, It was arranged by
Lowell Mason, DE FLBURY, also CONTRASTE and GREENFIELDS ,
til
is from the 19 * Century American collection of folk hymn
tunes,

HAPPY LAMB or HINDOO AIR is, according to H o m \ a

Hindoo Air which was arranged by Andrew Young from Edinburg,
in 1800, This tune is associated with the American folk
hymnody because of its use in the original Severed Harp of
1835, The tune was used for the popular "Old Soldiers
Never Die”, during World War II,

ELLESDXE or DISCIPLES appeared for the first time in

Christian Lyre t I8 7 O and later, Hubert P. Main made an
arrangement* Although in some hymnals is identified as
AIR MOZART, indicating that it belongs to W , A, Mozartt but

Dorothy D. Horn, Sing to me of Heaven. p, 287•

 69

GREENFIELDS or D E F L E U R Y (siso C O N T R A S T )

_____ _fc=— \
------ ---- * ------ -
- M --------- ------- i ------- ------------------1-------- -5-.......... -j---------- "*■ . ... ¡T.........
í j r~"“ 3---- ------- 9---------------
How le - d io u .s and ta ate - less the m u r a When J e - a us no
Sweet p r o s - p c c t s sw eet bmis :jiuJ sw eet flowers Have lost ail iheir

Y ¿ r ¿~~r.------ -— —1 I— »-!*►
------ :------ » p -------------- p ------------
wp ™ * 1• * ~ If—ri ------- r-i
—r !*■----- !-------F------
-------i------- r*------
-------- ;1--------------
1------- 1 ----------- -
long - e r [ see;
sw eet-ness to me The m i d - sum - m e r sun sh in e s but

-i-i-

The fields s t r i v e in vain to look gay But when I

am hap - py in Him De - e e m - b e r ' s as hap - py as May.

'‘Greenfields," NH 16

GREENFIELDS is a North American folk hymn and all

about it may be found out in Jackson’s Spiritual Folk-
Songs of Early America. No. 60.

HAPPY LAND or HINDOO-AIR (OSH, 35*0

E\. 157. ¡lupp\ Land. Tin* last section is mude up of one phrase from Section f
and one phrase from Section II.

v
There is a h a p - py land, far, far a - way
Where s a i n t s in glo - ry stand , b right, b rig h t as day

0- <9-m-a--
■y— y— i
--
0 how they s w e e t - l y sing, w orth - y is our Sav- tour,King,

- y i —*“----- *------h--- « S ÍÍ m r -jS’—"—

«-■..
'ft
7lt p i*
vy-—
r ' V r----H---- *__ LJl
Loud le t His p rais-es ring, Praise, praise fo r aye.

These o r i g i n a l f o r m s are t a k e n f r o m the b o o k S i n g to me

of H e a v e n b y D o r o t h y Horn. C o m p a r e w i t h the p r e s e n t f o r m
in Spanish language hymnals in the following pages
 Jesús Es AA¡ Pastor

} lti f i ft y ' f - .ü i u l . O ! . (>•! . í t t ) . (i -/

El CrisTumo Meludía
‘l'rtiiujail'i
..••j ■—t Í ”
0 __..¿J . vi; ;.
- - é-- ■
v J iz:.

f■
■
hT ~ r r
1. fe sns es ini Las - tor. Con * mi B° rS i-i.
2. Cuan -do o» su led el mal Me mu n V('),
3. Jil es mi did te 1u>, Mi sal vu (ión:
‘4, La le «pie me dio él Me sal Vil ni;
j J . ' ._
r
J -I t J • L «; 'i
~r: P 1

<
m or*
da con mu Se • ñor Me lal ta
sús, Dios in ■ mor - ial, Me res - <a ló;
ios pies tie su cni/. Ha Un per dón;
jos - to, sati - to y fiel Me <am Ida - rá,

_ J __ i-. J''~
r- -f! ^

?rJ Íl-T:*i iL ' ¿L |

do to - ta /<in,
ta ta -ri ■ dad;
vil pc ea tint,
re ■ su - riee tiñu
j---- (J.— J. -J--~—J—~

V7
jg?
r n r P
-p-» tro
"Oo*••cv
Con él de no ta ■ re La ten ta ■eión.
Por V ' so !e a ma it, Dios de iron dad.
Mis etil - pas él pa ■ KÓ: i d o - i ia a) St ñor!
La pa/ con Dios me dio, Vi - da y per ■ dón.

:nr“
-*v
f=f
Í 7 /W C R ISTIA N A

HAPPY LAND or H X N D O U A I R as it a p p e a r s in
C á n t i c o N u e v o , 19^2.
 165 Cristo* Quiero Ser Cristiano 72
Himno Americano Folklórico Í-WANT TO BE A CHRISTIAN Irregular
Tr. por J. N. de los Santos, 1876-1944 Himno Americano Folklórico

*--
1. Cris
F F
-ío, quie - ro ser cris - tia - no,
W
De co - ra - zon,
2. Quie - ro ser más ca - ri - ño - so, De co - ra - zón,
3. Cris - to quie - ro ser más san - to, De co - ra - zón,
4. Quie - ro ser más cuai mi Cris - to. De co - ra - zón,

•" siN I
£

One of* the best-known "Negro Spirituals" in Spanish.

From the Himnario Metodista. 197***
 119 Jesús Es Mí Amigo
The L ily o/ the Valley
E, de S. S. J u a n 15: 13, U A r r . p o r T n o r .o H a k s i ®

1. Je - sus es mi a - mi - go, mí buen a - mi go fiel, A mi

2. A - li - vía mis pe - sa - res mi buen a - mí go fiel, En la
3. Si cum-plo sus maa-da - tos, vi - vien-do por la fe, En mis

-s-—v— LN >
■5zh<z:2z
1/
al - ma es her-mo-so y sin par; Mi Sal-va-dor yG u í-a, en-
ten- ta-ción sua-mor es mi so - laz; Los í - do-los del al - ma por
prne-bas to-das él me sos-ten - drá, Ro-dea-do de sus bra-zos, yo

cuen-tro só-loenél, La vir - tud que trae per-íec-to bien-es-tar;

él a - par - ta-ré, V las f-jl-tas que me pri-veu de la paz;
na - da te - me-ré; Con sus hues-tes el Se-ñor me g-uar-da-rá;

.V_—p----p—r a—x — --s_s-g!

«----------- 5---- r— r---- y—«
—g— — ¡>—b
Mis pe-nas y mis cuí-tas las lie-vo siempre a él, Por-que él me ha
Aun cuan do me de-ja-re a - mí-go te - rre-na!, Y Sa - ta- uás tra*
En-ton-ces a la glo-ria, i - ré yo a contemplar, Su ros-tro, y el
.y K
ú
mandado ha-cerlo así;(A - le-Iu- ya;) En to - do es - te mun-do no hay
ta - re de triun-far; (A - le-lu- ya;) Yo que-da-r¿ con - stau • te al
cie^-lohe - re-dar; (A - le-lu-ya;) Y a - 1H con los sal-va-dos y el

otro a - m í- go tal, Pues Je - sus es vi-da y di - cha pa - ra mi.

la - do de Je-sús, Y con él po - dré vic-to-rías al - can-zar.
coro ati-ge - li - cal, Can - ta - ré sus a - la - ban-zas sin ce - sar

Hymni^ version of the "Lily of the Valley" in

Himnos de Gloria. Only the treble voices are
quoted here. Compare with "The Little Old
Shanty" in the next page.
 ——........

tt tff
-d d 3
• e
ro
H 13*
© THE LITTLE ©Li> »fi> SHAMW
Vjl H Steady, in 2
o < t*1
3 © ¡.i.
ca H
Ut
H cn 1. I’m lo o k in g rath -cr seed - y noww hilohold-ingdownmy
• o O 2. I ra th -e r like the a o v - e l - t y o f Jiv-iog- lo this
,3 W}
n
c*
w id*
Q ©
O
K <
«* P
H
S5 H
© ©
*1
wj
O 2 way, though mybill o f fare is-n’t al-ways o f the b e s t,___ but Pm
©
ÍC f—i
o
a
td
p p
H ©
H
P H*
id rt-
et-
H* p. mice play 3hy-Iy roundm e as I n e s -tle down to re st In my
id D U ap-py as a clam on the land o f Un- cle Sam in my
©
05
td H*
© <í
o ©
!d
©
•* H*
H
vo 1^-3
vn lis*
VJ |©
 ■

T h e labors o f the pioneer w ho sta ked a claim a n d tried to-

b u ild a hom e were little sung. H e often built several homes,
m o vin g w est a s the n ext class o f em igrants took h is la n d .

CHORUS:

-si
-p"
no Mozart source has ever been located, Some hymnolegists
think that the original melody is from the English composer
Joseph PhiIp Knight *

AMAZING GRACE is another early American folk hymn

which appeared first in The Virginia Harmony, 1831. The
arrangement now used was done by Edwin 0. Excell, (1851*1921)
a gospel song composer•

The best known part of BATTLE HYMN in our hymnb 0 oks

is the refrain used for the hymn "Gloria a Ti Jesús Divino"•
Although the tune has been attributed to William 3teffee,
there is no evidence of this authorship. It is a variant
of an old camp-meeting tune , "Say brothers, will you meet us1!,
•,•"the tune apparently originated in South Carolina,,*
1
••.before the Civil War" The complete version of the tune
is used in El Himnari 0 ,

AT THE CROSS or HUDSON conies, in part, from a folk-hymn

tune arranged by R, E, Iiudson, a gospel song writer who
ad opted for his arrangement of a hymn by Isaac Watts , "Alas 1,
and did my Saviour Bleed", for revivalist use♦ According to
Jacks on, in White Negro Spirituals» the stanza part of the
tuns is from Sacred Harp, of negro origin and not from Hudson,
Muds on added the music of the refrain, The Spanish version
is "Me hirió el pecado fui a Jesús". Also from the Negro
Spiritual heritage of religious folk tunes we have LET US
BREAK BREAD and I WANT TO BE A CHRISTIAN, which were published
at the beginning of this century,

BOURBON is from the Hesperian Harp, 1848«

The origin J of EN LA VERGONZOSA CRUZ is unknown but
probably is from a cowboy ballad,V

V rM
Carlton Young, Companion to the Hymnal< p. 287•
 76

Brittleh folk tunes

The following tunes como from Brittish countries ,
including the Irish and Welsh tunes,
LILT OF THE VALLEY LB HG NHP HVC fí NHE HE
HAPPY BAY LB JIG NHP HVC
PRINCE RUPPERT HE
GREENSLEEVES H CM
THIS E N D R I S NIGHT ON
KINGSFOLD CN
LEV TRENCHARD CN
KING’S LYNN CM
EAST HORDON CC
FIRST NOEL H HE
Welsh
it
,..... tunesm ..................

BLAENHAFREN
DECK THE HALLS
llangloffan CN CC
MALBWYN CN CC
ST * DEN10 HE
TUEFAENAN CM
MXilRlONYDD CM
LLANSANAN CN
LLANFYLLYN HE
I r i s h tunes

ST * COLUMBA CN CC
SLAKE CN
The tune LÍLY OF THE VALET used for the Hymn "hallé
un buen Amigo" probably is from an old English melody used
 77

in the United States♦X In some hymnals is identified as

arranged by William S . Hays and Ira 0. Sankey, but in another
hymnal is ascribed to Thoro Harris* The tun© has been also
related to the Salvation Army*

HAPPY DAY is a secular tune from the English composer*

Edward F * Rimbault (I8 1 6 -I8 7 6 ) f or a song called "Happy
Land". A refrain was added to the original hymn of P#
Doddridge and adapted for revivalist use,
KINGBOLD, LEV TRENCHARD and KING1S LYNN are English
folk tunes taken into hymnody by Ralph Vaughan Williams
when he arranged them for The English Hymnal in 1 9 0 6 .
The tune THE FIRST NOEL is identified in El Himnario
as a traditional French melody but there is no evidence of
this. Millar Patrick thinks that this tune was originally
a descant to a tune of Jeremiah Clark, " A Hymn for
Christmas Day". Erik Routley also points out that the tune
fits as a descant 1 0 the carol "Rejoice and be Merry"* So
the melody is probably a traditional English melody rather
than a French tune * It was harmonized in Christmas Carols.
Old and New, by Bramley and Stainer, in 1871.

TERRA BEATA is identified in CN as "melodía tradicional

inglesa" arranged by Franklin L* Sheppard * lie insisted that
he learned it as a folktune during his childhood * Probably
it is the same that appears in The English Hymnal« of 1906
with the name RUS PER«

Most of the Welsh hymn tunes used today come from the
th
revival period of the last half of the 18 Century. They
were introduce^ by the English Hymnal of 1906 and by Songs
of Praise in 1926 and 1932• Describing the beauty of these

^The tune is used for the gong "The Little Old Sad
Shanty"« Compare examples in the preceding pages.
fine t u nes , E r i k R o u t l e y s a y s :

Tli© chief and inalienable quality of Welsh tunes

is their intense rhetorical power. This is derived
partly from their remarkable sense of melodic form
and architecture, partly from their harmony, which is
always inseparable from them* and partly from an
external cause in the quality of the Welsh singing
voice.
.* «The tonality of Welsh tunes is * as one would
expect from their origin, nearly always orthodox,
with plenty of use of the melodic minor* Modality,
in the rare cases where it occurs, is a survival
from ancient tunes * 1
Tune St * D E N I O is found in the folk song "A Hundredth
Years f r o m N o w ” w h i c h was v e r y p o p u l a r e a r l y in the
th
19 ~ century in that country,
LEANG-LOFFAN, another Welsh folk hymn is taken from the
Daniel Evan*s "Hymnau a Thonay", 1 8 6 5 , and it is a typical
Welsh tune, especially when it is heard in the minor mode
version called LLANFYLLIN* Another of this kind, although
composed by William Lloyd(1 7 8 6 -I8 5 2 ) is the tune MEIRXONYDB
The composer uses through it the folklore idiom. In this
same character are also Pritchard•5 HYFRYDOL (CC, C N , H E , H
Hughes« C m RHONDDA (CN, tí) $ William’s E B E N E Z E R (CN, HVC}
Arfon1s LLEF (CN) and Parry’s ABERYSTWYTH (CN).

Only two Irish tunes are known through the hymnals;

ST, COLUMBA is identified as a ”hymn of the ancient Irish
th
Church1' in a 19 Century Welsh hymnal. SLANE is from an
old Irish folksong, 11With my love in the road”.

Other European folktunes

From the Northern countries of Europe come the

following tunes 8
KREMSER (Dutch) CN HVC H CC
IN BABXLONE (Dutch) CN HE
0 STORE GUD (Swedish) IÍVC H

"hsrik R o u t ley, M u s i c of C h r i s t i a n H y m n o d y , pp. I6 I-I63

 79

ALL THINGS BRIGHT (Banish) H

The hymn text for the tune KHEMSER was written by an

unknown author for the celebration of the Dutch freedom
from the Spain sovereignty at the end of the 16 th Century.
The tune was originally used with a folksong namscf. "By
wilder dan wilt”*

IN BABILONB was found in a collection of Dutch Peasant

Songs and Country Dances published in 1 7 1 0 *
Other folk tunes from the Central and Southern
European countries ares
SICILIANS MARINERS HYC H cc HE NHP CH NHS
CRUSADERS HYMN cc HE ON
(ELIZABETH)
PICARDY H HE ON
O FILI ET FILIAL HE ON
GLORIA HE CN
RIEN EST COMPARABLE ON
POLAND HVC H NHP
EN EL SILENCIO (Polish) HE

SICILIANS MARINERS is probably an Italian folk tune

published in Germany in 1807 • It was made popular in
Catholic circles set to "Osanctissima, o piissima", nprayer
of the Sicilian mariners”, In Spanish it is best Jenown
as a Christmas tune related to a Christmas 'hymn, by
johannes Daniel Falk, (1768-1826) and translated by
Federico Fliedner (1845-1901)♦
CRUSADER*5 HYMN is not a crusader1s hymn, neither its
text nor its time* Liszt was the one who called it "an old
pilgrim song” when he used it in the Oratorio "St* Elizabeth"•
The tune was published by a German editor in 1842, who stated
that he heard it among haymakers in the district of Glaz*
 80
GLORIA is a French traditional Christmas tune; also
From the French folklore are PICARDY, RIEN EST COMPARABLE,
and O FILII ET FI L I A L ,

POLAND comes from the Catharian f o l k s o n g " Y e r l a s s e n

hini11 adapted by Thomas Koschat and arranged as a hymn for
Psalm 23 by Edwin 0, Excell• Another Polish tune is "En el
S i l e n c i o 11 used for a Christmas hymn.

Germany, besides the two melodies already

From
mentioned, (PASSION CHORALE a nd INNSBRUCK) the following
tunes are aiso from secular or folklore s ources,
BAVARIA HVC H CN
0 TANNEBAÜM LB
SPRING SONG HG
PUER NOBIS HE
IN DULCI JUBILO H CN CC
QUEM PASTORES HE CC
SOVIEL STERNE
(HEIST D U W I E V I E L ) CN H E CC
ES 1ST DAS HEIL CN
GOSHEN CN
Culto Cristiano includes BR E S L A W , Z UR W I N A C H T S Z E I T ,
GOTT DIE L I E B E , NUN BITTEN V I R , NAR J U L D A G S M Ü R G O N .

SPRING S O N G is attributed to W, A , Mozart in Himnos

de G l o r i a « but there is no evidence of this, We think it
c o mes from a secular German source«
Spanish tunes

ESPERANZA NHP
JUANITA NHE LB HVC HG
AUTUMN (OTOÑO) NHP HG H
1
MADRID in all hymnals
PUEBLA almost in all hymnals
 Juanita, fo r m a n y y e a rs a fa v o rito , w as w ritte n l>y th e g ra n d d a u g h te r o f R ich ard R rinsley S h e rid a n ,
th e Irish w it a n d p la y w rig h t. T h e H o n o ra b le M rs N o rto n , a s sh e w as called, a d a p te d her text in an old S p a n ish
a ir, a n d re a rra n g e d it m uch in its p re sen t fo rm . n >

Mrs. Caroline N orton S panish a ir

pzfc— r K--j— K t---- rt—1--- 1 -K h.
g
ISíJl,_ _ d . W . 8♦ ;-S “ ® t— .
2. W h e n in thy dream in g Moons like theseshallshine again, And daylig-ht b e a m in g ,

.Breaks the day ^oosoon! In thy d a r k eyes,splendor,Where the warm light loves todwell^
Prove t h y d r e a m s a r e v a i n , W l l t thounot,re lent i n g , Fop thfpe absent lov e r si_gh?
r ■1 , - \ ' . ’ 3

Í
W ear-y lo o k s,y et te n - d e r , S p e a k t h e ir fond fare-w ell, N i- ta ! J u a ni - 1a !
In thy h e a r t con sent in g To a prayY gone b y ? N i- ta ! J u a n i-ta !
<3
rhi-rA i _i i II
\=$ — SH
A sk thy soul if we should p a r t! N i-ta ! J u a - n i - t a !
L e t m e ' l i n - g e r by thy sid e ! N i-ta! J u a - n i - t a ! L eu n tn o u ó n m y h e a r t .
Be my ownFatr Bride,

165 ¡Oh, C risto Mío!

I sa ix l P. B alderas , M elodía E spañola

lx'!) L ti----1
n ------fr-pr-l---
N..ni.1 :---r™
! \ ---.-.r~!
i ----kr—
rrt...t---K
v *r r-1*— “d----*) M—’— I—
f'Vy ' 'at. rj j¡f • *— “•S---ar _ Jl—.
1. ¡Oh, Cris-to mí - o! c - res í ú mi A-mi -go fiel; Se-gu-roaro-pa-rn
2. Cuan-doenb no-che ve - a yo es-tre-llas mil Tu voz her-mo-sa
3. Cuan-does-ta vi - da :ni- g.i yo que a-han-do-nar Co-ro-naher-mo-sa

í U--------1----- 1— ---------- v : ”■ i “ *r
■Jr -ts-.------------------------ 1— I— t------ >—i— n .... — C— i, :...... " J
__ a ...... ^ — p ^ — i—
a p M e g a jj- d — ------------- r r g - r — « -t o

só-loenTi ten- dre. f*n mis j - Atono-nes, buen je-stis, i - r¿ ,t T t,

pue-da mial-mao-ir. Ha/, que yo me-dt-re <m tu tier-noy dul-cea-mor.
Tú me ce - ñi - ras; 't cimdul -ce can-tu tubon-dad a - la-ba-re.
Coro f^\
,—fl-i h |--- ----------- 1-------- í------- — s—í------ ------------- 1— i-----¡-----f—i -t-r—{----1---
,J r ty.'.L v—¡ i —^-rí*?ti-& — r:----r-r v -d r - í----- H— i-----f~
TflF p r?---- r-&' *eu^S----- H— i---- a :— !— d— d—r J q j i s j 1

Y corv*ue-loy dt - cha me da-rás, oh sí.

Y que yo Te a-la - be, lie-no de fer-vor. Cris-to, ven más cer-ca;
Yenman-*ión de glo - rsa siem-pre mo - ra - re.

Paz per-f«c-o«fimial-ma pon; Cer-ca, sí, más cer-ca De mico - ra-zón.

The old Spakish Air used in the song "Juanita^ is

the same used Tor the hymn "Oh, Cristo Mío", which is
probably a paraphrase of the love song. It is No. 166
in Himnos de la Vida Cristiana.
 82
-i
'í
JUANITA^ 5 i d e n t i f i e d as " m e l o d í a e s p a ñ o l a ” is from a n
¿ old S p a n i s h s o n g w i t h the same n a me* The tune is u s e d f o r
:i the hymn ” Oh Cristo M í o " , by Isabel P# Balderas« Xt is a sort
of paraphrasis of the song in which the author substitutes
'I Christ for Juanita•

j What is known as MADRID # HIMNO ESPAÑOL and SPANISH HYMN

used to be a popular parlor piece in the United States, early
th
in the 19 Century* The arranger was Benjamin Carr of
i Philadelphiaj who in 1825 published a version of the melody
.X
with variations for piano, and in 1826 published it with th©
title " S p a n i s h hymn arranged and composed for the Concerts of
Musical Fund S o c i e t y of Philadelphia, by Benjamin Carr, The
i A i r f r o m an ancient S p a n i s h melody”*

AUTUMN (OTOÑO) or SPANISH AIR comes from the song

”Belerma and Durandarte”, of the French violinist Francois H.
j: Barthelemonj probably based on a Spanish Air, according to a
; publication of Benjamin Carr. The arrangement of the melody
as a hymn tune in a reduced version was done by Robert Simpson
-j of Scotland, in 1833* Probably this is the reason why in some
hymnals is identified as a Scottish melody. Th© version u s e d
in Spanish hymnals is the complete one by Carr.
Nothing is known about ESPERANZA, except that the
identification given in the hymnal is "melodía española”. Its
! rhythmical patter and martial air are similar to PUEBLA, which
according to the hymnals comes from a "Colección española”•

Latin American tunes

It is u n b e l i e v a b l e that the rich South American

^*As far as we can trace, JUANITA, ESPERANZA and PUEBLA

are used only in the hymnbooks In Spanish.
 S3

f o l k l o r e h as n o t b e e n u s e d in the h y m n a l s , and the f e w

tunes i n c l u d e d are n o t the b e s t r e p r e s e n t a t i v e s * Probably
this is d ue in part, to the b e l i e f f o r so l o n g a c c e p t e d
among the historical denominations, that folklore music
s h o u l d n o t be u s e d in c h u r c h s e r v i c e s b e c a u s e of its
non-religious a s s o c i a t i o n s . T h e f o l l o w i n g tunes a re m o s t l y
from recent hymnals«
GUIDE NHE H
MELODIA SURAMERICANA HG LE
HAY UNA SENDA HVC
GRATITUD HVC
(Con qué pagaremos)
GRACIAS CN
PASTORES A BELEN HE
VENID PASTORCILLOS HE

GUIDE is an adaptation from the national anthem of

ai
Chile, being the main characteristic its martial rhythm
which is repeated throughout,
1\" iv- I f> I I j
--■Ip— -

GRATITUD is given as "melodía latinoamericana" but no

source has been traced. It is a very interesting melody of
four different phrases (A B C D) 5 the last one repeated with
the same words, The melody range is with the 7 ^ from DO to
SIb in F major. The words are anonymous.

HAY UNA SENDA is also probably an arrangement of a

folk tune, It has some of the syncopation c o m m o n to the
folk tunes,
 84
D major and the melodic range goes from RE to DO#*
T h e l a s t t wo t u nes l i s t e d a b o v e are C h r i s t m a s c a rols
from the Puerto R i c a n folklore included for the first time
in a hymnal*

Polk tunes from other countries

LUKE is a very well-known hymn for children* Its tune
is from a Greek melody arranged b y William Bradbury. It
is almost in all hymnals *

LEONI or YIGDAL (HVC, CNt H, HE) « m a y be an old Hebrew

sinagoga® melody based on an old folk motif common to
Jewish, Spanish, Basque and Russian music.«*

ALOHA pr LILUOKALANI is from a Hawaiian melody arranged

by Thoro Harris, an American gospel song writer*

3* Psalm tunes
In this section we include those melodies which have
been composed or arranged for the metrical versions of the
Psalms as they come from the European psalters» Most of them
except for the Genevan psalm tunes, are no longer used in
these hymnals for the original Psalms, but for other hymn
texts * The same thing happens in the United States hymnals *
Very few of the Genevan tunes in the hymnbooks in Spanish
are used for hymns• We w i l l deal with them separately
fromi the ones which are used with the French metrical versions
The following include those P s a l m tunes most frequently used*
DARWALL 148* NHE NHP H HVC HE CC
EASTER HYMN NHE NHP H HVC HE cc
MARTYDOM (AVON) NHE H HVC HE CC
ST* ANNE H HVC HE cc
1
TRURO NHE H

1
Carlton Young, C o m p a n i on to the H y m n a l * P . 356.
 271 Hay Una Senda
A utor DíaseoNoetno A rut'.oi.aho por R. C, Savaor

!. Hay ti - na sen-(¡a qm <1 mtiiwlu im n> - nu - re, Hay it - na son - tía

2. Las a -mis-fa - tit s v to tics mis pa-neri - tes í'itc-tnn las j;rn ■les
.L A-tjtiol ea ■mi - nn tlf tan-ios mi - fri-mien - tos A-qiirl ra - mi - no

que yo pu-de en-ctm-lrai. Kn ( ’ns-ln ten-go ja sal - va-cjón tic mial*

que yo in - la - fin - iió; Me a-bn-rte - cic-nm porcait-.sa de su nom -
(¡tico! cu' - lo mi' ira- /o, l'ue it.ms-for-ma-do en n-nuc! fe* - liz nio-inni -

m;i, Cris-toes ia st'ti . d.i (¡nt mi pin- tic sal - var. EmiCi Í\-Io Itn (¡u
lire Catan-do su - ¡ni'-v<mt¡ut‘,t( "i t\-t o me en-i re~gué. Me a - bo-rre cíe -i on
to Cuan- do mi Cns - to al tie - lo nu lia - ruó. J*tie trans-for-ma-do en

la sal-va-dón de mi al - ma, ( Yis-tnes la sen - da que me puede sal-var.

porcau-sa de su nom- bre, Cuan-do su-píe - ronqueaCris-tomeen-tre-gué,
a-quel fe-liz mo-men - tn, Cuan-do miCiis - to d cíe-lo me lia-mó.

From Himnos de la Vida Cristiana. 196?. The words

are by Tomás Estrada, according to HFA, No. 1 7 2 .
Amor anónimo Melodía traditional latinoamericana
Ayin. P. D. Sosa
„ i. Af(iíítO(ii/r)‘-mi apurar
3 — r=r— j s.1 -p— : .j£

le da - mus gra - das, olí .Se ■ ñor. Por es - tas

.1_J_
r 1 c r *-i1'=^---ifR—
¿ í j 9—— o-fg^-r—
-------- 1> - * — r
-

f
y f f r r r f p vy r
prue - bas de tu a - mor. Ven mies- ti'a me - sa a coin - par - tir

ggU ^ ^ -A
T ~ n r= p

f " i a---J. —Jl—-il—Jil y:| - 0 ------

O—
r r pp f-
0

y y 0

mies - tra vi - da a beu - de - d;\ A - mén.

n
m =¿__J ^ —O—
1

-F-~r p p ^

The tune GRACIAS from Cántico Ntaevo. No. 3^1

 86

Alza Tu Canto, ¡Oh Lengua Mía!

H. M. M elodía S u d a m e ric a n a

4
i— d =
-gr *r
J— Jl rfir
í=
n
1. A! cíe - lo vue-Ien los e - eos s a n - to s Que arran-co a - le - gre
2. Ya sien-to el fue - go de los a - mo - res. De los a - mo - res
3, P a -d re , en tu re - gia, s a n - t a m o-ra-da, Don - de la di - cha
4, Oh Pa-dre, im -p á r-te - rae tu con-sue - lo; N a - d a en la tie - rra

de mi l a - ú d ; Al cie-lo vue-len mis dul-ces _can-tos, M is d u l-c es

del grato E~ dén; Ya no rae ac ó -san a - quí do - lo-res, por-que con­
no tie - ne fin; A - iíí mi pa - tria mi ro es-mal-ta - da de be - lias
yo e s p e - ro ya; Y h a z q u e p u e - d a e n - t r a r al cie-lo, Que allí tan

* KL_ S— S— i:
9-b—*- m 1
f=rf
C oro

ü -rn----- ~-p* .
h»
--
..« 1111W-* —
*li.if
r 9ii---
ant ygá--1
0
— a— £>■ _

-
v r=f
can - tos de gra - ti - tud.
tem-ploa J e - ru - s a -ié m . ¡Al - za tu can - to, oh len-gua
fio - res de tu ja r-d in .
so - lo mi di - cha es - tá.
je. J!.
-Í-S-
±J> Ie e b S eB e B
W=±*
t^T

ai - ma de a - l e - g r í - a , Con a - le - grí - a de de--vo-ción.

-■*- _-g--g-__ -g--p-__ -*--£■

This is ione of the few Latin American melodies

in the early Spanish language hymnbooks. It is
used in Cantos de Triunfo and Lluvias de Bendición,
It has not been possible to trace its origin
 87

391 ¿Con Qué Pagaremos?

ORIGINAL IN SPANISH
M elodía latino am ericana
A nónim o G R A T I T U D : Irre gula r A rreg . po r Ethel W inn

r-tf-i— "1----1-----fT — r~— ' : ~ T zzl~

t t L--- : 1 t
f M r v --- í ~m —an—m t ~
W) r---- — t “S—£ • "9
- y „ . , _i !__ 1,
— * — aV J ? r^ i — 1
La o-írtin-c a hu * mil-de, Se-ñor je - .su-cris- 0 , Le nsi co - rj - zón,
Ye S é qile tras e - lias Cual Pa-dre a-mo-ro * =o T ú ve-!as p<sr mí,
Ro * c i-be es-t e can-to Mez-cla-do con llan-t 0 , nú co - ra - zón,
1 19 f * f » #~* A _j ► _ í.j_ a__ _ -
— ------ -P—p ------ y—

-9 0~ 3
Lao-fren-da hu-mil-de, Se-ñor Je - su-crisolo, De, mi co*ra-zón.
Yo sé que tras e*llas Cual Pa-drea-mo-ro-so Tú ve-las por mi.
Re * ci-bees-te can-to Mez-cla-do con Ilan-to, Y mi co-ra-zún.

A rran g em en t @ C o pyright, 1 9 ó 4 , by G eo rg e P. S im m onds. U sado con perm iso .

í
Latin American melody GRATITUD from El Himnario, 1 9 6 ^;
also in Himnos de la Vida Cristiana, 19^7 * No* 3^1*
 88

ST. THOMAS NHP H HVC HE CC

YORKSHIRE HE CC
ST. FLAVIAN HE
(John Day's Psalter
1563)
DUNDEE NHP H HE CC

From the Geneva Psalter

OLD HUNDREDTH NHP H HVC HE CC NHE
DONNE SECOUR HE
TOULON (OLD 124th) HE CC
O ESCA VIATORUM HE
OLD 134 (ST. MICHAEL) CC
FREU DICH SEHR CC

All of them are also in Cántico Nuevo» ST* ANNE and

ST, THOMAS are used for paraphrasis of the Psalms * The
tune MARTYDOM is used for six different hymnst and the tun©
DUNDEE from the Scottish Psalter of 1 6 x5 , is used for five
different hymns* Perhaps this is because of the common
meter of the tune, wich can be adapted to many of the 8* 6*
8* 6 * meter of many of the hymns•
Other Psalm tunes less frequently used in the hymnals
but included at least once are the following, with the
original source given«
BANGOR (Scottish psalm tune) HE
*SOUTHWELL (William Damon's The Psalms of David,
London, 1579) H
TALLIS CANON (The Whole Psalter, London 1561-
1567) HE
OLD 124th (THOMAS ESTE PSALTERY, 1592) CC

In Cántico Nuevo we may find:

SERUG (European Psalmist, 1872)
ST, ANDREW (Tansur Coll* "New Harmony of Zion")
 89

♦WHITE HALL (Henry Law** for Psalm 8 )

WINDSOR (Damon Psaltery, 1591)
WINCHESTER ODD (Este’s Psaltery)
ST* MATHEW (Supplement to New Version of Psalms, 1708)
♦ROCKING-HAM (Supplement to New Version of Psalms, 1708)
NEW 113th (William Hayes)
CAITHNESS (Scottish Psalter, 1635)
♦ST, MAGNUS (Jeremiah Clark)
PSALM 138th (Heinrich Schütz)
BEDFORD (William Wheall, 1723, for Psalm 84)
ST. STEPHEN (William Jones, 1789• for Psalm 2 3 )

Those marked with asterisks are used in Spanish for metrical

versions of the Psalms• As the preceding list shows, most of
the Psalm tunes come from the English and Scottish Psalters,
The best known of them are the Scottish Psalters of 1615 and
1635? the Whole Book of Psalms, collected in the English
version by T, Sternhold and J • Hopkins, known as Old Version,
1562* It was published as John Day*s Psalter, 1563? Daman
Psalter, 1591? Este Psalter, 1592 and New Version of Tate and
Brady, in 1691 (New Version)» To distinguish the tunes of
the 1 5 6 2 version from the new version, those from Old version
came to be known with prefix OLD,

The Genevan Psalm tunes

One of the most important characteristics of these

Psalm tunes is the metric variety. While Sternhold in the
English Psalter almost used only the ballad meter (8 , 6 *
8 • 6 ., originally 14• 14 or 14. 14• 14. 14,) j Genevans used
about a hundred different meters. Calvin*s first Psalter
with music was published at Strassbourg in 1539, consisting
of 18 Psalms by Clement Marot* Later on Loys Bourgeois set
to music some others by Marot, and published the Clnquente
Pseaulmes in 1547* He did his last edition in 1551 with 83 Psalms.
 90

Another edition was done in 155& with the additional metric

version by Theodore Beze• The Genevan Psalter was completed
in 1562 by Pierre Dubuisson, who succeeded Bourgeois as
Cantor in St. Peter Church in Geneva. A four-parts edition
of the Psalter was published in 1 5 6 5 hy Claude Goudime}.,
although Calvin insisted on the union singing of the Psalms
at the liturgy. Goudimel1s harmonizations were more accepted
than Bourgeois * ones• These French metrical versions of the
Psalms have being translated into more than twenty languages
and dialects. The meters are mostly iambic with trochaic
variations.^*
About the musical significance of Bourgeois1
harmonizations , Routley states that;
..,”he is the architect of the modern hymn
tune because he anticipates the modern principle of
harmonic melody, melody whose pivot is the common
chord.*
23
Cántico Nuevo is the only hymnal of the ones used in
Puerto Rico and perhaps in South America, which gives a
large amount of Genevan Psalms with the Marot and Beze
versions translated into Spanish with original music from
the Reformed Psalters•^ The original music version has a

For the historical information and commentaries of

the tunes we have consulted The Music of the French Psalter
of 1552 by Waldo Selden Pratt? pp* ^5-^^ *
2Erik Routley, Op. cit., p. 33*
3
Some of these tunes were taken from the French
hymnal "Lounge et Priáre11 of the Protestant Federation of
France. In 19^7 the Editorial Foundation of Reformed
Literature, Rijswije (Z,H.) published an experimental
edition, Libro-,de Alabanza which consists of 19 Genevan
Psalms in Spanish with the melody only. In Mexico, the
Reformed Presbyterians included some of these in their
hymnal Cantos Bíblicos.
 91
rhythmic design consisting of a whole pulse, two-half
pulses , a double pulse for closing notes and a syncopated
pattern J J J for variety. Most of them use the
1/2 time signature• An example is given in the next page•
Following is a list of the Genevan Psalms in CN, using
the tune name given, which in most cases are the first
words of the original Psalm version in French.

1. XI faut grand Bleu (Psalm 138)

Boys Bourgeois based it on a secular chanson.
2. Mon Dieu, raon Dieu (Psalm 22) Tune by Bourgeois.
Used for a hymn in Cántico Nuevo.

3* Dieu tout puissant-Boys Bourgeois

Originally for Psalm 8, but used in CN for a hymn
by B. Tersteegen and for the Genevan version of
“The Magnificat».

h. Seigneur, qui vois la peine (Psalm 6) boys Bourgeois

The same tune used in HE as 0 ESCA VIATORUM

5. Aux paroles-Boys Bourgeois (Psalm 5)

In the doric mode• First phrase perhaps from
a secular chans on.
6. Seigneur, ,1e n 1ai pas (Psalm 31) Boys Bourgeois
In A minor with a ¥ ending.

7* Coniine un cerf (Psalm k 2 ) Boys Bourgeois

In CC appears as FREU DICH SEHR.
No time signature is given because of the
constant syncopation.

8. Re 1veille toi (Psalm 33) Melody by Boys Bourgeois

and harmonized by Claude Ghudimel, Dorian mode.

9* LlOmnipo.tent Originally for Psalm 110,

Tune by ^Bourgeois used in CN for a new
Batin American hymn, "Danos tu pan, Señor»•
 92

Genevan metrical psalm and tune in Cántico Nuevo» 1962,

Salmo 6
C le me nt M aroc . 141)7-1314 Seigneur, (¡ui uois la peine, 7 7 6 - D
Valentin C omsart , 1603 - 1675 Loyn Boi-rurois, h- 1510- h. 1561
Tr. D,
Moderada
fe

1- - , ñor no me ' re - j>ren das,

2. fen pues mi - se - ri cor día,
3- £ - tér - no Dios de gra cía,

J .. . J— J iJ—
J i J .i-J- J-

f=*= 'f "^r- r m

j = Ej = t

Ni en tu fu . ror me a-Fli - jas: A - plá - ca • te, Se -

Ya que en mi gran mi - se * ria Me a -co - jo a tu fa .
Di - rí • ge a mi tu ros - tro Y cal- ma mi ge -

J- 1 J J
P .- r
P V i ^ .^ .7 3=^

' V--- Jt
FF^F rn
nor. En tu sen - ten - cia jtis - ca No se * as
vor, Mis hue .sos se con • mué - ven, Mi es . pt - ri -
mir. No nbs - tan ■te mi de - 1¡ - to, Por tu mi -

-J- J i j j
------
¿ ¿ J- J-
<------ U-----
J-- —■ _ ,
^■Ac-1
" !u>..^—
..r |i— -ii------
a L h*—
...i ii— im—.... ir —p
i—f1--------- íJ

* r 1 FT r j- r i ¡^r r
tan se - ve ro. Cual soy me • re ce dor.
tu se cur ba Do inie-do y de pa vor.
se - Ii - cor dia Con - cé - de - me vi vir.

—
J- ^ A
tz-------- ----
J rJ-J---- J
-£----- ~s— _— L¿?—
-J..
fe-ti—j®— p— ___L
1 1 1 1 '+lS
Original iform of the melody as quoted by Erik Rout ley
in The Music of Christian Hymnody, p. 200,
4 P * PJ 4*r4 4'Tt* &
n.
22 O -O
H TT
£ 3 £7 ^

SJ?b c r-^
22 Zt ~pp CJ T^
 93

10* Donne S e c o u r s ~Orinitially for Psalm 12, The version

given in C N is metered in Common Time and used for
the h y m n "Hope of the World” ,
11, Old 1 2 4 th (TOULON) O r i g i n a l l y f o r P s a l m 124,
E n g l i s h and S c o t t i s h P s a l t e r s u s e d it f o r the same
Psalm. In C N it is used f o r a h y m n and it is
m e t e r e d in 2 t i m e .

12. 0 Dieui~Ce*st dans ta Sion

Psalm 65* Toys Bourgeois
13* Old Hundredth-Loys Bourgeois^
O r i g i n a l l y fo r P s a l m 134'k*1, It was u s e d in B r i t i s h
P s a l t e r s f o r P s a l m 110, T w o v e r s i o n s are given* The
m o s t use d in S p a n i s h h y m n a l s is the one in Q u a r t e r
n o t e s . CN g i ves a l s o the one w i t h h a l f n o t e s *

In m o s t of the h y m n a l s the tune is u s e d f o r a

d o x o l o g y (text a d o p t e d from T h o m a s K e n ) e x c e p t in
H E and H w h ere it is u s e d also for W i l l i a m K e t h e *s
v e r s i o n of P s a l m 100,
14, Señor de lo P r o f u n d o C l a m o -» O r i g i n a l l y fo r P s a l m 147•
Th e m e l o d y is from C a l v i n 's Psalter, p u b l i s h e d in
S t r a s s b o u r g in 1539* T h e or i g i n a l p h r a s e s order is
A B A B C ; in CN, A B A C , U s e d f o r a f r a g m e n t of P s a l m 130,
D o r i a n mode *
15, Ml C o r a z ó n - O r i g i n a l l y f o r P s a l m 140 (L. B o u r g e o i s )
T he v e r s i o n in CN is a l t e r e d in m e l o d y and meter,
p r o b a b l y as it was u s e d in B r i t i s h P s a l t e r s , N o w
it is u s e d for a h y m n b y Gonzalo B á e z - C a m a r g o ,
from M e x i c o ,

xn some h y m n a l s as N H P , H V C a nd H G the tune is

w r o n g l y a t t r i b u t e d to G u i l l a u m e Franck,
 94

16. Old 134th (st. Michael)

Originally for Psalm 101 by Bourgeois♦ It was
used in British Psalters for Psalm 13^* William
Crotch revived Its use in England (1 8 3 6 ) in the
very distorted form used in CN and most of the
hymnals.

First phrase from secular chans on»

IS, Je ChdTnterai» Seigner-Originally for Psalm 8 9 *

u
Used in CN for the Benedictas•

According to Pratt , in many of these Psalm tunes

there is evidence that Burgeois "made use of many first
lines of secular chansons t f olloxved by an independent develop­
ment , ...this use of well known motto lines * being a common
practice of the time".

4. Chorale melodies
Chorale melodies were unknown to most of the hymnals t
except for the use of EIN PESTE BURG, PASSION CHORALE and
ROSA MYSTICÁ. Before the publication of Cántico Nuevo in
1 9 6 2 1 only Lutheran and Episcopal hymnals used more chorale
tunes than the other hymnals» Cántico Nuevo introduces them
to non-liturgical churches«

The following are used in some new hymnals used by

evangelical churches:

LOBE D E N H E R R E N H
LASST DNS ERPREUEN H
ELLACOMBE H
 95

PASSION CHORALE H HVC

MUNICH H
EIN FESTE BURG H HVC
ST. THEODULPH H
DIX H HVC

Most of the chorale tunes are used with the original

German text translated * but many others are wedded to
different texts, according to the practice in the English
and American hymnals. For example, the hymn "Mirad al
Salvador J esd s " , known with the gospel tune by Silas Vail
(HVC $50) appears in CN with the tune ACH GOTT UNI) HERR,
harmonized by J . S * Bach * In CC the well-known gospel song
"A los pies de Jesucristo" is wedded to the tune DURCHBRECHER
from the Preylinghauaen Hymnal, Some other examples of this
practice in Cántico Nuevo are:
NEANDER-for ’’Del Cielo Descendió" (Cennick-Wesley)
CRUGER-for "Oh pan de Peregrinos" (R» Palmer)
EISENACH-for "Oh profundo Amor" (T. Kempis)
HEINXEIN, AUS DER TIEFE-for "Padre puede haber perdón"
(V. Mendoza)
O MENSCH SIEH- for "Perdón oh Dios" (J. G. Whittier)
SOLL1S SEIN-for "Señor Inspira" (i. G* Rodríguez)
CHRISTUS DER 1ST MEIN LEBEN-for "Venid a Mí"
(H. G. Jackson)

Culto Cristiano and Himnario Episcopal follow also this

practice. Many of the chorale tunes in CC are used for
more than one hymn; even to five, as it is done with the
tune VALET WILL ICH DER GBHEN (ST. THEODULPH)

Chorale melodies included in these hymnals come from

a very wide span of time, since the pre-Reformation
melodies adapted as hymns by the Lutherans, like the
following;
CHRIST 1ST ERSTANDEN
IN DULCI JUBILO
 96

ALLEIN GOTT IN DER HOH

ES 1ST DAS BEIL
0 WELT ICH MUSS DICK LASSEN
and chorale melodies from other countries after the
Reformation period
ANGELUS
O CHRISTLICHE HERZEN
LASST MICH GEHEN
CASWALL (F. Filitz, 1807-1876)
SCHONSTER HERR JESU
Following is a list of the most-used hymns in
Cántico Nuevo, Culto Cristiano and Himnar1 0 Episcopal,
*STUTTGART (C. F# Witt, l660-17l6)
WACHET AUF (p* Nicolai, 1556-1608)
*HEINLEIN or AUS DER TIEFE (Martin Herbst, 1 6 5 A-I6 8 I)
*ST. THEODULPH (M, Teschner, 1584-1635)
*HERZLIEBSTER JESU (Johann Crüger, 1 5 9 8 -1 6 6 2 )
*PASSION CHORALE or O HAUPT VOLL BLUT (Hans L. Hassler)
*NUN DANKET (J, Crüger)
*EIN FESTE BURG (M. Luther, 1483-^1546)
ALLEIN GOTT IN DER HOH (Publ« Leipzig, 1539)
*ELLACOMBE (Publ. Würtemberg, 1784)
*LASST UNS ERFREUEN or VIGILES ET SANCTI (Colonia, 1 6 2 3 )
^MUNICH (Meiningen Gesangbuch, 1623)
*JESU MEINE ZUVERSICHT or LUISE (Publ. Berlin, 1653)
*EST 1ST EIN ROS ENTSPRUNGEN or ROSA MYSTICA {Praetorius)
The ones used in Cántico Nuevo and Culto Cristiano are:
GOTT IS GEGENWARTIG or ARNSBERG (J. Neander)
¥IE SCHON LSUCHTET (P. Nicolai)
LOBT GOTT, IHR CHRISTEN (Nikolaus Herman, l480-156l)
VOM HIMMEL. HOCH (M. Luther)*
1

■1
T h o s e m a r k e d w i t h a s t e r i s k s are i n c l u d e d i n t h e s e
three h y m n a l s • T he H i m n a r i o M e t o d i s t a ♦ 1974 includes a
v e r y good s e l e c t i o n of c h o r a l e s , See N o s . 242, 2 3 8 , 213,
2,
11, 1 6 , 18, 2 9 , 3 2 , 1 3 0 , l W , 2 1 6 , 279. 309, 3 2 0 , 3 6 2 , 3 7 0 .
 Cristo S e a la S eñal 415
[íf-NJ \ \ t I \ St.MMOL.CK. Jr>72 - I73y Jesus soil d ie L o s u n g sehi, 7H\ 7 S . 7 7
Ti Max C. ! !. S c h m i d t . ¡ ‘>¡7 Arm. ¡. S liven, Ifidá- !7ú(i
A turna*U*
-- ¿-- j. 1
i SE h
fz
-P-
Ij
i . Cris * lo la so - ñal Cuan -do un nuc - vo
2. F.n d MOltl bre do Jo ■ sús Núes - tras sen • das
M. £1. de! imm do sal va - ción,Y de núes - tro

1 1 1 4 j _ j i j. g , „ . _ i
0' tPSi m m LJ U ü

T.~—!9-
-2 no pui> ■ ta. Cris ■u> el nom - bre tras o1 cual La con -
eran - si te •mos, Si é l nos ^uí ■ a con iti luz A su
pue - bio * ia; Del ho - ^ar su • pro * mo don. Que nin -
i
_a 1 ---# —
1 1
n J-4
-{—&-
td-tf tx u

lian ■ ;a es- tan Y por

io'> ■ plan -dor Nos a
pa ■ rn lea!. S e. a

r— a s
E f
i
One of the Bach *s chorale harmonies from Cántica
Nuevo. Notice the interesting movement of the
bass part
 98
Martin I.:',-. MVtilW. I. EIN" FEPTE B O R O , S 7,S 7. S 6. ti fi.7,
Trti'i, ;.-.r ,r ,r,., I;,i*,ti^.i i ¡ - :T i ' Martin ¡,¡¡¡<Tn. US.tiSni.
í'RtMERA TONADA

É -g- jj; *
■y 1 1 > I
p—p "S p
! 1 i i
^ ^
I
5 p i5 J f5 r£Í- P ^ 3"
I • 1 i t i f t
Con fu - ria y con a-fán A -co-sa-nos S.\*tan: Por ar-mas dr-ja v er
¿Sa - béis quién es? Jn-stis. El que ven-civen !a cruz, Se - ñor de Sa-ba-ot,

53
r <

a Aun ''i están demonios mil Que muestre su vigor

Prontos a devorarnos. Satán, y su furor
No teme remos, porque Dtos Dañarnos no podrá;
Sabrá aún prosperarnos. Pues condenado es ya
Por la Palabra santa.

u
This is the original version of the Ein* Feste Burg
as it is giVen in Culto Cristiano» Notice the
absence of time signature and the up beat beginning
of the phrases.
 99

AUS TIEFER NOT (M. Luther)

EIN FESTE BURG (M. Luther)
HEUT TRIUMFHIEHET GOTTES SOHN (B. Gesius, 1555-16X3)
CHRI3TUS DER 1ST MEIN LEBEN (Melchior Yulpius, 1560-1615)
LIEBSTER JESU, WXR SIND HIER (Johann R* Ahle , 1625-1673)
ZU NIMM DEN MEINE HANDE (Friederich Silcher, 1789-1860)
LOBE DEN HERREN (stralsun Gesangbuch, 1 6 6 5 )
ES 1ST GEWISSLICH (Vittemberg, 1529)
MACHT HOCH DIE TUR (Publ# Halle, 1704)
CHRIST 1ST E R S T A N D E N (Witt e m b e r g , 1533)
MEINEN JESUM LASST ICH NICHT (Johann Ullch, 1634-1?02)
♦ACH GOTT UND HERR (Neu Leipziger Gesangbuch, 1682)
The following deserve to be mentioned, although they are
included only in one hymnal:
NUN KOMM DER HKIDEN HEILAND CC (Wittemberg , 1524)
WIR GLAUBEN ALL CC (Langenbls, 1742)
WAS MEIN GOTT WILL CC (Publ. 1529)
WERDE HUNTER CN (Johann Schop, 1600-
1665)
FROHLICH 30LL CN (J. Crüger)
SCHMUCICE DICH CC (J . CrtSger)
EISENACH CN (Johann Herman
Schein, 1 5 8 6 - 1 6 3 0 )
ALLE MENSCHEN MUSSEN STERBEN CN (J, Hintze, 1622-
1702)
GELOBET SEX GOTT CN (M, Vulpius)
♦SALZBURG CN (J , Hintze)
EIN KIND GEBORN CN (German carol,
igth century)
♦ICH STEH AN DEINER KRIPPE CN (Joseph Klug, 1535)
*0 GOTT DXJj FROMMER GOTT CN (A. Fritsch, 1629-
1701)
♦DU MEINE SEELE SINGE CN (B* Gesius)
WEIMAR or *JESU, KREUZ,
LEIDEN UND TOD CN (M. Vulpius)
 100

*JESU SOLL DIE LOSUNG SEIK CN (Anon,)

*DAS m JOEBORNE KINDELEIN CN (M. Vulplus)
VER NUN DEN LIEBEN GOTT CC
(G. Neumark1621-
1681)
Those marked with asterisks are given in CN with the
harmonization by Johann Sebastian Bach. The only Bach*s
harmonizations in Culto Cristiano are HEINLEIN or AUS BER
TIEFE and PASSION CHORALE« Two other harmonizations by
Bach in CN are POUR REPONDRE and SANCTUS .

Many of these chorale tunes have their original

rhythm altered by the substitution of even note values for
the different combination of values in the original• There
are few which are given in CN and CC with the original
rhythm. The short up beat at the beginning of each phrase
is preserved in VGM HIM MEL HOCÍI (CC), AUS TIEPER NOT (CG,
CN), EST 1ST DAS HEIL (CN). This is also done with one
version of BIN PESTE BURG (CC, 1st tune) in which the
rhythmic urgency of the Lutheran tunes is evident with the
half note values.
--d~~ - d ~~d _ - J - . J .-- ---- — ------
Other examples of this kind of preservation are MACH
HOCH DIE TUR (CN, CC ), ALLSIN GOTT IN HER IIOH (CC, CN)#
HER NUN DEN LIEBEN GOTT (CC ), AUP, AUF, MEIN HER2 (CN)#
CHRIST 1ST ERST ANDEN (CN, CC) , 1’
/ACHET AUF (CC) , VIE SCHON
LEUCHTET (CC) , NUN BITTEN WIR (CC)f ÁCH GOTT UND HERR (CC) ,
st
and the alternate 1 tune version of PASSION CHORALE in
CC. Some of them are in 6 time to make possible the
measure of the quarter a net
half note values , like in the
rhythm of PASstoN CHORALE.

% <d— d —d —d —J - \-d d d -\-d - d —d —J-

Others do not have any time signature, although the 6 is
t
suggested by the bar lines, except in the CHRIST 1ST
ERSTANDEN and BIN PESTE BURG in CC in which no bar lines
 101

are given*

EXN PESTE BURG (See example in the preceding page)

CHRxbi 1ST ER STANDEN -¿ji— J J J JyJ>_

5. English tunea

Under this heading w© ax*e including the Wesleyan and

the so called Victorian tunes. It should be said that many
of the plainsong tunes and chorales also cam© through
English arrangements and adaptations.

Prom the Wesleyan sources we have three tuness

WINCHESTER NEW (CN, H E § CC)# ST. BRIDE by Samuel Howard
(HE, CN) and the well-known MOSCOW or ITALIAN HYMN by
Felice de-Giardini, used in all hymnals for a hymn by
Vicente Mendoza, 11Oh Padre Eterno Dios"• In Himnario
Episcopal9 measure 13 is given in its original repetition
of the same note in the melody. All these tunes are from
-f-Vj
the 18 * Century.

One of the most important Roman Catholic hymn-tunes

composer of this century in England was Samuel Webb© 9 who
composed MELCOMBE (CN ) p ST. THOMAS (CN 9 HE) and CONSOLATIONy
also called ALMA EEDEMÍPTGRX5 (HE , NHPt CC).

The Oxford Movement of the 19 Century in England

contributed to the enrichment of hymnody.
It was born of the conviction that the Church
of England must re-think and re-assert its
authority as the repository of Christian doctrine,
the keeper of public conscience and the chosen
channel of the Gospel to the new England.
They gave a new interpretation to the history of the
\
Church t revised the attitude of reserve toward the*

Erik Routley, Op. Pit, p, 115.

------- .------
 102

Reformers of the 1 6 Century, an appreciation of respect

for the medieval church, and emphasised the importance
of liturgy* They looked back to the Greek and Latin hymns ,
and to the German chorales, but refused in some way the florid
and popular hymnody of the Methodism. This also opened the
way for a new type of hymn that is known in hymnology as
,rVict or ian tune” • The hymnal that took these ideals was
Hymns Ancient and Modern edited for many years by William
Henry Monk. The first music edition was in 1861 and it went
through many revisions until the edition of 1950. This hymnal
influenced other English hymnals and also American and Latin
American hymnbooks• This influence is evident through the
many hymns translated and adopted i'roni this hymnal into
ours, even in the most recent ones as Cántico Nuevo and
Culto Cristiano« Perhaps we have had in our hymnals some
of the best hymns of this type. In part, we share the
opinion of Austin Lovelace, who states:

It has been fashionable for many years to

condemn all Victorian tunes of the nineteenth
century but to do,is musically dishonest. While
it is true that their tendency toward saccharine
melody and harmony is typical of ”the f 11 ght frooi
reason, and from the tensions and controversies to
which reas on leadsn, it is aiso true that some of
their tunes are eminent by singable and right for
the texts which they serve.1

The best represented composer of the Victorian group

in our hymnals is John Bacchus Dykes (1823-1876). The
following are the tunes most used.

DQMINUS R¿GIT ME (CN, C C , HE, K)

MELXTA (C N , H , HE)
BEATITUBO (H, HE)

Austin C • Lovelace, Companion to the Hymnal« p« 48.

 103
ST, DROSTANE (h , cc , cn , he )
VOX DILECTI (h , he, c c , c n , nhp , hvc)
ST. AGNES (H, H E ,C N , CC, NHP)
NICEA (in all the hymnals)
LUX BENIGNA ( nhp , h , h e , hc )
ST. SYLVESTER ( nhp , h e , h )
ST. OSWALD ( cn , h , he )
HOLDINGSIDE ( cn , h e , h , cc )
Besides these, there are eight more tunes among C C , CN and
HE• Nuevo Himnario Evangélico included 13 of his tunes•
Henry J ♦ Gauntlett (1805-1876) who was the most
prolific of the Victorians is known in our hymnals almost
by two tunes, ST, ALBINUS (CC, CN, HE), and IRBY (H, HE).
Four other of his tunes are in other hymnals, ST, FULBERT,
ST. GEORGE, ST. ALPHEGE and LOAD AL GRAN REY.
Samuel Sebastian Wesley (1810-1876), according to
Routley, the "ablest church musician of the group", was the
composer of the well-known AURELIA (CC, CN, HE, HVC, NHP
and H ) , which is used for five different hymns. WRESTLING
JACOB and SERUG, two of the best from Wesley, are in CN.
The famous English operetta composer Sir Arthur Sullivan
(l84l~lROO) was the composer of one of the most used hymns
in Spanish, S T • GERTRUDE ("Firmes y Adelante"), which is
included in all hymnals. LUX EOI is in C C , H, CN, HE % and
HOMELAND, in CN and H E • Included only once among the hymnals
are eight more tunes; one of them, ANGEL VOICES (CC), which is
considered by Routley "secular and vulgar in its rhythm".
The rhythm is intricate for congregations not familiar with
the syncopated rhythms, but not in Latin America where this
kind of rhythm is characteristic of the popular music•
 10**
Austin C • Lovelace, a contemporary hymnologist has softened
the syncopated rhythm with the adaptation of* the tune in
Í2 meter for. the Methodist Hymnal . 19^4.
^2 | # ...___
..—& .
—— — #1— 0 — J— 0- — J— ^— j—^— ¿J-
Joseph Barnby (I 8 3 8 -I8 9 6 ) is known mostly for S A R U M
or P R O O M N I B U S S A N C T I S ( C C , H E , H ) , P E R F E C T L O V E or
S A N D R IG H A M (HE, HVC, H, CC, CN), LAUDES D O M IN I (H , CN, HE,

CC) and M E R R I A L (H , CN) . S ix more tunes are among C C , CN

and H,
William Henry Monk (1823-1889) arranged two well-known
tunes: HURSLEY (HVC, HE, NHP, CN, C C , H), from a German
Catholic chorale: "Grosser Gott wir Loben dich", given in
the original form in Cántico Nuevo♦ The other is VICTORY
(HVC, HE, NHP, CN, CC, H) adapted from a Gloria Patri by
Giovanni P. da Palestrina. The Alleluias were added by
Monk. In these same hymnals is also included the best-known
tune, EVENTIDE.1 MERTON and UNDE MEMORIES are in HE and CN;
CORONAS, in HE, CN and CC, Seven more tunes are used in
other hymnals; one of the WALTHAM , which probably is one
of the best melodic lines of Monk.
Henry Smart (1813-1979) composed REGENT SQUARE,
included in almost all hymnals, and LANCASHIRE (CC, C N ,
H, HEO and REX G L O R I A S (CC, CN) which are melodies full
of energy. Six more tunes are used in CN and CC,
Edward J , Hopkins (1818-1901) is known for ELLERS
(CN, CC, H) and ST. ATHANASIUS (HE). EPIFANIA, CULFORD,
and GRAND ISLE, (used for a children's hymn) are found in
Cántico Nuevo.

An interesting version of this tune with an altered

rhythm is found in Misa y Juventud of 1970, No, 81, This is
a Roman Catholic publication. Example given in next page.
 i . jvi. westruj), 1 8 )7 ■19ÜV W illia m H. Monk. 182*3 -188‘
J
'N o muv le n to

r -r~ / ~ r T ~
1. Se ñor je . SÚS, la luz del sol se fue;
2. Ve loz se va la vi - da con su a - fán:
3. Siem pre tu gra cia yo he me nes • ter;
4. Cuan do mis o jos cíe - tren a la luz. i
rW~rp— ---- ¡----------y ----- j-.—
-- O'
“T " — r~^ r nr
La no che cíe rra; tú con . mi go sé;
Su glo ría, sus en • sue - ños pa . sa . rán;
¿Quién o tro pue de al ten - ta • dor ven . cer?

ET
tu

-t£L
Se al ce an te mí la ría de cruz;

f=íf
No hay o . tro am ' Pa - ro. ten. pues com pa . sión,
Mu dan - za y muer . te ve o en de rre - dor;
Tan só -lo en Ó mí guí a en - con tra - ré;
Pa sen las som - bras. triun fe al fin la fe:

J—W —
Y al des va r
li - ’do da con so . ‘la ción.
ir
Con mi g° sé, ben di - to Sal - va dor.
En som bra y sol, Se -ñor. con mi - g° sé.
Je - sus, con - mi go en vi - da y muer- te sé. A - mén.

Q U E D A T E EN MI

2. Si en el combate Tú nos abandones 3, Y cuando al íin de nuestro incierto vi:

ei enemigo nos dominará nos llames Tú al encuentro eternal
que tu poder nuestro valor encienda: ayúdanos oh Dios en aquel día,
danos la gracia de vencer por Tí. danos la gracia de llegar a Tí.

An interesting arrangement of EVENTIDE found in Misa y

Juventud. edited by Joaquín Sánchez, S. J #>Editorial Pax,
Bogotá, Colombia, 1970, p. 1^3. Compare with the original
melody at the top of this page.
 106

George Elvey (1816-1893) Was the composer of ST. GEORGE

WINDSOR, which is found in all hymnals for a Christmas hymn
by Juan Bautista Cabrera, "Gloria a Dios en las Alturas",
It is ais o used for other hymns* DIADBMATA is also a well*-
known tune included in HE, HVC, C C , C N .

Other Victorian composers who must be mentioned are

Sir John Goss, composer of LAUDE ANIMA (HE, CN). This is
known as PRAISE MY SOUL in Culto Cristiano and ARMAGEDON
in H and CN. Sir John Stainer has EVENING PRAYER (CN,
C C , II) MAGDALENA and GLORIA • These and two "Amens" are
found in El Himnario. One of the worst examples of the
Victorian age, according to Routley, is IRA JUSTA or
ST, ANDREW, by E. H* Thorne. This one is included in CN,
STEPHANOS, by Henry Baker is found in almost all hymnals,
6. American (U .S .) tunes

Besides the large amount of gospel song tunes of the

last part of the 19 Century and early in the 20 u Century,
we have also the traditional American hymn tunes. The
classic ones from the early American hymn-tunes composers
are LENOX (NHP, H , CN) by Lewis Edson (1748-1820); CORONATION
(H, HVC, NHP, CC, CN) by Oliver Holden (1765-1844), and
WINDHAM (H, NHP, C N ) by Daniel Read (1757-1836), The first
two were fugal tunes in which there were alternated parts,
one of more voices being silent for a time and then each
taking up a line and repeating it in succession. Some of
Lowell Mason1s (1792-1872) tunes, as ANTIOCH, were also of
this type, Mason was a very prolific composer and arranger
of hymn tunes• Most of his tunes follow the English model
th 1
of the 19 Century hymns. The most used of his tunes in
our hymnals are:
SABBATH HARWELL
MENDEBRA3 WORK SONG
DENNIS BETHANY
MISSIONARY HYMN OLIVET
WESLEY LABAN
HAMBURG HEBRON
AZMON ANTIOCH
 107

UXBRIDGE (ON), ZERAH ( NHP)# ARIEL (HVC) a nd o t her f i v e tunes

w h i c h are in C u l t o C r i s t i a n o * H is influence in our e a r l y
hymnals was v e r y strong. Nuevo Himnario Evangélico included
15 o f hi s t u n e s . B E T H A N Y is a f a v o r i t e o n e , e v e n among Roman
Catholic circles,

Another early composer, very well known in our Spanish

hymnals is Thomas Hastings (1734-1872), His tunes TOPLADY,
ORTONVILLE, ZION, NEW HAVEN, RETREAT and ASILO are used
especially in H , HVC, NHP and some other hymnals•
th
The best hymn-tunes composers of the 19 Century are s
Simon B, Harsh (.1798-1895) MARTYN (almost in all
hymnals)
Marcus Wells (1815-1895) FAITHFUL GUIDE (almost in
all hymnals)
William F. Sherwin (1826-1888) BREAD OF' LIFE (almost in
all hymnals)
Louis M # Gottschalk (1829-1869) MERCY (in all hymnals)
George Webb (1803-1887) WEBB (in all hymnals)
Ithamar Conkey (13X5-1867) RÁTHBURN (HE, H, C C )
William Walter (1 8 2 5 -I8 9 3 ) FESTAL SONG (H, H E )
Adoniram Gordon (103^-1895) GORDON (H, HVC, C N )
Charles C . Converse (1832-1918 ) CONVERSE (in all hymnals)
Spencer Lane (1843-1903) PENITENCE (almost in all
hymnals)
George ¥, Warren (1826-1902) NATIONAL HYMN (H, HE, NHP)
Henry S. Cutler (1824-1902) ALL SAINTS NEW (Hf HVC, GN)
Joseph A, Jeffrey (1855-1929) ANCIENT OF BAYS (HE, ON }
Joseph Yates Peek (1843-1911) PEEK (H)
Arthur Messiter (1834-1916) MARION (HE, H)

An interesting fact is the I n d u s si on of a tune by Horation

Parker (1863-1919) in Cántico Nuevo, called PARKER.
 108

Andrew Law, T h e R u d im e n ts o f Lewis Edson (1748-1820)

(Cheshire [Conn.]: William
M u sic
Law, 1783), p. 16, and
S u p p le m e n t to T h e A m e r ic a n Singing
B o o k (NewHaven: Daniel Read,
1787), p. 1

isisgsg
j Ve. tribe* of A * djm Join, With hcav'n and earth and teas,

l ( .r r

vine To your Ctc - a ■ u>Ci plane, Vc ln> - ly throng Of

it ho ly throng Of an ■ cel* bright, Yr

. ho * ly throng Of an - gel f . in W
’Oflilj nf tiwln.

an - Is bright, Vc ho ly throng Of an * gd* bright, In worlds of light, Be * yin the jong.

-J J
i
’ l>« ■ tv tlm'iiB Of jn ■ titsjln. In worlds of light. *lk - yin the *ong.

Thomas Hastings, C h u rc h M e lo d ie s
(New York: A. D. F. Randolph,
1858), p. 230 (no. 703)

t .. r v -r-r
triho of A dam JoUl. of * fer notes Jl

.-■y J - - j ~ - A —*1—r J—
Ife

ho* ly throng of an- gel* bright, Vc

•A H
•thJ—
r .
r~ * T -f~- r - f *
lt> yeiif L,r a - im’> praiid.
J 1 A A J. A-

ho ’ ly throng of an - geL bright, Ye Iso* ly thtong of

Iso - ly throng of an - gclj

£<Ij bright In worlds of light, Be - gi

gets brighr In

The well-known LENOX as it appears in the indicated

books* Notice the melody in the tenor part in the
top example* These examples are taken from Stevenson,
Robert M* , Protestant Church Music in America, New
York, W* W* Norton, 1966, p, 6 7 *
 109

Four Christmas hymn tunes were composed by t

Lewis Redner (1830-1908) REDNER (almost in all
hymnals)
Richard S. Willis (1819-1900) CAROL (almost in all
hymnals)
James R, Murray (18^1-1905) MULLER (almost in all
hymnals)
John Henry Hopkins (1820-1891) KINGS OF
ORIENT (H, HE)
MÜLLER was for a long time, erroneously attributed to Martin
Luther and to an unknown Carl Muller,
Four gospel-song composers wrote some tunes in the
traditional hymn tune fashion!
William Bradbury (1816-1868)
WOODBURY or "Just as I Am" (in all hymnals)
OLIVE*S BROW (h , c n )
SWEET HOUR (almost in all hymnals)
REST (CC)

Robert Lowry (1826-1899)

SOMETHING FOR JESUS (n h p , CC , h )
William Wr0 odbury (1819-1858)
DÜRRNANCE (H, hvc, NHP)
SELENA (CC, CN)
George C , Stebbins
POLLARD or ADELAIDE (H, HVC, NHP, C C , C N )
EVENING PRAYER (NHP, C N , H, CC)
Most of the 2Ó "* Century tunes from U, S, in our hymnals
are of the gospel song type, except for a very few; among
them, two tunesjby Calvin Laufter (187^-1938) included in
El Himnario, HALL and FIELD, "Jesús Maestro y Señor", and
the choral benediction "The Lox”d Bless You and Keep You”,
by Peter C # Lutkin (1858-1931)• Other later composers will
be considered under the contemporary composers topic,
 lío
7* Latin American tunea

After the publication of Nuevo Himnario Evangélico in 1914

which included 19 tunes from Mexican composersf there Were
scarcely one or two tunes by Latin American composers in ..,Mm
following hymnals, until the publication of Cántico Nuevo
in 1962* El Himnari & in 1964, and the revised edition of Himnos
de la Vida Cristiana of 1967# Mexican hymns in Nuevo H ^^ario
Evangélico followed Mason’s type of hymn*

Following is a list of the hymns which are included in

more than one hymnalincluding five which were not used in
Nuevo Himnari o Evangélicoj two of them are recent compositions*

MI REY Y MX AMIGO Vicente Mendoza (almost in all

hymnals)
LENTO German Lüders (almost in all
hymnals)
VEN PECADOR Modesto González (NHE , H)
VALDERRAMA Wesley Flores Valderrama ( nhe , cc)
MENDOZA Vicente Mendoza (NHE, HEP)
LUDERS German Lüders ( nhe , cc , hep )
AGUAS CALIENTES Ricardo Villalpando ( nhe )
CARVAJAL German Lüders ( nhe )
TE LOAMOS German Lüders (n h e )

BERTA Epigmenio Velasco ( nhe )

COYOACÁN Epigmenio Velasco ( n h e )

CRUCIFIXION Guillermo Boomer (CC, CN)

VEN A CRISTO Cosme C* Costa ( hm, hep )
GRATITUD Braulio Dueño Colón (h e , hep)
PIEDAD Marcelino Montoya (h v c , H) 1964
MIRAD A LOS CIELOS Robert Leegstra (cc, CN) 1 9 5 8

All of them a¿e used for original texts in Spanish, except

two which are also used for translated hymns• VALDERRAMA
is used for Thomas Ken’s ”Loor a Ti mi Dios”, and COYOACAN
for "Despliegue el Cristiano"• Both hymns are f o u n d in
C u l t o Cristiano.

German Lüders wa s a n a t i v e of G e r m a n y but l i v e d in

M e x i c o f o r a long time* His best*-known tune, LENTO, is %
melancholic one in a m i n o r mode, for a G o o d F r i d a y hymn*
Vicente Mendoza (1875*1955) was a M e x i c a n Methodist bishop,
a u t h o r and t r a n s l a t o r of m a n y w e l l - k n o w n h y m n s and g o s p e l
songs. He composed many melodies f o r his own h y m n s *
Epigmenio Velasco (1880-19^-0) w a s a M e x i c a n M e t h o d i s t
minister, a nd h y m n t r a n s l a t o r , a u t h o r and com p o s e r * He is
b e t t e r k n o w n fo r his translations of I Love T h y K i n g d o m " ,
He l e a d e t h me", and A c h a r g e to k e e p I have"* His
melodies are n ot v e r y a t t r a c t i v e , being very dependent on
sequence of m e l o d i c patterns* A n o t h e r M e x i c a n wa s M o d e s t o
González, whose "Ven pecador" is a gospel s o n g for s o l o i s t
(baritone or alto) a n d chorus, a l t e r n a t i n g in the stanza
and refrain; and Wesley Flores Valderrama, whose tune
VALDERRAMA for "Brille o no el Sol" by Joaquín de Palma,
is more adequate for congregational s i n g i n g because of its
melodic flow* Braulio Dueño Colón (185^-193^) was a Puert
Rican composer for piano and ensemble music, who devoted
a great deal of his talent to writing school songs*
GRATITUD is one of those, with words translated by Manuel
Fernández Juncos• Roberto Leegstra, b. 1927, is f r o m
Argentina. He composed "Mirad a los cielos" in 1958 for
a poem by Juan Burghi, b. 1899• The hymn was one of the
awarded hymns in a hymnal contest seeking new hymns f o r
Cántico Nuevo * It has a very strong rhythm, almost
martial, repeating the ^ | d & ^ pattern* The m e l o d y i
very well constructed, having a good climax in the last
phrase with a rhythmic change and reaching the high E ,

lD
y«v-D :^ .f
.!1..< ^ '. <5 _____ _*
/V __L....
_iy_. ---- —.-----
 112

Another tune by Leegstra , also for a Burghi1s Christmas hynm

Is ESTRELLA DE BELEN, another hymn awarded in the Cántico
Nuevo contest *

In Nuevo Hininario Popular there are hymn tunes by the

Mexican composer Enrique T # Uestrup, composed for original
poema written by his father Thomas Westrup. These are JESUS
TE NECESITO, NUESTROS PASOS, and VERE TU FAZ• There is
nothing worthy in these tunes*
The best represented composer in Himnos de la Vida
Cristiana is Alfredo Colora, from Guatemala•x This hymnal
includes eight hymns for which he wrote the music and the
words♦ The best known are: POR LA MAÑANA, MANOS CARIÑOSAS,
and PIES DIVINOS * (See examples on the following pages)•
EL QUE HABITA AL ABRIGO BE DIOS is by the Puerto Rican hymn-
tunes composer Rafael Cuna, although his name is not given
in the hymnal. The tune is altered with the meter in 6,
different from the original in ^ which appeared in the
composer’s collection, ”Cuna de vloresV
Two other less known tunes by Latin Americans in HVC
are MORIR CON CRISTO by José Barrueto, and OH SEÑOR RECIBEME,
by Juan Isáis. In El Hlmnario there are two tunes by
José Arregüín, b. 1918» both in gospel song idiom. The same
influence is evident in the Mexican tunes included in Hlmnario
Evangélico Presbiteriano. There is nothing worthy in these
tunes to be pointed out as a significant contribution to
hymn tunes• Most of them are in martial rhythms or in
gospel song style• "Seguro se halla el Aprisco” by E • B*
Vargas sounds like a ncorrido”*

The new hyiSmbook Himnos de Fe y Alabanza, of 1 9 6 6 ,

published by Zondervan Publishing House and edited by
Robert Savage includes 31 hymns by Colora; most of them
arranged by Savage « More about this will be discussed in
the last part of this work.
 113

.Juan llurglii, n. IBSíp. M l [¡AO A LOSCriiLO-S, 12 11,12 13.

Holirrtn I.i'fj'Blra, n. 1P2T.
—fi_[...... „............... ... ..... ------ j---- ----—
------j--- J----
4$~~--------¿— —O ------ a ---- J C f - ® —c L .—k -s -----»—

1. Mi - riui vcs - ti - dos' ■

2. 0 - id In1 - rni - c a s ;
3. G uk - t:id per - Tn - me-
JL

A c o n t e m p o r a r y h y m n f r o m L a t i n A m e r i c a as f ound
in Culto Cristianot f i r s t published in C á n t i c o Nuevo.
 114

81 Estrella de Belén
¡•Air-li ft tit' H r l r t t , !i> I ! . Ill I !
11' a n B u r u i i i . ll lñ ti i\(l!',KU I O I, I.K H .M K A , I íJf>S
A! itm.uitw, tranquilo

* if" r f T T f —f Y - 't r
1. Its - uc - Ikt tic líe* le u , Ui \i - na In/;
2 . I 'll cn - id te - les - u ;i l Ya 1<> a - mm t in,
,'C Its - ire - ll;t ti c Be *leu. A in lul goi.

p ------
a.
ijm
3- n -.m
r*- t? ■ r
Yo (juic* id vei um- bit’ll Ni ni i (,m i nr
Bn lús * ü - co por- ial C i is ■ io i t1 po sa l
Con icm pit1 yo üuii ■ bien. Co /o p to lu n do;

A _ A _ ,J _ ,_ j *• A y~A
J. -
r;,.
r r

:á z
11 -f---
v.i - d m MIS. Ido 1 !‘J R<-\

el m 11n •. d o \ id I’m ill pm 1 '4,11.11.

to !<e den - to t. Su - ( in - DIO I lie n ,

J. jI
■j
A- A A ■i-
r r 1
‘ jS
-: r '
'

V f >
Que el ii o ■ n o lia I la C m /. He tin K ti ■ im c tci - no
IV la / i.in vi - n a l Y un gin - tin - s;t
In - a ■ ifi - bit- a-iuor. (¡lo - na del m ini do

S = d s
r tr r

One of the few Christmas hymn of Latin American

origin included in our hymnbooks. This one is from
Cántico Huevo, 1962.
 115
SALMO 91
14 Rafael Cuna
Luz K Cuna AL AMULO DLL ALTÍSIMO
Introduce»'»
^-==?Í=l=é
El es mi Rey, mi Dios, mi a - bri - go i n -m o r -
_a_

PP IN morL "- U
ín IJiU taH
l
—r:— p^~~p!^r|^c| i
fjTCiiEj
i - El que lia - bi - ta al a bri - yo (¡e Dios, Mo - ra - r á de su
2- El que ha • bi - la al a bri - yo de Dios, En sus a las se -
3 - El que ha - b í . - ta al a bri - ¡;o de Dios. C icr - ta m e n - te se -

Jk JNJ- é ___ A J > d:

m ÍM É ^ E E l E ^
Por s i e m - p r e a - ti n - y o , a -bri-yo fiel.

ra les - ta rá) De los ta zos (let vil le» ta d»r.

quid-,(por do quíer) Mas a el no von dnt mor tan dad. Ohyo
!ud, (su sa tud) Y su pií: nun - ea res - ha - la - rrt.

Original version of "Al Abrigo del Altísimo", by the

Puertorrican hymn composer Rafael Cuna, from his Cuna
de Flores» Compare with the arrangement in the following
page
 116

154 E l Que H ab itak*Á1

n Q1
A brigo De Dios

1. El queha-bi-ta al a- bri - go de Dios Mo-ra-rá ba-jo som-braadewnor

2. El queha-bi-ta al a- bri - go de Dios Muy fe-liz cier-ta-men-te ee-rá.
3. El queha-bi-ta ai a-bri-go de Dios, Con-sa-gra-do a su vo-lun-tad,

Sue*-p«-ran-zaycaa-tí-líoJeho-vá se-rá,Yensus a - las fe-liz v i-v i-r á .

Dios da- rá, con sus án-ge-les, pro-tec-cÍón,Y sus pies nun-cares-ba-la - rán.
Pues-to en al- to, sa-cia-do en su pie- ni-tud,De Jfeho-vá go-za-rá la sa- lud.

C oro
...pp"|¿ ... — --------- ------ r^ -1--------

p -‘ ■ [r “ ------- — --------- p £ ™-------*

Oh, yo quit - ro ha - bi-tar al a - bri - g o de D os, S ó-lo a-

t - f tt M * = i (= í
r~-— =r$. ----- h

s-
W f f
Uí en - con-tra-rc paz y pro-fun-doa-mor. Mi de - li-ciaes con Ei
9~*
e W - W

co-mu-nión dis-fru-tar, Y por siem-pre su nom-brr a - la - bar.

The hymn Abrigo del Altísimo" arranged by

Robert C. Savage as it appears in Himnos de la Vida
Cristiana. Notice that no credit is given to the
authors * This hymn has been translated to the English
by Dennis Byler and published in Festival of the Holy
Spirit Song Booh; Goshen College f 1973# P • 3Í*
 117

PIES DIVINOS A lfredo C olom M.

¡^ f
1. Píes di - vi - nos, pies di - vi - nos, pies di - vi nos;
2. Pies di - yi - nos, pies di - vi - nos, pies di - vi nos;
3. Ved-los frí - os y des - nu- dos por los cam pos,
4. Van lie - van - do por Ju - de - a la se - mi lia
5. i Cuán her - mo - sos y cuán san - tos, cuán ben - di tos,
6. Pies di - vi - nos, pies di - vi - nos, pies san - gran tes,

=^EBñ
Pies ''di - vi - nos, pies di - vi - nos de Je Queen la
Pies di - vi - nos, pies di - vi - nos de] Re Quean-du-
Ca - mi - n an -d o / ca-mí - nan- do sin ce Por las
Del ben - di - toE - van-ge- lio del a Y cal -
De Je - sus el Na - za - re - no son los i Olí yo
Ho - ra - da - dos por mi cul- pa sin i Nos li -
=r£~C-
f iia iü É
J I ji h. _i i L
■H— J ---- j---4 . i r
)4
)---- gj--- O— --£) -3É
k -1 á g i a i A f í A i É
cum-bre del Cal - va - rio los cía - va - ron en la cruz, Queen la
vie- ron por Ju - de - a de- rra- man- do paz y a - mor. Quean-du -
cum-bres, por los va-lies, por la o - ri - Un de la mar. Por las
man - do del en - fer-mo las tris - te - zas y el do - lor. \Y eal -
quie - ro que a la tie - rra gain pron-to o - tra vez! i Oh yo
bras-teis del pe - c a - do del jui-cío e - ter - nal. Nos li -
. - ___ A
é m

li
cum-bre del Cal - va- rio los cía - va - ron en la cruz.
vie- ron por Ju - de- a de - rra - man - do paz y a - mor.
cum-bres, por los va-lies, por la o - ri - lia de ‘la mar.
man-do del en - fer-mo las tris - le - zas y el do - lor.
quie - ro que a la tie - rra ven-gan o - tra vez!
*"t
C

bras-teis del pe - ca - do y del jui - ció e - ter - nal .

IS I

A hymn by Alfredo Colom from Himnos de Fe y Alabanza»

Notice the continuous repetition of the rhythmic pattern.
 1X8

¡B endito el R ey que V ie ne !
l . ü , 7 6 . 7 6 -Jj
F ederico J. P acor a . 19(50 H o m e r o P er er a , I960

j -----J--- ¿
--- j 3ZZ¡¡jr— - -rj-
Ti

¡Al - /ad, al
r
¡)ucr- tas Del
r
du
O
ro c<> v:\ -
-j¡>-
/.ó n 1
¡A - ten - tos - í - dos. A • ten to s a su voz!
Que mucs-tra ■mil ■des La faz. del san to D ios;
Que o • fre ■ce a - sa -dos Des ta n ■ so y sa l va don.

=£3

No vie - nc re - ves - u t do De
Pues ¡ay delque or-su - lio so No quit: - re per - ci - bir
A quienje lian si - do da das La glo - ria y el po -tier,
Es man ■ so y es hu ■mil de Y en su ser vi - ció es- lá
i -h

Y . 1
ni * ni - ea es de
í
sier
T
-
T
vo, Su te - tro de iui-mil - dad.
.Cris' to pro - me ti - do Que vie - ne a ve - dí - mir!
al fin de las e da - des Los pue • idos |);m de ver.
yu - (fo que nos ¡le • va A c ter - na . lj - her - iad.

From Cántico Huevo, 1 9 6 2

 u s

Pablo D. Sosa, from Argentina and editor of Cántico

Nuevo, contributed the following tunes to this hymnal t
CENTRAL, composed by Nicolás Martinez for the hymn
"Cristo Vive”# a tune highly descriptive in its melody,
rhythm and interesting harmony using consecutive fourths
and fifths• CAMACUA wa» composed for ”Si fui motivo de
dolor”, a translated hymn which deserved a better tune than
the original one• The diatonic and simple character of the
melody and harmony fits quite well with the words#
STOCKWELL, another of Sosa*s tunes is more classical in its
character#

A# Delbert Assay, from Argentina, contributed with

the following tunes 5 LA SANTA PRESENCIA, ORACION, WARD,
and a Christmas canon called ALLELUIA,

ROSARIO, a tune by Jorge M# Punch, used for a hymn

by Isaac Watts is in a more folkloric character# It is
in 3 time using the rhythmic motif of #eJ through
the hymn# Homeroro Perera composed the tune LIL (CN) for
the hymn ”Bendito ©1 Rey que Viene” with an interesting
phrase structure of A A B C .

In general, South American composers follow the

anglo-saxon hymn-tunes pattern# The rich rhythmic and
melodic resources of the folkloric music waits for the
composers to use them with more imagination and creativity#

8# Hymn tunes from the Master composers

Although many of the great composers such as

Beethoven, Schumann, and F# J, Haydn never composed tunes
for hymns, editors of tun© collections have arranged as
hymn tunes melodies from their works• One of these famous
collections is William Gardiner*s "Sacred melodies from
 1,20

Haydn, Mozart and Beethoven”, London, 1815# Routley

explains the English practice which apparently had some
influence on American arrangers such as Lowell Mas on#
th
"During the early years of the 19 century
we pass the opening of a curious by-way in hymnody
which has turned out to be a blind-alley, but which
makes a not uninteresting field for explotation*
The adaptation of instrumental classics for use as
hymn tunes *. .became a popular fashion* *,"3-

Instrumental tunes from the classics were used as hymn

tunes, as well as melodies from the oratorios, and
adaptations from the secular operas *

Foilowing is a list of the composers and the tunes,

with a brief explanation about the melodic source•
Felix Mendelssohn
CONSOLATION (REYNOLDS) II, CC, H M
MENDELSSOHN in all hymnals
OH PADRE II
TRUST (CONFIANZA) CC, HE, CN
HOLY CROSS NHP
MUNICH II CN
WXE S C H O N L E U C H T E T CN
The tune CONSOLATION is from "Song Without ¥ ords", Opus
30 #3, arranged in 1880 by Adolphus Levy for the hymn
"Brightest and B e s t M E N D E L S S G H N is taken from
"Festgesang” Op* 68 $7» the theme of the second chorus
"Vater Land in deinen Gsuenw , It was adapted as a hymn
by William Cummings in 1837» although Mendelssohn thought
"it will never fit to sacred words". OH PADRE is one of
the themes of the oratorio ELIJAH * TRUST Is taken from

^Erik Routley, Op* Clt*, p* 112*

 l2 X

the "Psalm 13 for Mezzo Soprano* choir and organ", X 8 4 0 ,

MUNICH and WIB SCHON LEUCHTET are German chorale tunes
harmonised by Mendelssohn for his oratorios "Elijah" and
"Christus"•
Franz Joseph Haydn
HAYDN HE CC
AUSTRIA CN H HE HVC
CREATION CN
ST. ALBAN'S H
The tune HAYDN is arranged from the Symphony 93 in D
first movement. It was introduced first in English hymnal3 ,
AUSTRIA was composed in 1 7 9 7 as the Austria National Anthem *
probably based on a Croatian folk song, Later he used the
nd
tune in the 2 movement of the "String Quartet in C"
(Emperor)• CREATION is an adaptation from the chorus
"The heavens are telling" from the oratorio The Creation,
MANOAH, a tune which is attributed to Haydn in NHP and
HVC, and to Rossini in El Himnario» is from the "Collection
of Psalm Tunes”, of 1851* by Greatorex. No source for this
tune is given.
George Friderick HSndel
ANTIOCH CM CC H HVC
CHRISTMAS H HVC NHP
THATCHER CN CC H
JUDAS MACABEO CN
MESIAS NHE

Actually, HSndeX wrote three hymn tunes for Charles

Wesley* s texts, but none of them CANNONS , FITZWILLIAM,
GOSPAL) are usfed in our Spanish hymnals• According to
Carlton Young, tunes from his operas and oratorios were
reworked and used extensively in the evangelical time-
books of 1 8 ^ and 1 9 ^ centuries, The tune MESIAS, an
 122

adaptation of the Pastoral from ’'Messiah.” * used in old

Nuevo Himnario Evangélico is evidence of this practice»
ANTIOCH is an arrangement by Lowell Mason* using the
opening phrase of the Messiah chorus "Lift up your heads”*
and the introduction phrase "Comfort Y e ." CHRISTMAS is
an adaptation of the soprano afia "Non vi piacque inguisti
Dei” in Act II of the opera Siroe* which appeared as a
hymn tune in James Iiewitt1s Harmonía Sacra, 1812, JUDAS
MACABEO is also an adaptation of the chorus "See* the
Conquering Hero Comes" from the oratorio "Judas Macabeus".
Ludvig Van Beethoven

The best known hymn tune arranged from a Beethoven

work is HYMN TO JOY* taken from the last movement of
Symph ony /f9 • It was arranged for a poem of Van Dyke *
The first hymnal to use it was the Presbyterian Hymnal
of 1911 * The tune SARDIS (CN, C C ) comes from the Romance
in G, Opus 40 for violin and orchestra« OFERTORY (All
Things Come-CN, H) is attributed to Beethoven * The use
of the pi ano "Minuet in G" as a hymn tune in Himnario
Popular of 1 9 3 2 is of special interest *

W olfgang A. Mozart

HANOVER HP
ARIEL HVC
NOTTINGHAM CM
OH PADRE OMNIPOTENTE NHE
ELLESDIE HVC H

Henry Mason in "Hymn and Tunes of Lowell Mason"

lists Mozart as^the source for the tune ARIEL* but no
proof has been found. The tune does not have the elegance
of Mozart *s melodies• ELLBSBIE * which in some hymnals
is ascribed to Mozart * was used as hymn tune in the
 12 3

Clirigtian Lyre , I8 3 O, It was the editor of Winnowed Hvnm«

in 1873 who identified it as "Air Mozart” but no source
has ever been located#

Robert Schumann is represented by the tune CANONBURY

(H, C N , CC) which is an adaptation of the theme of
"Nachtstucke in P for piano”, Op, 23 #4, 1839•
Franz Schubert lias a tune called SCHUBERT (CN, H)
for which no source is given.

Beside Handel1s tunes there are some others taken

from the operatic repertoire, GOULD and SIMPSON in Nuevo
Himnario Evangélico are from Louis Spohr (1884-1859) *
being the first one from the oratorio “Das Heiland*s
letzt® Stunden”. PRESTON, also in Nuevo Himnario
Evangélico is from the opera ‘’Alessandro Stradella” by
Flotov/, The tune VERDI in NHP, arranged for the hymn
”Ven al Maestro” by B, McKinney comes from the opera
”11 Trovator©” (Act IV) of Giuseppe Verdi, PAULINA in
NHE is from an opera by Donizetti , and a tune identified
as “Aria Italiana" probably comes from an unknown Italian
opera (KG, NHP, HVC}.

Prom the operas of Carl M* von Weber we have

SEYMOUR or WEBER (II, NHE} which was drawn by Greater ox
in 1851 from the opening chorus of OBERQN, JEWETT (H#
NHE, NHP) also from Weber was arranged by J, P, Holbrook
in 1862 from the opera ”Der Preishutz”,

Johann Michael Haydn (l737~l806), the youngest

brother of Franz Joseph, was a church musician who wrote
some hymn tune if for Catholic congregations. Three of his
tunes are in some of our hymnals:
LYONS CC, NHP, HVC, H
GREENLAND HP
BIL SACH 1ST DEIN CC
 12k

110 y All* L.V3n Bee1 ven

f--

s= 3
Ü f!
Vj

------- rtr
-- :“t----1--vS-«-- L-*=rf=r :Ér~5E -■O—~*
•
-V---------- ^ .. ^ ^ vV

^V*OF“: -„S; j2_

©i
I . O y o d o J o s ú s In i n v i t a c i ó n :
"Ven n mí, j>neadnr’\
S<>ío on ó! p o d r á s Iml l nt 1 p e r d ó n ;
N u d a (unt as, ven, Pío,-, os a m o r .
P-
QuiVn c r o y u r o en C r i s t o v i v i r á :
V i d a olurnn. t u n d r a .
Cn‘(' y salvo sé hoy, parador;
Vuii y tfoza d o osl o ”-rim a m o r .

C o r o — Di os ni m u n d o imiíi
D o ínI m a n o r i t <ih <' (lió
A s u H i j o , r j n i n t n o s r od i n t t ó .
N u e s t r o Di os es nmoi*.
d. T a n jíloriosit m i u v a p r o v l n n t a t l :
N t m s í r o l í i o s os a m o r .
K) n o s l i b r a r á d o t o d o m a l ;
C a m i o n on <jo*/,o y p a z miost. ro d o l o r ,
K, Ii,

Beethoven's «Minuet in G« used as hymn tune in

the number 110 of1 Himnario Popular, 1932*
 125

LYONS appeared in the William Gardiner *s Collection of

1315 f but no source has been identified, In some hymnals
it is wrongly attributed to Franz Joseph. GREENLAND, also
called SALZBURG is taken from one of his "services for
country churches”. The tune NEW YEAR (C N ) also called
DULCE CARMEN or LEBANON has been sometimes falsely
ascribed to Johann Michael. It appeared as annonyinous in
a plainsong book in 1732 and in Samuel Webbe*s Collection
in 1840.

One of Bach *s sons , Philip Emanuel (171^-17^8) is

represented by the chorale tune FELIPE EMANUEL 9 which is
in Cántico Nuevo. Another German composer, Heinrich Schútz
is represented by one of his Psalm tunes, PSALM 138 (CN),
from his Psalmen Davids, 1628. This tune, like FELIPE
EMANUEL, is in its original form as it was composed for the
liturgical use• The same happens with SONG 13 (CC) by
Orlando Gibbons• The tune WINDSOR (CN) although it came
into the hymnals from the William Damon*s Book of Music,
1591, is similar 1 0 the tune that Christopher Tye composed
for the third chapter of the Act of Apostles in his
metrical version in 1 5 5 3 #
The last tune we will mention is FINLANDIA (MM, II)
from the theme of the Symphonic poem "Finlandia” by
Jan Sibelius. The arrangement was one in 1932 for the
hymnal of the Presbyterian Church in the United States*

9. Contemporary tunes« Here we include those tunes

----------------------
composed in the 20 Century.

In most of t|he hymnals very few contemporary tunes

are found. The only hymnal where the contemporary composers
are best represented is Cántico Nuevo. The most interesting
are:
HINMAN Austin Lovelace
GOOD SHEPHERD Robert Miller
SHIRLEYN Earl Enyeart Harper
ORA LABORA Tertuis Noble
GARETH Vincent Persichetti
DE FAUW Robert McCutchan
PURPOSE Martin Shaw
SINE NOMINE Ralph V, Williams
LONGDEN Van Denman Thompson
PSALMS 23, l4S, 150 Joseph Gelineau
ESPRIT DE VERITE Edmond Monat
LYTHINGTON Sydney Nichols on
ST. DUNSTAN* S Charles W. Douglas
MONTESANO John Law
CENTRAL Pablo Sosa
LIL Homero Perera
SEABURY Claude Means
RYBURN Norman Cocker

They are characterized by their melodic elegance and

dignity, non-sentimental, and the strong and meaningful
harmonies• In Cultp Cristiano, there are only two that
we found worthy of mention: WILLAR, by Walter Buszin and
ALEGRIA, by Fred J . Pankow, Himnos de la Vida Cristiana
includes three new tunes by Erik H, Eck, HOY EN LA GLORIA,
ES CRISTO DE LA IGLESIA, and SANTA CENA, but they are too
traditional in their melodic and harmonic approach. Some
other contemporary tunes ivritten by Latin American
composers have been mentioned before in this work. In
El Himnario there is almost nothing which we could call
contemporary, except for the tunes by Calvin W, Laufer,
INTROITO, HALL, and FIELD• Also, by W, Lawrence Curry,
the tune GOD IS SPIRIT, The Benediction by Peter C . Lutkin
is included in C N , HVC, and EH, but this is a choral hymn
rather than congregational•

In the new Himnario Metodista, 1973 there are some new

) — ~
tunes to our congregations, such ass
ALL THE WORLD Robert McCutchan
HINMAN Austin Lovelace
ENTER HIS GATES P, R. Dietterich
WACHUSETT Katherine Davis
PASTOR TE BENDIGO Gonzalo Báez Camargo
 269 .\ilmo 23
Salmo 2 3
D e -¡2 S a lm o s p a r a c a n í a r
Buenos Aires, í959 JOSEI'H G t'U N E .U ’

j vwHU
CORO ^

P ^ r ■ir 1
El Se* ñor es mi Pas - tor: Xa-da me pue-de íai

i
Sr W
TT ^ ir vr

±£
-^T y v -&

2=zk
^4rP
! El Se-ñoi es mí Pos *ti>r. -que me pne ■de í.d - tar?
El me guía por irnos sen . deros por a - mor de su nombre.

-í^

#d“ —»—i-e-
En pra ■deras eu - bin tas de ver - rjor■ E! me Ilesa a des- can - sp_r
\un-que cruce por obs curas c¡ue - bridas. nin-tnnr mal te - me- re.

%==. - :a z:
t ~~■- ' r j
¿ ¿ ¿ J-__ ¿ n ¿

*«-
C o n - ¿hlcenie a las a g u a s d e q n i e - t n d \ mi a l - m ; ¡ re-«m -!jji * tjn
ti c a - v a d o ) t u bas-UiU, c o i c a d e m ú e - H o s s o n i o - d o m i c o n - st¿^ _

nr» -e-
TT $S -

First twtf stanzas of the P s a l m 23 # One of the

t h ree Gelineau’s Psalm tunes in C á n t i c o Nuev o , 1962
 128
124 Cristo Vive, Fuera el Llanto
Central, s'7. Á7-í)
N ic o l á s M a h t í s -e ? . ií*6() P a u lo D . S o sa. IPíiu
Destinante
fi __ _____
-K—i
— i-
J) -- £ — Jj—
f fTrrn
1. .Cris- lo \i - ve, lúe- ra ti lian - to.
f f7"
I.os !a * men- ios \ el pe­
2. Que si Cris - to no vi • vie - ni \ ‘a - na iue • ¡a mío lt a
;C Sirs leí - dad que ríe la muer* te FJ pe • ca -do es a epii -

Jl_/; i .. J-..i ^ ■
■
■ A
i

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3ͱ:
7^ ..S -j 7j^r~ A 3E
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Ni la muer
p *
te ni el se
!
¡>11í
r y
m> I.n han p<>
ic. Mas se rmi! pie su pro me sa: 'Tul * (pie
Íon, No ie - tiiáis pues je - su cris lo Nos da

rS*- X iw~
J— —Jh—A--- J— )
•or-—»--b--h-a--- ....... _ñ_
g EEE

iTi
Ii:i

if i

x:

FfT “ r r T .Cris * to
muer . ios Al que siem - pre ha de vi . \ ii.
muer - le, Por Je sú> la vi - da en - iro­ No le -
Pa - dre Que nos da se - gu - u - dad, One quien
1
A
É EE£
í=

k ~|J) - k
r v p — T ~P f Wrff
vi • \’e. es
\
- has nuc - vas Por do-quier de - jad o • ir.
máís, eí iriun - fo es vues - iro; ;£! Se* ñor re - su - ti - m.'
ere- con fe - su - cris - lo \ i - \e por la e *ler - ni *dad

□dfc A -#K— i
j.
3E
*=f
One of the best Latin American contemporary hymns*
From the hymnal Cántico Nuevo* 1962*
 X29

Although the tune BEACON HILL is not contemporary in its

nature, it was composed in this century and for the
first time in Spanish was included in NHP and then in HVC,
EH and in the new Himnario Metodista* About the relevance
of these contemporary tunes, we would like to quote a comment
by Harold B, Hannum, when he says,

"It is a difficult task to produce modern

music which is acceptable to the congregation
and which expresses adequately the faith of
the believer. It takes a combination of
tradition, simplicity, strong melody, harmony
that is neither eccentric non commonplace,•••
and a folk song appeal to make coatemporary „
hymnody acceptable, This is not a simple task,
10, Gospel Songs
As we pointed out before, in spite of the different
traditions represented in our hymnals, the main body of
hymns are of the gospel song type, except in Cántico Nuevo
and Culto Cristiano. However, there is a tendency to
include less hymns of this sort in the new hymnals as in
El Himnario and Himnario Metodista, which includes only
1 2 5 gospel tunes, in comparison to Himnos de la Vida
Cristiana« which has 220,

In Appendix I we may notice that most of the gospel

'tijllL
songs are the ones composed by the end of the 19 century
and early 20 century. In Appendix IIIwe indicate the
tune names or titles of the best-known ones, The new
Himnario Metodista of 1973 includes very poor tunes like
the following:

s
Í1
1
Harold Byron Hannum, Music and Worship, (Nashville,
Tenn: Southern Publishing Association* 19£9 )9 P* 6 9 «
 130

WORDS OF LIFE P. Bliss

PROMISES Ra Kelso Carter
PRECIOUS NAME ¥* Doane
IN THE GARDEN A. Miles
CANSADO Y ABATIDO Lorenz
DUNGANNON W. Kirkpatrick
BRILLA 0. Gabriel
TU CARGA A. Miles
ROLL CALL J. M, Black
BLESSINGS £* 0* Excell
OLD RUGGED CROSS r*
U** Bennard
A con temporary composer of* gospel s ongs is Harold
Lillenas, whose tunes are in Lluvias de Bendición» His
production follows the stereotyped melodic and rhythmic
patterns of the traditional gospel tune, Evidence of
this is his tune EL DIEZMO, in H¥Q> with overused rhythmic
pattern of J ? J T J? J ~ J i

However t the best of the gospel songs should be used

in our hymnals and preserved among the classics of the
hyinnic heritage 0 We suggest the foil owing to give an
idea of those which have the strength and devotional
qualities above the majority of the sentimental and Msweety”
ones,
OBREROS J. B, 0* Cleram
NEARER c, H. Morris
PASS ME NOT Doane
HANKEY V* G a Fischer
TRUST IN JESUS V*** Kirkpatrick
ADELAIDE G. C . Stebbins
I NEED THEE Lowry
ASSURANCE ■P* P* Knapp
HE LEADETH ME W « Bradbury
MORE AND MORE J. Ma Stilman
Observations on melodic and harmonic usages

a . Melodies
Almost all of the hymns translated into Spanish keep
the melody Which is used in the original language* There
are very few exceptions especially in the hymns recently
 131

translated or in cases w h e n the e d i t o r s t h i n k that the

hym ndeserves a better melody* This practice is done in
Cántico Nuevo and C u l t o C r i s t i a n o » An i n t e r e s t i n g e x a m p l e
is the h y m n ”A los pies de J e s u c r i s t o ” which in C u l t o
Cristiano is to be s u n g with the G e r m a n m e l o d y K0 D u r c h b r e c h e r ” ,
i n s t e a d of the u s u a l g o s p e l tune w h i c h appears in other
hymnals *

Culto Cristiano and Hjmnario Episcopal s u g g e s t in m a n y

cases a n a l t e r n a t i v e tune to the first given* For e x a m p l e s
QUEBEC Tal C omo S o y
HOREB N u n c a D i o s Mia
PETRA R o c a de la E t e r n i d a d
Hymn tunes are b o r r o w e d f o r n e w texts and new translations
with preference to the w e l l - k n o w n t u n e s • This is true in
the e a r l y h y m n a l s * but this practice still c o n t i n u e s in
•5- m e d e g r e e * For example s
FLEMMING N u n c a D i o s Mío
THATCHER D e s p i d e h o y tu g r e y
M I S S I O N A R Y HYMN S e ñ o r y o te c o n e z c o
L Y ONS Xgl esta de C r i s t o
ST. C H A D Padre Dios y Padre N u e s t r o ( C N )
MERTON E s t e t e m p l o D e d i c a m o s (C N )
CARITAS PERFECTA Padre y E t e r n o D i o s (C N )

T he last three hymns , original poems in S p a n i s h b y the

c o n t e m p o r a r y w r i t e r I s a b e l G. V. de R o d r ^ u e z and m a n y
o t h e r o r i g i n a l s b y F e d e r i c o J. Pa g u r a , a M e t h d d i s t b i s h o p
in C o s t a R i c a , w i l l be m o r e meaningful w e d d e d to contemporary
tunes composed e s p e c i a l l y f or them *

A n o t h e r p r o b l e m that we f i n d f r o m one h y m n a l to the

other is the uáje of d i f f e r e n t m e l o d i e s f n r the same h y m n
text. This practice is also r e l a t e d to the f a c t that the
same text is t r a n s l a t e d in different w o r d s b y d i f f e r e n t
authors in v a r i o u s h y m n a l s •
 13 2

In Appendix IV we give a partial list of the hymns used

with different tunes from hymnal to hymnal* Perhaps one of
the most interesting is the hymn MCuan firme cimiento" which
is well known to the tune ADESTE FIDELES, but in CN is with
the tune MALDTOJ and in HM, 1973* with FOUNDATION*

To have an idea of the problem of different translations

for the same hymn we give a partial relation of this aspect
in Appendix V,

Editors of the most recent hymnals have given some

consideration to the melodic ranges« In the old hymnals
many tunes f especially gospel songs, went frequently to
the high E *s and even G 1s . Two hymnals that have taken
this problem very seriously are CC and CN; also in some
degree f HVC. The following are some of those lowered a
whole step in CN.
New K e y 3
NICEA D Ha j •
EIN FESTE BURG CM
CORONATION FM
ST. GEHTURDE E bM
OBREROS GM
LOBE D E N HERREN FM
FABEN BbM
ST. T H E O D U L P H BbM
MORE AND MORE Eb M
I n H V C , the f o l l o w i n g

TRABAJANDO ( T o i l i n g On)
A CRISTO DpY MI CANTO
E L MEJOR AMIGO PM
VOLUNTARIOS BbM
TRUE HEARTED Eb M
SUENEN DULCES HIMNOS A^M
 133

However, there are many hymn tunes in HVC that go to the

high F ; among them:

CUÁN DULCE ES ANDAR

JÁ COMBATIR!
OID, OID
HAZME UNA FUENTE
EN SU PROFUNDO AMOR
ALELUYA, CRISTO ME SALVO
MIRAD EL ORAN AMOR
A LA BATALLA

These are appropiate, at least in their range , for

soloists or choral groups but not Tor congregational
singing, except key lowering,

b. Harmonies
Basically there are two types of harmony in the
hymnals: the gospel songs one, which stays on the I , V ,
IV chords and the more elaborated one o f the other hymns•
Most of them are given in the four-part vocal chordal
style, The only hymnal that tries to avoid the Tour-
vocal parts disposition is Culto Cristiano where harmonies
are used more like organ accompaniment to the melody.

Few hymns have a Tree organ or piano harmony which

are more interesting and challenging Tor the organist.
Of this type we have:

PICARDY CN, HM
MIT FREUDEN ZART IiM
ALL THE WORLD HM
LASST TINS ERFREUSN HM, CN
CHRISTE SANCTORUM HM, CN
WACHUSETT HM
SINE NOMINE CN, HM
CHARTERH01ÍSE CN
ROVEN CN
PURPOSE CN
 134

Less interesting, using arpeggios accompaniment are

SI FELIZ QUIERES SER HM, NHP
HAY QUIEN VELE MISPISADAS HG, HM
SAL A SEMBRAR HM, NHP
EAST HORNDON HM
EN EL TEMPLO IiM, NHP
ALONE EH
A related aspect to the harmonies is the choral
fashion arrangements found in many gospel songs trying to
make something more interesting from the pon harmonies in
them* The hymnals most addict to this are NHP, HVC, H G ,
and EH* Perhaps these arrangements were conceived for
the revivalist choral groups f but we do not see any reason
t 0 have them in a congregational hymnbook* There is a very
close relationship between these chox'al-arranged hymns and
the so called gospel anthems which were published by the
same gospel songs writers, in collections, during the end
of 19 century and early 2 0 * century* Some of them were 2
The Diapason, i860 George Hoot
The Leader, 187^ Horatio Palmer
Anthems and Voluntaries for Sweney and Kirkpatrick
the Church Choir
Excell Anthems for the E* 0. Excell
Choir, 1888
The Choir Leader Edmund Lorenz

According to Elwyn Vienandt, the style in these works is

similar to the gospel tunes one *

,fA common criticism of these works is their reliance

in cliches and devices that are more predictable in
the musical vocabulary--repetition, sequence,
reiterate^ short rhythmic patterns, and the rising
melodic sixth”
 289 Cristo Acoge Al Pecador
E b d m a k k N e u m b is t b r
It.
LT» ii,M
, JV1.. Wi
W EÍTtU P Jameb
jA M cG ranahan
M hs firiL.v.^KArtAfi/

1. Al queenbus - ca de la luz, Va - gue cié - goy con te-mor,

2. Aaus pies des-can - sa - rás; E -jer - ci - taen El tu fe;
3. Haz - lo, por-quca-sí di -rás: "Ya no me con-de - na - ré;
4. A - co-ger - te pro-me-rió, Da - te pri - saen a - cu-tlir.

Lo re - ci - beetbuen Je - sús En ¡os bra - zos de su a-mor.

De tus ma - les sa - na - rás; A je - sús,tuA - mí - go, vé.
Ya la ley no p¡ - de más; La cum-plíóje - sús, lo sé.”
Ne - ce- si - tas, co - mo yo;Vi - da,que El teha-rá vi -vir.
■* -ft- .fL. f t.*

Se
C oro *
5Es
Vol - ve - re - rnos a can-tar, Cris -toa-
A can-tar voi-ved, A can-tar vol-ved:Cris - toa
ft-______ 4L 4L
±
i

É
co - gealpe - ca-dor; Cía - roha-ced - lo
co-ge al pe- ca-dor, Cria - to a- co-gealpe- ca-dor; Que re-sue-neha-ced,
fC-JK *
£ É

ú 2Z 9
re - so-nar: Cris-toa-co - geal pe - ca - dor
Que re- sue-neha-ced:

gi i ¿
1
1
)

Choral arranged refrain of the hymn ”Acogida da

Jesús” from Himnos de la Vida Cristiana. 1 9 6 7 ,
 m

ijé
,fThe Lorens composers had found a convenient parallel
to the popular ballad and the characteristic piece
for piano by using formulas that were familiar to the
public, providing them with words that had a familiar, ;
confortable, and religious sound, and never disappoint­
ing a public that had grown accustomed to the diet. 1

Another interesting comment from Wienandt about this

ü relationship and the use of choral material in the hymnalss
"When hymnals commonly began to be supplied for
congregations, there was no longer a need to print
books that contained both the hymnic and choral
materials«
Some of the best known hymns arranged in the choral
fashion, with words repetition especially in the refrain
are:
SOLEMNES RESUENEN HVC
¡ GUIAME HVC
ACOGIDA DA JESUS HVC
1 MAS COMO CRISTO HVC
CUAN GLORIOSO EL CAMBIO H
TRABAJAD, TRABAJAD H
CANTARE LA BELLA HISTORIA HVC
1mi ALABANZAS A DIOS DAD HVC
tt. GLORIA SERA HVC
Él VIENE OTRA VEZ NUESTRO SALVADOR HVC
MARAVILLOSA GRACIA NHP, LLB
TIERNAS CANCIONES HM, H
A LA DIVINA TRINIDAD HM
PALMAS Y FLORES H, HM
JEHOVA TE BENDIGA H M , HVC, C N , H

In NHP there are a few which deserve to be mentioned due to

some unusual characteristics. The tune TINDLEY indicates
the tempo marks, ONONDAGA has a very particular bass line
(melody in that part), r,Al Huerto VanM gives the stanzas
to a s olofe t. PROM asks for the imitation of the marching foot
------ ----------,-------
Elwyn A, Wienandt and Robert H. Young, The Anthem in
England and America, New York: The Free Press, 1970? p# 321,
2
Elwyn A, Wienandt and Robert Young, Op. cit,, p. 3lk
 137

stamp with the words "prom, pon, pon" in the bass line*
Another s o r t o f a r r a n g e m e n t is in “Escucha mi doliente voz " f
"Cristo en vano no murid" and "A solas padedid" f with a duet
for Sporano and Contralto in the stanza with piano accompani-
ments and a four-voice harmony in the refrain*
A last observation about the musical content is the
preponderance of the major mode in most of the hymnals•
In HYC out of 350 hymns, only 9 are in the minor mode;
five of them, by Latin American composers• In the new
Himnar’io Metodista out of 39^ hymns, only 17 are in minor
mode * The only hymnal that is well balanced in this aspect
is Cántico Nuevo; and in some degree» Culto Cristiano and
Himnario Episcopal % perhaps because these hymnals depend
less on gospel songs which are written almost in major mcides«

\
\

)
 CHAPTER III
TOWARD A N A T I V E H Y M N O D Y

In the Pentecostal Churches

The first books to be examined concerning the native

h y m n o d y are the h y m n a l s published by the Pentecostal
churches» U n f o r t u n a t e l y , these hymnals are words edition
only and all the information they offer about the music
of these hymns is the corresponding title in the English
edition for the translated hymns and the name of the
composer, if it is a native hymn» The best known of these
hymnals Ecos de Vida» Lira M i s i o n e r a » Himnario Voz de
are
Jdbilo y S a l v a c i ó n and A l a b a n z a s a D i o s »

Most of the m a t e r i a l in these h y m n a l s is t a k e n f r o m

the standard h y m n a l s in S p a n i s h and c o n s i s t s of t r a n s l a t e d
g o s p e l s o n g s . D i f f e r e n t f r o m the standard h y m n a l s , they
i n c lude a large n u m b e r of n a t i v e h y m n s w h i c h h a v e b e e n in
use in the P e n t e c o s t a l churches for m a n y y e a r s * W h ile the
main interest of the n o n - p e n t e c o s t a l churches h a s b e e n to
t r a n s l a t e d a nd l e arn the f o r e i g n h y m nody, pentecostals have
b e e n d e v e l o p i n g a n a t i v e h y m n o d y w i t h t h eir own s o n g s •
A l t h o u g h these songs f o l l o w the g o s p e l s o n g p a t t e r n of
stanza-refrain, t h e y are original in the use of f o l k l o r i c
a nd popular r h y t h m s and m e l o d i c p a t t e r n s .

Pentecostals are the f i r s t group to use w h a t we m a y

call "native h y m n o d y ” , w i t h n e w w o r d s and m e l o d i e s
composed b y people f r o m t h eir own c h u r c h e s . H o w e v e r , they
have used widely hymnals of the A s s e m b l i e s of God *s c h u r c h $
Himnos de Gloria and Cantos de Triunfo» a m ong o t h e r s ,
 139
Juan Concepción, a Pentecostal musician and
trumpet player, in the preface of his hymnhook Ecos de
Vida says that i
»the purpose of the hymnal is to present a
collection of hymns and spiritual songs which
represent the sublime inspirations of the
hispanic soul##* With the exception of some
arrangements and translations of hymns, whose
authors X do not know who they are, tlie other
compositions are by hispanic composers inspired
by God,»1
Only the words are given in this hymnal, leaving
the music to the oral tradition as it has been with most
of the Pentecostal hymns# Perhaps, the composers
never notated the melodies, but these have been learned
and sung by heart in many churches* Most of the composers
were untrained musicians, people who know how to play
the guitar by heart and accompanied themselves in the
creation of words and melody of a new hymn * In spite
of this fact, pentecostal composers have been very
prolific* There are many songs which have never been
published but are sung in their churches• Most of these
melodies have been notated after being used for a long
time in the oral tradition.
Apparently, most of the well-known native hymns
are from the 1930 decade• The music for some of them
has been published in recent hymnbooks as Himnos de Pe
y Alabanza, by Robert Savage', and Himnos de el Avivaraiento,
by Luis F* del Pilar# However, the first composer to
publish his own hymns was Rafael Cuna in his Cuna de Flores,
in i9 6 0 , Many of his hymns are well known in the
Pentecostal churches« Some of them are: »Plegaria
I
Matinal», »E1 Amor de Dios», and »Al Abrigo del Altísimo»,

AJuan Concepción, Ecos de Vida, page 2 • Translated

by the writer#
 ■ m

i4o
which is the first Puerto Rican hymn published in a
standard hymnal (HFA, 234; HVC, 154),

In the Disciples of Christ Churches

Among the non-pentecostal churches, the Disciples of

Christ were the first to introduce the native musical
elements in their worship services. A description of a
worship service tells that:

"The Disciples of Christ employ individual

testimonials of faith and sing their religious
songs to popular tunes and to the accompaniment Df
guitar and other local instruments• •••the use of
popular music and choral singing introduce into the
service aspects of 1ower class and rural social and
festive behavior which- in the words of the
7
Protestant, make the heart glad,,,1
x
This is descriptive» especially of the decade 1930-40,
when the so called "revival" happened in this Church,
As a part of the revival, the church musicians began to
compose on the guitar and the "cuatro" the new hymn
melodies and to use these instruments together with
the "maracas" and "güiro" in their worship services•

Some of these hymns have been edited recently by

Luis F, del Pilar in his hymnbook Himnos de El
Avivamiento, (1973)* Among the composers are Ramona
Alamo, Alejandrino Torres» Ramón Díaz, Mario Delgado»
Eulogio Benitez and Guillermo
■é
Claudio• The best known
of these hymns is "Jubilosos cantemos Gloria"» by Mario
Delgado, According to a pastor of the Disciples of
Christ, this martial-rhythm hymn was "the Marsellaise
of the revival", A list of the best-known pentecostal
native hymns follows•

Julian H, Stewardt et* al.» The People of

Puerto Rico, (University of Illinois Press» 1956;)» P« 244,
 BEST KNOWN PENTECOSTAL

Acércate más Anón,

*A las aguas Anón»
*Aunque en cadenas Anón*
Amen Amen
9 Ramón Díaz
De camino ya viene Lauro Castro
El que habita Rafael Cuna
Errante por el inundo Rafael Cuna
(Ten piedad Señor)
Escucha Jehová mi palabra Lauro Castro
*Fuente de Agua Viva Anón.
Ha llegado a la Isla del Cordero Leo Torres
(Puerto Rico para Cristo)
*Hay vida en Jesds A * L. Torres
Jubilosos cantemos gloria Mario Delgado
Jesds llena mi vas o Josefa Vargas
*La Biblia Anón *
La Biblia es la bandera Juan.Concepción
La X s1a Pedro Vargas
*Manda fuego, Señor Anón.
Mi testimonio (Soy feliz) Ramona Alamo
No dejes que otro tome tu corona Alejandro Torres
NATIVE HYMNS

EV
LM HA
LM
LM HA
NSE
HFA EV HVC, CF
EV CF

NSE
LM
LM

LM
LM VJS
YJS
LM VJS
EV
EV
LM
HFA VJS EV
LM VJS
T*ri
 SHI --- --

No hay gozo más grande

(Vivir con C r i s t o ) Lauro Castro LM NSE EV
Nueva Vida J u l i o Ríos EV
Qué le d i r á s a mi Cristo Juan Concepción EV
Siempre cantando Juan Concepción EV
^Testifiquemos que s ó l o hay goz o
(Campaña Laboriosa) Anón* LM V JS
Tiene C r i s t o una mansión de gloria Anón, LM, HEA, VJS, HA
(Ya v i s l u m b r o )
V i r t u d s a l i ó de El
(á la casa de J a i r o ) Q u i n t í n Arce VJS, EV, CC

* the r e f r a i n is u s e d a l s o as ,fc o r i t o 11

LM Lira Misionera
VJS V o z de J d b i l o £ S a l v a c i ó n
SE Salmodia E v a n g é l i c a
NSE Nueva Salmodia Evangélica
CF Cuna de Elores
CC C o f r e de C á n t i c o s
HA H i m n o s de E l A v i v a m i e n t o
HFA Himnos de Fe y; A l a b a n z a
EV E c o s de V i d a

ZtlT
145 YA VISLUM BRO LOS A LBO R ES
A rr. por Eugeni o-Jordan
A utor desconocido

~ff~4 , i =j -»=-- 1 --- ppv-.K.—pH" r-. i

W 4 1»—í — i J—|—£— rff, g: i —.g
'H
^ r~ ^ ■*- 3 H y
1. Tie - Cris - to / u - na m an-sión de g lo -ria ,-- Prespa
V -
2. Con gTan go - zo reu - ni - dos es - ta - re - mos Ju n -to al
3. iQue' glo - rio - so se - rá cuan-do reu - ni - dos,___ Los li -

%4-.1Er M=J J [# f’- f $í

— --Tw. 4 ^ .. 'i--'W: 1 — k- A +-1--V-
i j? 1t i ~ t • 4t* f = t
ra - d a____ en los cié - los,___ Don-de to-dos i - re-m os a go -
tr o - n o ,___ jun-to al tro - no,____ Pues i - re-mos con cuer-pos trans-for-
n a - j e s , __ len-guas to - d a s ,___ C la-m a - re-mos u - n i-d o s en los

* I* 8í Sr —-* t , fí
' - ' tT S■i. .. ¡i. f! ~ —B--»---- p j
---* ...j»
*i---
1--- f---
4---0--- ----
l
™ —
-----3— *....>■ ' ■■ p p . r p *
CORO
--- 4--

zar-n o s,„ A n-teel tro - no es - ta - re -m o s__

m a -d o s — Al fer-in ar a - l l í un c o - r o .___ Ya vis - Ium -bro__
c ié - lo s ,_ Fren-teal tro - no de-mos glo-ria..__
' 1....... r r t t » t if f r i, f f , - f r •£■: f
W P ' ■ g ’ far gr , -i l> í -a fes1* 0 'tü""® iy 1 Í ,h' •
— tí— p — u -------- i— — i— lj p — n -jf... pr >— i— i—
H —

l ■ ' ' é~-~...:J1

e n las n u - t íe s ----- L os al - bo - res es-p] en - den - te s___

i— *-
w M N
—
^ F = -V — \-------- 1-------
w M H — (? P ■

f$= [ j ...... j v j J F t p ~ j. h ~---------- — i------1

_SL__ —g ,„1
% =¡ U — 3— •
P re-pa - ré - mo-nos, her - ma - nos, A(!S-pe - rar al S a l- v a - dor.
f
P f ...e ^ i f- a« p l g '. f
eN = N = y "1 . ^ = f e = S = » — = M

From Himnos de Fe jr Alabanza

 NUESTRO GOZO
163 SOY FELIZ
Desconocido Arr. por Roberto C,Savage

tr ­
1. Va - g a-bap o r el inun-do sin fe, sin es-p e- r a n - za, iso sa -
2. Cuan-do d e-sa-len -ta - do m een-cuen-íroenes-ta vi - da, Con el
3. E - res, Je-sús, el li - rio que per - fu - mó mi vi - da, Me Ii -
4. Cer - ca de Ti, ohC ris-to, an - dar yo siempre quie-ro, Es mi am-
fL
a &
T
'T te

bien - do queha-bí-aun Sal-va - dor, Que,por li-brar mi al - ma de

al - ma im - ploro al Sal-va - dor, Pi-dién-do-le me man-de del
bras - te de to -d ai-n i-q u i - dad; P u -sis-te en mi bo - ca un
pa - ro tu sa-cro-san-to a-mor; Sin Ti la vi-daes tris-te , muy

í:
■«
-rf TBrif-J—1 ■crr
r
m uer-te y pe - ca-do, En el Cal - va-rio mu - rió el BuenPas - tor.
cié - lo su con-sue-lo, Pa - ra po - der a - guan-tar el cruel do - lor.
can - to de a-la - ban-za, Mi so-loan-he-loes cum -plír tu v o - lu n -ta d .
Ue - na de a-mar-gu-ras, Mas,Cristo, Túe-res mi gran con-so - la - ción.
H®- -0^-
r
CORO
... t—R p — Í— fH F=|=¡ —]-H
1
- f e - r if" é ^ . h = lt
*> t*
-3-4 —a
# = 0 — \p ¡ -34*—
Soy__ fe - liz, yo soy fe - líz, Des-de que Cris-to me re - di - mió.
-í- -á
pziip'ip:

© Copyright 1954 by Singspiration, Inc. A ll rights reserved.

From Himnos de Fe y Alabanza

* * * * m a t t t míwijiii nuil «n

Words and music probably by Ramona Alains

from Puerto Rico
 145

These two h y m n s are f r o m the P e n t e c o s t a l h y m n a l E c o s de

Vida. The c o m p l e t e w o r d s m a y be f o u n d in this hymnal.
T he m e l o d i e s are n o t a t e d here as we h a v e h e a r d the m sun g
in the churches.

SIEMPRE CANTANDO
Juan Concepción
Prom Ecos de Vida # 56 Arrt Luis Olivieri
:.V--
.--¿41-
-- :
— 1 1---_A— --------. ----
--- a>tU---1
2.J__f¡_______:
t ¿_ i___________ P>"' N “ft -- --------
; A~ -fitU
__i-- .¡.
i--- if i--- n-- 1-- y.— r-j---- :—
uLJJ.:í-r L—-i i-rf-------
J... -íi---
„ i-- __ ____________
~ _____ i i.-- -m
__
\T r --- *“•----
Can-tan-do siempreñes-toy cantan-do, por ca-lles y pla-zas yo voy;

Al mun- do le voy a- nun-cian-do Queen Je-su-crís to hay sal-va- clón«

— **-.* I i ¡—---- Jri-----J --- **'' j.. "
---P
lü)— i — '-r- ----J— -— t = k --- ¡
■- J > ~ F
Can-tan-do si yo voy can- tan-do las glo- rias de mi Sal- va- dor;

V --- -- 1-- i--- ".-v — --- v ~ V .h _________ L _ 1^ l\___^ |----

A _____*__ _______ _________ti___ ____ . 1 - & i__ r ■ u \ V
iíT’i r ^ * j .p j ** ** ... s- •** *** j i l>
VÍvv7 f e ’ > A X— J r _________ 1 ^ J ... ^ ^ t----

Li- bró mi al- ma de que-bran-tos y pu-so en mi nue-va can- ción.

NUEVA VIDA
From Ecos de Vida #123
Julio RÍOS
Arr. Luís Olivieri
r>
dk :¡s:
f e >r.m
v £ £
Nue - va vidahallé en Cris-to cuan-dohumíl-de me ren- di

^ --------------------- S----- y-----7------ rs r - g ---- :-------- \_______ P_ ■ ¡\ <3---)__- , .....

rf c .. v fv r 53 ! db j e _ 1 t. ( *".
** * f* u p* & V . I
^Y r" ....~ __r u .......
Con un co-ra-zfin con - tri-to, Sal- va-cióndeEl re-ci - bí.

Nue-va v±-da, nue-va vi-da, Es-pe-ranza go-zoy paz me dio el Se- ñor

r V .-íí- :------ 7------ r ~ » — < =>— t t ---------

---------- n
í A ______ c l j * J l . t___r ____> i r ___ - ... & ’' 9 — r; i !*-------------- r? » r: ^ r :
UJCh '' r *? r f i \s r í? — — — h — ^ ------Ti . r r * ___ ___ ( O 1
p r ? 1/ i... !.
U ‘------ -— i— * ---- b * ----- = ------ * ----- 1-----------

Nue- va vi-da hay en Cris - to; En ver-dad nue-va cria-tu-ra soy.

 146

Melodic and r h y t h m i c elementa of the hymns

In the m e l o d y and r h y t h m of these h y mns it is e v i d e n t

the i n f l u e n c e of the p o p u l a r m u s i c of the h i s p a n i c t r a d ition,
mixed with the d o t t e d - r h y t h m , characteristic of the gosp e l
s o ngs w h i c h came f r o m the U n i t e d S t a t e s and h a v e been the
p a t t e r n f o r the n a t i v e h y m n c o m p o s e r s «

Many of the hymns written in 2/4 and 4/4 time are

accompanied in the oral tradition with a "bolero” rhythmic
patterns like the following:

Jl
Í ^ ^ é -X
vup rr r
¿ a ? '^ A„ \___<j__
p i p p

T he "bolero" is a s ong and d a n c e f o r m that o r i g i n a l l y comes

f r o m S p a i n but has b e e n m o d i f i e d in the C a r i b b e a n a c q u i r i n g
elements f r o m the A f r o - A n t i l l e a n m u s i c ,

Another form w h i c h is u s e d in some o t her h y mns is the

w a l t z , which, although it came from the fast E u r o p e a n
w a l t z , was transformed in the A n t i l l e s into a more senti­
mental and s l o w type of song. The guitar accompaniment
u s u a l l y goes as f o l l o w s :

JjL
V

¿ — ¿zl X L X l X — !.X y '-X —X

Some others are i n f l u e n c e d b y the r h y t h m i c , m e l o d i c

a nd a c c o m p a n i m e n t patterns of the " g u a r a c h a ", This musical
type of d a n c e came f r o m S p a i n and is c h a r a c t e r i z e d b y the
u se of the s y n c o p a t i o n an d the d o t t e d eight notes. Also the
 influence of the popular music is evident in some hymns as
J the following examples show. Other general characteristics
of these hymns are: (l) preference for the minor mode; (2 )
repetition of the melodic sequence; (3 ) preference for the
3/4, 6/8, 4/4 and 2/4 time signatures, especially the ternary
rhythm; (4) use of the syncopated rhythms on the first beat,
(5 ) singing in intervals of 3rtis and
Examples:
Vals "Dulce Misterio de la Vida" (Himnos de El Avivamiento, 1 7 )

3
¿ if U-
Lar - go tiem-po y siom-pro un va - no yo bus - ca - ba

Gospel song style ""Qué gtorios o 'es" (Himnos de El Avivamiento, 16)

J*1 Jfr í

Guaracha‘ "Estoy alegre" (refrain)

f, n - J l - ^

Polka rhythm "Orando" (refrain)(measured in 4 in HFA, 207)

y n i\ S rT ÍS i\
y -----IX- íi N I V
A £ i* « r ^ * *
Ar\ /» J — | J #
---- ^7 J F l I n
-- 4--1--- 1-- 9 -- f u I - f -
K SJ ^ ___í ___ ---- ¿L------ --- ------ ---------- y a ----- v — -

Mazurka style "Jesús me recogerá" Cuna de Flores, //3

 148

Martial and syncopated rhythm. Another arrangement of*

this hymn is in Himnos de El Avivamiento« No* 10. For
the complete words, see Lira Misionera, and Voz de Jdhílo
X Salvación.

JUBILOSOS
Mario Delgado
Arr, Rafael Cuna
pízrrr r-jdardTg:
3± irda: 33¡^5¿I±f
& *í>- ■^T
iJu- bi - lo- sos, can- te- mos glo ' rial y a- la*
Re- cor— dan- do la be-lia bis-1o ria
ZSS1 IZS s>-
Ssjí -P-
ban- zas al Re- den- tor# que el E- van- ge- lio nos

e -sa his- to -ria gra- ta de a- mor. Nos pa- re-ce que

f"l Jh ■■Jb . CORO:
i_iül
:£3\ZXEZZT f — &-
-&■----- ■ ,-L m 3
pron-toes-ta- moa en los bra-zos del Sal-va-dor. Se-gui-

¿ 4 a*
5^ ----- ¿;i—j~ ‘<J'-j- ~j■J■—
re-roos en las bue-llas del Ma-es-tro, re-ve-landole ©s-tahis-

S '¿~3d_yr-jrTy
£s
'll
1 3d= im E E E Í
to-riaalpe-ca- dor, Pues en e-lla ha-lla-ras ple-no re-
n
E d~r~j 2d 3=
£±f
po - so, y nos lle-na-ra de go- zo,can- tad ber -

íé ¡ á -!*»-f-
£ -<S>- -- igr
3
uiB-nos la bis-to- ria de a- mor,
 lk 9

Choruses
The choruses or ’'coritos", as the little refrains
are called in the Puerto Rican and Latin American churches,
are a type of religious song developed mostly by the
Pentecostal churches, although at present they are used
also by non-Pentecostal churches. Originally the "coritos"
were a by product of the gospel songs. About its value and
relationship with the gospel song it has been said!
"The chorus, a shorter form of the gospel
song, containing a simple and direct truth which
is repeated frequently in its one stanza* Its
greatest merit is its simplicity of thought, making
it readily understood by children and easy to
remember. Choruses originated in the early 20^
century, when Charles H . Alexander and others began
using them in evangelistic campaigns. The earliest
known publication of choruses is the Alexander
Cospel Songs (1 9 0 9 ) which contains many of his own,
In recent years, certain gospel song writers such as
W. P, Loveless, N* J. Clayton and H, I). Loej, have
also become known for their chorus writing. ’*
Many of the early choruses sung in Puerto Rican
churches were refrains of gospel songs, like;
"Isn't He Wonderful"?
"When your cup runneth over"
"In my heart there rings a melody"
"It is mine"
"Down in my heart"
"Joy in my heart"
Others were translated from the English, using the same
malody which was given in the original. A very well-
known publication among the churches was Cadena de
Coritos t by Lloyd V» Olson, from Kansas, who worked as a
missionary of the Central American Mission during the 301s

John F* Wilson* An Introduction to Church Music*

(Chicago: Moody Press, 1965), p"* 110.
 150

Many of* the c h o r u s e s w e r e w r i t t e n b y h i m s e l f a nd were

published in t o n a l i t y s e q u e n c e so t h e y could be s u n g in
a row» 1

Howeverf a large amount of ch o r u s e s are of n a t i v e

o r i g i n f b e i n g an e a s y f o r m of e x p r e s s i o n b o t h f o r the
musician and f o r the singers# In some w a y t h e y can be
described as f o l k l o r i c r e l i g i o u s s o ngs b e c a u s e of the w a y
in w h i c h t h e y came out f r o m the p e o p l e and t h e i r r e l a t i o n ­
ship to the p o p u l a r m u s i c , e s p e c i a l l y the "guaracha". The
most negative aspect of m a n y c h o r u s e s is t h eir text.
Neither the t h e o l o g y n o r the l i t e r a r y q u a l i t y are good#
Oral t r a d i t i o n keeps the c o r i t o s alive. In the f i r s t
instance t h e y are n o t w r i t t e n in m u s i c u n til t h e y are u s e d
a nd b e c o m e well k n o w n » R e c e n t l y , choruses from other
countries of L a t i n A m e r i c a h a v e b e e n published by different
hymnal editors• Perhaps the best contribution in this
s e nse has b e e n d o n e b y R o b e r t o C . Savage in his s e ries
Adelante J u v e n t u d and in the h y m n b o o k H i m n o s de Fe y
Alabanza, He has e d i t e d and a r r a n g e d m a n y of the h y m n s
of L a tin American origin, especially the c o r i t o s and
anonymous hymns. S a v a g e has b e e n a m i s s i o n a r y in Ecuador,
related to the e v a n g e l i s t i c r a d i o s t a t i o n HCJB* A m o n g his
publications are: Melodías de B e n d i c i ó n , Cantos de G-ozo e
I n s p i r a c i ó n , Dúos, T r í o s y C u a r t e t o s , F a v o r i t o s Juveniles,
Ecos de V i c t o r i a , C o fre de C á n t i c o s , Voces de JtSbilo,
Preludios C e l e s t i a l e s , y C a n t o s de E v a n g e l i s m o #

^Fo r a' list of h y m n a l s and c o l l e c t i o n s w h i c h

i n c l u d e " c o r itos" see the A p p e n d i x V I I I #
 Among the best known choruses of Puerto Rican origin ares

“Cristo es la Peña de Horeb"

"Pronto vendrá el Señor"
"Alabará a mi Señor"
"Estoy alegre"
"Fuego Celestial"
"Mirad las almas”
"Quédate con nosotros"
"Yo siento gozo e n mi corazón"
"Allá en el Monte Horeb"
"Traelas"
T h e r e are no exact forms or limitations for the
compositions of the "coritos", Its meter, rhythm and
melodic pattern depend on the authors* Few of them follow
a definitive folkloric rhythm, but in many others is
evident a sort of "guaracha" air, or a festive march air.
Some of them sound like "villancicos", a simple song,
and others sound like bad radio and television commercial
jingles• A good example of this last observation is "Mi
corazón contento está"« A very typical rhythm pattern of
the "corito" is the syncopated one like this:
!> I I i «i f> p
SdL. -&>
1— ----

% -- .¿P- ---- J .--1]--- J l --¿k

First two phrases of "Tráelas" from Favoritos Juveniles, No. 14.

&
Tráe-las, Se-nor, a ti, Tráe-las a tu re - dil;
Trae-las, Se-nor, a ti, Nu las de-jes ja - más;

-<S>-
9.
ip fc = —i-------------
f &— y —
A e-sas al-mas per - di-das que an-dan sin vi-da, Se-ñor, siii ti-,
E -lla s an-dan a - le-gres p e - r o e n sus al-mas no tie - nen paz;

3 «1 ■-
1
_L
101 CRISTO E S LA PENA DE HOREB
Exodo 17:3 Melodía poi torriqueña
Arr. R C. Savage
-V;— ^— S— *r
m ■jr > ti- ^ ff\
7 * ' , 7 ¿
1. Cris-toes la pe - fia deHo-reb,quees-ía bro - tan - do, A - gua de
2. Cris-toes el lí - rio dél V a - lie de las fio- res, El es la

i % ~ = J e e e e í\

i vi-da s a -lu -d a -b le
ft*
pa- ra ti.
€3^
Cris -toes la pe - ña deHo-
Ro-sa blan-cay pu-ra de Sa - ron. Cris-toes la vi - da y a -
— í--- g--- jg— _____l o

Í^ V ,
reb.que es-íu bro-tan-do
!
-L.

A-s;us de vi - da sa -lu -d a -b le pa-ra

mor de !fi a - n u -- res, El es lae-ter-n?. fuen-te de la sal-va-

~e— ^
Ven, a to - mar-la que es más dul-ce que la m ie l; Re-fres-ea el
ción___ Ven, a bus-car-la en tu tris-te con-di - c ió n ,__ Re-fres-ca el

„r ..., ¡ ...j.— •/ -----

f

m W
al-m a,
al-m a,
re-fres-ca to-do tu ser.
re-fres-ca to-do tu ser.
7 }r
7
Cris-toes la pe - na deHo-reb,quees-
Cris-toes el li - rio del Va - lie

tá bro-tan-do, A - gua de v i-d a s a - l u - d a - b b 1 pa-ra ii. _

de las fio-res, El es la Ro-sa blan-eay p u - ra de 5 a -ro n ,

From Himnos de Fe y Alabanza

One of the best choruses from Puerto Rico *
A translation into English by Dennis Byler may
be found in Festival of the Holy Spirit Song Book
Goshen College f 1973*
 153
Many other choruses from different Latin American countries
are sung in Puerto Rican churches. Some of them are
annonymous hut some others have been written by hymn
composers like Alfredo Colom, from Guatemala, Another
publication which includes arrangements of "coritos" is
the hymnal Rayos de Esperanza, of the Church of God,

It is interesting to note the similarity of the

melodic pattern between one of the best-known "corita" and
some other "coritos" and hymns of Central and South American
origin. The second phrase of "No es con espadas", No, 20
in Favoritos Juveniles

"No es con espadas"

\ / Í /I * V 0 \ >\ -CZ , I IMZT-

A b *1 v J 1 \ £» * ¿ r f» * j? .. . ----J -------- !
Z 7 w .:[ " r r g J0L—m u
— & — j-_—
= = = = k = z= = h = = ± = = é = é . - ■-—J

is almost quoted in the following "coritos": "Mi corazón

contento está" and "Testifica",

"Mi corazón contento está" (This is the second

phrase as sung in some churches; also sung in minor mode)

T~
-J—#1— J? E E r t ¿ ¿ i^ _ -
c 1 1 r, t c t r<:
"Testifica" A, Morales (HFA No, 3 2 6 )

n- ../fin _L ■
!
. ------T--- s:-T>---- -"
i - —7 :—7 ^—jp»------ --------- <
T r ie s -1
->¿
/7TV' 4. ZT3il
Vi r _ ^ n f j «* r f
Lh-4— /

Also in the following hymns we found quotations of the

same melodic pattern,

"Al que hizo tierra" G, Agreda (HIS No, 50)

--------- ----- — ----- — Í— r

fV- 0 4B> »__ 1 1___ ^ F = ani _ 1 _
jp & . 1_.
rrr &— ■ W & | ¿P o r ^ ^ ji &> gi. *Me.
t y : rp-jm— — ■
 15^

"Oh. Santo Espíritu Consolador" (HFA No. 2 6 5 )

y- fc-jy ft fr p-^T >,.]y„¡:t".{Nqr=p f£

¡Ld ~4r _¿p—¿¡
~gr
F
"Mientras Viva" (RE No. k $ )

i & m d
f c r i t i c
Another well-known "corito" is "No hay Dios tan grande
como Tú" which has a similarity with "Lover of the Lord",
Nd, 3 in the Sacred Harp of Georgia» 1869•
"Lover of the Lord"

é ék -j?— — **— Mzzz^: ¿ 3

"No hay Dios tan grande como Tú"

—
---- fy—-— v~5= ^— d — J —
2t — 0U— [L-d— P—^ _ ,
— d — — d --

Hymnals with Native South American Hymns

1
With the publication of the Adelante Juventud by
Roberto C . Savage in 19^-7 » a series of hymnbooks which
included hymns composed by Latin American composers and
of Hispanic origin began to appearf although most of the
hymns and songs in the earlier publications of the series
were translations of hymns and "coritos" from the English
language•

*The title Adelante Juventud for the series comes

from a youth hymn by Alfredo Colom which is No. 95 in
first book on the series•
 155
It was in Preludios C e l e s t i a l e s « 1951? a n d in
Adelante Juventud III and IV of 1 9 5 3 t t hat Savage published
the best hymns of Alfredo C o l o m and Guillermo Guillam*
Four Puerto Rican melodies were also p u b l i s h e d s "Cristo es
la peña,f? "Alabaré"; "Orando", and "Pronto vendrá el Señor"*
In other books of the series we find these other melodies
from Puerto Ricos

"Después de la tormenta"
"Clama a mí dice el Señor"
"Yo vislumbro los albores"
"No hay gozo más grande"
"Allá en el Monte H o r e b "
"Mi c o r a z ó n contento está"
"Demos gracias al Señor"
"Venid, pastores, venid"
"La fuente de la Salvación"
"Perder los bienes es mucho"
"Amén, amén, amén"
The last hymn, a d a p t e d b y S a v a g e , has a q u o t a t i o n f r o m the
Puerto Rican hymn "Yaes tiempo de que a l a b e m o s ", by
Ramón Díaz, as p u b l i s h e d in Himnos d el A v i v a m i e n t o * No * 11*

"Ya es tiempo de que alabemos" (last 10 measures)

 156

?5 AMEN, AMEN, AMEN

Autor D e s c o n c i d o Arreglado por R, C. S.

31 E| i~^jrrl
A- men* a - m e n , a - mén,
¥
re-sue-na nues-tra vox. A - m ¿ n di-riia lofi
\>ÉL ~ ~
ama
m
r #FTi ....K" ----- .
- C \T— j K—
1 Kf— n--- «i i K K -- 1
liTV y— ^ — 1 —; ■*«»»1■^lw"S — -c 1
*M i f fl 1 1* .. "'TJ " '"TP* H
r f ' €F f r
.y 7 r
fi V- le s 3r ben - d i-g a n e l no m-b re de D ios. rA - rnen, a - m en, a - m e n >
... __ 1»■ -iIB* p- f ■----B
-fib UA É» ... A
r ----------- p B--- Ek --- H .' B p
*X►* ft. P#- 1 0-
T , --- itT . ""ES |!p..... 9 r, t
sr-— r---- r #1■ "^ — 9----U
....'■■■■— - ■'If
>- f — r— 1----fV
/---- y---- u--- y---- ■— ■r ■■” ___ 1J U 1I
r - — <9v¿>
tr-—------- 7£^ r fo,\S »*. *. . . •
<9v&'JtL.hot\J
— ¡v \ ----- K-i---- R— bpi----- — — «r— “n —---------~ h p — h~
r# r~ d 1
— v. t is 1------n------n ----- T----- 1—
— - U ----- ri” — --- m -3 . H
Y Y "
ha lie - g a - do la g ra n b e n -d i - c i o n . A - l a - b e - m o s c o n g o -K Ó fal E -
a - -x.
- . JUCT
— .. -P-
IK■-.... 1 R------U----- m __—
C-----
* 0»
..PK----- ?■ ""P" “
p. J) ^ ^ .
r " __H* b _P ft I . r " 11Ir -t
w 1iznw.: .....upzzz 7c.,,., n¡ e r rn; rr t ' ' i~.— y n h _________ 1.............. . ............ ........

“dp-T—h— ^1— ■ hi ---K ---K1---

n--- --- S1 •.js—— r1—— 7— s— — 1" K —h—feri —’y —hr-
ifrn'! ' M " _
:vp:----- E_ "M
w--- w ^-- «. -E
-Z~~.
K-- 1-- ir-i 0 r—I-..g -
ter-no y “un grl-to del a l-m a ex-ha-leítna - men. A - la - b e - m o s con

. -------------
--------- «h---- —— ^ --
----- -
----- -
- "‘
"■■"I*!'1-r*" *.■<»«BHOT|Ni —0 rjjI l —
~ ---
... i
J*- v>---------------------
—B- ---- — ----------- - __ I 1...... ..

Xn Cofre de Cánticos, 1 9 6 8 , is published ”A la casa de

jairo", the refrain of which is based upon a well-known
waltz, HSueno de una princesa” *”** It is attributed in
Ecos de Vida, No. 107, to Quintín Arce, but in Cofre de
Cánticos it is attributed to Santiago J , Stevenson 0.

^The original waltz Is by the Puerto Rican composer

José A. Monrouzeau, as played in "Valses Criollos”,
Modesto Rosario, Guarani Record GLP 2 0 k .
 157

The music of several hymn composers of* Latin America has

been introduced through the series, Xn Cánticos de Gozo
e Inspiración there are f*our hymns by Liutenant I# Granados G, $
en Ddos* Tríos y Cuartetos» three by Victor Garrido 5 and
in Ecos de Victoria« 1956# seven by Ricardo Guerrero Villareal*
Also several hymns by Juan Isais, the Orbe family, and the
arrangements of Eugenio Jordán and Carlos Chávez * Also
through this series, Savage has introduced some negro and
white spirituals from the United States, asi
"Just a closer walk to Thee" (‘A Tu lado quiero andar)
"Lord I want to be a Christian" (Dios yo quiero ser
cristiano)
"Where you there" (Sabes td)
"The wayfaring Pilgrim" (To soy un pobre peregrino)
"Day of judgment" (Dia del juicio)
"Sweet low, sweet charriot" (Ya viene la carroza)
"He1s got the whole world in his hands" (El tiene todo
en su poder)
"Precious Lord, take my hand" (En Tu mano, oh Señor)
English title, unknown (Tu mirada pon al cielo)

Various folkloric melodies of different South American

countries and the Caribbean are included in Adelante
Juventud series»
"La Creación" (Quechua melody) CC• 49
"Escucha pobre pecador" (Ecuador) AJ. 45
"Si fui motivo de dolor" (Cuba) AJ» 88
"Jesds el Buen Pastor" (Brazil) CGI. 32
"Cristo abre el camino" (Jamaica) MB. 34
"Venid, pas i;ores, venid" (Puerto Rico) MB* 16

The most recent book in the series , Cantos do Evangelismo .

1971, includes, according to Savage "the most sung and
 158

244 DESPUES DE LA TORMENTA

J uan J qse Ram írez M.
Melodía portorriqueña
Arr.por Roberto C. Savage

1. Des - pues de la to r - m e n - ta vie - ne la cal - ma,

2. L a no - che más os - cu - ra tie - ne s u a u - r o - ra,
3. Je - sus hoy nos in - vi - ta con. voz ben - di - ta
0-C--0-0-- 0-- 0~ -£>~ ■0
V
± É
vie-ne la p a z ____Si a Cris-to, de r o - d i - l i a s , tú se la
tie - n e s u a l - b o r , ___ La vi - da más per-di - da tie-ne es-pe -
a ir a E l ; ____ Su paz nos a - se - gu - ra y nos o -

afe

pi - des, El te la da. N o im - p o r -ta que le - gio - nes

ran - zu del Sal - va - dor. No im - p o r-ta que el pe - ca - do
íYo - ce sor síom-pre fiel. Con C r is-to triu n -fa - re - mos
-p-

del e - ne - mi - go te ha-gan su - frir; ___ Si al nom-bre

te ha-ya man-cha-do con su m a l - d a d , ___ Pues C r i s - to
y e n El t e - n e - m o s buen C a -p i - t a n : ___ M ar-che-m os

C C o n y ria h t 39'-4 U'GC by Siiu'Si-ir&tkiii, Inc. A ü rig h ts reserved.

From Himnos de Fe y Alabanza

Xn the oral tradition only the First stanza
is sing as a "corito”
 159
and beloved hymns and choruses in Latin America"* It has
65 hymns, 29 of* them being Latin American tunes
previously published in the series. Another song book by
Savage is Favoritos Juveniles, 1973» with 105 hymns and
choruses* Admitting that it is not an easy task to analyze
the young people *s musical preferences, he subtitles this
collection, "the most popular hymns and choruses among the
Latin American youth"* Fifty-five tunes are of Latin
American origin, most of them previously published in the
Adelante Juventud series, except for the corito "Santo,
Santo, S a nto", of u n k n o w n o r i g i n and a r r a n g e d b y Savage,
Out of this 55, 20 are "coritos". Fourteen of the 5^ n o n -
Latin American tunes are t r a n s l a t i o n s f r o m the contemporary
North American religious c o m p o s e r J o h n W. Peterson, whose
hymns seem to be v e r y p o p u l a r a m o n g y o u n g people1s choral
groups* Nineteen of his h y m n s have b e e n p u b l i s h e d also
in H i m n o s de Fe y A l a b a n z a , 1966* A l a r g e r p u b l i c a t i o n of
Peters on*s hymns in S p a n i s h is Cantemos: Los h i m n o s de
J o h n Pet e r s o n , 1966 , a r r a n g e d for soloists, duets, trios,
quartets, and choirs* It inclu d e s hymns, most of w h i c h
are in the r e p e r t o i r e of y o u t h c h o r a l groups* ‘ Mos t of t hem
are in the f l avor of the B r o a d w a y m u s i c a l song, and others,
in the traditional g o s p e l - s o n g tune flavor*

A considerable amount of L a t i n A m e r i c a n hymns m a y be

f o und in the h y m n a l s R a y o s de E s p e r a n z a , H i m n o s I n s p i r a d o s
y S e l e c t o s , and H i m n o s de Fe y A l a b a n z a * These hymnals
h a v e a v e r y l i m i t e d use in the local churches* Neither
Rayos de E s p e r a n z a n o r H i m n o s Inspirados y S e l e c t o s , which
are denominational h y m n a l s , are used as o f f icial hymnbooks in
t h eir c h u r c h e s . T h e y s t ill p r e f e r H i m n o s de G-loria or
some other of the l o cal Pentecostal-church h y m nals.
 160
Rayos de Esperanza was published in Texas in 1952 by
the Missions Department of the Church of God for their Spanish*
speaking congregations. For the English-speaking congrega­
tions they have Rays of Hope, 1939* In 1973 the Spanish
book was enlarged with 26 old hymns, most of them gospel
songs from Himnos de Gloria and Cantos de Triunfo»
There are a57 hymns and "coritos" of which about 5°
probably are of Latin American and Hispanic origin* The
information given about these hymns is limited to the name
of the arranger, and in some cases, the name of the hymn
writer* The usual practice of giving the composer or music
source at the right top of the page is not followed
consistently* For example, hymn No, 46, "Ye, hermano, ve”
has the name of Roberto Vivas at the right side, and "Arr. L*
Dominguez" at the left* It no where says that the melody is
"Gloria in Excelsis Deo", the traditional French melody*

Leopoldo Dominguez (I8 9 6 -I967 )**" was the music editor

of Rayos de Esperanza and the arranger of about X05 hymns
and "coritos" in this hymnal« Seven of his original
compositions are included. The arrangements by' Dominguez
consist mainly in the changing of the tenor and bass parts
into a simple accompaniment of chords, single notes, and
octaves• In some other hymns he arranges the full choral
parts harmony as in the case of number 200, "Hay un jardín",
which we can compare with the harmony given in the hymnal
Gracia y Devoción, No* 3 6 • Dominguez* harmony sounds empty
brcause of the many parallel movements between the parts.
He seems to be looking for more chromaticism, but cannot
find it properly. In the whole hymnal the gospel-song type
of hymn prevails and the march and waltz rhythms. Some
beautiful hymns in waltz rhythm are "Gracias, Señor",

A Mexican pianist and dance band conductor,

converted in 193&* He came to Texas to work as church
musician, teacher at the Church of God Institute, and
pastor. Biographical notes are in Canciones del Alma,
Editorial Evangélica, San Antonio, Texas, 1974.
 l6l
by Dominguez 5 "Jerusalem” and "Seguro Amparo”, both arranged
by Dominguez. Twenty-five hymns in this hymnal are from the
hymnbook Himnos de Victoria, 1948, according to the information
given at the bottom of the page. This book with 524 hymns was
compiled by the Independent Movement in Mexico under the
leadership of Axel Anderson, a Swedish missionary.^ Some of
them, like ”Ya se acerca el tiempo”, ”Al Rey de los Reyes”, and
"Mientras vivo” have been widely used in the Pentecostal
churches of Puerto Rico, but it is difficult to know if they
are of Puerto Rican origin. (Example of ”Al Rey de los
Reyes ” in page X66) *
Himnos Inspirados y Selectos
This hymnal was published in 19&5 hy the Gospel
Publishing House, in Springfield, Missouri for the Spanish­
speaking churches of the Assemblies of God. It contains
225 hymns of which 117 are of Latin American origin. The
other melodies are mostly standard gospel songs from the
United States, including seven ”choruses” translated into
Spanish, Many of the Latin American hymns included appear
for the first time with its music printed after having been
published for many years in word-edition hymnals in the churches
of the Assemblies of God in Central America. This work has
been done by the missionaries Laida de Hodges and Myriam de
Haydus, who transcribed and harmonized the melodies. Twenty-
seven Latin American composers are represented in the hymnal;
among them, Gregorio Agreda, with 24 hymns and Juan J . Morán,
with 14 hymns; both from El Salvador, C, A. It is interesting
to note that the same person wrote the melody and the words for
the majority of these hymns* About 20 tunes are identified as
”Melodia Centroamericana”, meaning that the author is unknown.^

^Data given by Rafael González in a personal letter

from Sylvia Valdez of the Editorial Evangélica in Texas,
August 2 7 , 1976,
The music of No. 149, "Cristo nuestra Pe”, identified
as "Melodía Centroamericana” is by Grant Colfax Tullar,
according to Himnarjo de la Escuela Dominical, 1926, where it
appears to the words "Nunca desmayéis”•
 1 62

This bulk of hymns are the ones which are carried by

the oral tradition and perhaps represent the best of the
folkloric hymnody, The "corrido” or "ranchera" type of*
song is evident in many of the hymns from Central American
origin. A characteristic of the "corrido” is singing in
two parts at the interval of thirds, Examples of this are
"La peña herida" (2 2 3 ), "Oh hermanos" (179) and "Ya se
acerca el fin" (193)* Several others have the melodic and
rhythmical flavor of the "corrido” or "ranchera", like the
following:
" A l despertar" 189
"Ven pecador, Dios te llama” 156
"Es nuestro Dios quien matiza" $2
"Cómo podrás tú hacer el bien" 152
"Despiértate tú que duermes” 150
"Embajador que a Cristo representas" 102
"Si mi nombre está escrito" 88
"Alegre canto a mi señor" 67
"Andando en Cristo constantemente" 53

The harmonies and accompaniments given by the editors

give two parts to the treble voices and a simple
accompaniment part in the bass clef, trying to make an
independent line in its rhythmical movement, while some
other hymns are harmonized in the standard four-vocal
harmony. The rhythmic patterns in the accompaniment are
something interesting to note.

in hymns 36 and 79

in No. 125

in No. 143

in No. 219
 163

ÉS NUESTRO DIOS QUIEN MATIZA 52

Juan Jo** Morón
Juan Je** ñirron A'monÍTado por Míriom Hoyáu*
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dar y go -za-rás de su a mor,
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LjaL

From Himnos Inspirados y Selectos. Note the interesting

use of the F// — Gb in the harmony of the third line*
 l6¿t

Si MI NOMBRE ESTÁ ESCRITO

Arnulfo Hernández Arnulfo Hernández
Armonizado por Mlriom Haydus
Melodía Contralto
I_

1. Si minom -bre_es-ta_es-cri - to por C ris - to,

2. A Je - sus c a n - to s ie m - p r e y ben - di - ,go;
3. P or Je - sus, el Cor - de - ro Di - vi - no,
4. C uan-do C ris - to Je - sus pa - se l i s - ta,

i
1 jr ~ :Wá
En el 11 - bro quejsl m is - mo ten - dra;
A Je - sus por sujba - men - sa bon - dad,
Se que m i^al-m a con El es- ta - ra;
A mi nom -b r e yo con - tes - ta - ré;

Melodía Soprano

Soy fe - liz si mi nom - brq_ps -tq ^ es-cri - to

A Je - sus por - quq_ps- toy en su 11 - bro,
Ya mi nom-bre es - tajas-cri-to^pn su U - bro,
"Soy fe - l i z , " c a n '- ta- ré¿"E sto y pre - sen - t e , "

From Himnos Inspirados y Selectos

The melody has the air of a Central American ’’ranchera”
 165
Two melodies from Himnos Inspirados y Selectos that show
the influence of the 11corrido”, Only the music of the
second is quoted here«
DESPIÉRTATE TU QUE DUERMES 150
Melodía eentroómcr¡cana
Víctor González Armonizada por Miriam Haydus

¡OH! HERMANOS, YA MUY PRONTO LLEGAREMOS ¡79

Melodía Contralto Gregorio Agreda
Gregorio Agredo Armsmixado por Miriam H ayd u*

1. ¡Ohl h e r - m a - n o s , ya m u y p r o n to lle - g a - re - m os,

2. L a co - ro -na p r o - m e - t i - d a jim -b i-c io - ne - m o s,
3. Que f e - li - c e s cuandojsl m undosa quí d e - je - moa,
4. Ya m uy pro n to l l e - g a je l fin de la jor - na - da,
. ■ i - I ... . i j — ■=»
■ -Ui.- i j ■ 'r ^
 166

New melodies of Latin American origin are given for old

hymns as the following list shows:
"La senda ancha dejaré” #169 Central American melody
”A1 contemplar la excelsa cruz” 19 tt u tt
"Loor a Ti mi Dios" 63 tt u Tí
"No me dejes, no me olvides" 3 tí t? tt
"Unidos en Espíritu" 277 11 n tt
"Al cansado peregrino" 72 tt tt tt
"Al despertar la purpurina" 189 tt tt tt
"Rostro Divino" 15 Ralph D« Williams
"Tú? de los fieles eternal
cabeza" 4o Adela de Barrera
The music of two hymns which are included in the hymnal
Voz de Júbilo y Salvación and in Lira Misionera, "Rey de
los Reyes" and "Juventud Marchad" may be found in this hymnal•

2H
AL REV RE EOS REYES
A rre s. L.

1. Al Uiv de !<>Í Kt-ye-, el ule - rin ■ *«, dan - -c • r.ms It-n

i. Al 11. \ lie luiJU -jir. J.p-'if. <■; a -man ■ te, Gi • Mi - tr.eyiiTJi-
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4. Al Ij uí f f f lu Sa-bioy t ’m-r.L-ro • tv. Den te reí, re - ve*

:té=ro/-f*ir.?--!r,

co«?'? i'O san - tuC“* mu a ruom

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viciod!iM
Ti:*4\

Fragment of MAl Rey de los Reyes", from Rayos de Esperanza

 16?

19 AL CONTEMPLAR LA EXCELSA CRUZ

S. D, Athom Mal odia c*nt/oom«r¡cono

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m
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S í P . gj. J p - M U i

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m u e rte d el S e -ñ o r, J e - s u s , m i D ios, m e g lo -ria - re ', L as

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Central American melody for "When I Survey the

Vondrous Cross"® Note that the 4 stanza is converted
into a refrain, of which the last phrase is repeated®
From Himnos Inspirados y Selectos®
 168

H i m n o s de F e y A l a b a n z a

This hymnal, e d i t e d b y R o b e r t o C. Savage and

p u b l i s h e d b y the Zondervan P u b l i s h i n g H o u s e in G r a n d
Rapids, Michigan, includes about 95 h y m n m e l o d i e s of*
L a t i n A m e r i c a n origin, most of t h e m p r e v i o u s l y p u b l i s h e d
i n the A d e l a n t e Juventud series* About the c r i t e r i a for
the s e l e c t i o n of the h y m n s the e d i t o r says :
"We h a v e the f i r m c o n v i c t i o n that the 375
h y m n s a n d c h o r u s e s in this b o o h are the best to be
f o u n d in the S p a n i s h l a n g u a g e hymnology, More than
a hundreth of t h e m w e r e b o r n in the h e a r t s of L a t i n -
a m e r i c a n brethern C h r i s t i a n s , a nd in that w a y we h a v e
b e e n able to c o m b i n e the f a v o r i t e hymns that have
come f r o m E u r o p e and N o r t h A m e r i c a w i t h a b e a u t i f u l a n d
wide s e l e c t i o n of the s p i r i t u a l songs that b e l o n g to
the hispanoanierican w o r l d ,

T h e b a s i s f o r the s e l e c t i o n of the h y mns was a poll

of the f a v o r i t e ones among Voz
the r a d i o a u d i e n c e of "La
de los Andes" in Quito, Ecuador, which is heard in many
Latin American countries. The preference for the North
American g o s p e l songs is still very strong, as 156 hymns
of this type are included. As we noted before, this hymnal
includes about 19 h y m n s and gospel songs by J o h n Y.
Peters on. Other 75 hymns are from the standard repertoire
of hymnic melodies from Europe and North America which may
be found in other hymnals in Spanish,
The best represented Latin American composer in this
book is Rev. Alfredo Colom-Maldonado (1904-1971), from
Guatemala, who has composed both the words and the music
for his 31 hymns included in HFA. Most of them are
arranged by the editor, Roberto C. Savage,

^ R o b e r t o Savage . H i m n o s de Fe y Alabanza,
Translated by the writer.
 170

87 TIER R A D E LA P A L E S T IN A H im no Cubano
D esconocido *, 7 yj
A rr. por Roberto C. Savage
3;
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T T TT V
-Sr ~9 V

1. Tie - rra ta y di - vi - na es la de
ria del pa - sa - do que en tu se
3. Que - dan en tes - ti - •gos mu - dos, que son los

? ~ y~ y

É =£=£
ti - na, don-de na-ció Je - sus;
r7 ti*' ¡
...... -7*1
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m
gra-do vi - vio el Sal-va - dor, Yen tus her-mo-scs o - li -
mu-ros de la Je - ru - sa - lén; Yie-jas pa - re - des des-tru -
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va - res. ha-b!o a ios mi - lia - res la pa - la - bra dea - mor,
i - das. que si tu-vie-ran vi - da, nos ha - bla-rían tam -bien.
--------------- b-------- b------ --------— o----------------- ±— «— *--- ™ —

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KS K K

san-gre,pre-eio-sa san-gre,Delu~ni - gé-ni-ío Hi-jo de Dios; La Dios.

V tf^átf _
W-g-
?T T T -í» m'» b-
n —TT
m

F r o m H i m n o s de Fe y A l a b a n z a . T he Puerto Rican
Pentecostal hymnals attribute this h y m n to s o m e o n e
named Alejandro Tabales,
 144 YO SOLO ESPERO E S E DIA oSe noRn¡H
Autor desconocido _ . ,
jo Je MoílAto Arr. por 3.Arturo Savage
*t > _____
iV .~ w v (» - ^ y_ m Vjr W
-s_ ¿ -
1. Yo só-lo es-pe-ro e-se di - a cuan-do Cris-to vol-ve - rá,
2. Ya no meim-por-ta queel mun-do me des-pre- cié por do - quier,
3. En-ion-ces a - llí triun-fan-tev vic-to - rio-so e s - ta - ré,

Ü
K i..j

tJ V «y «y 0 0 7° ' # y y " * •w * P ¿ p.---

Yor sór-loes-pe-roe-se di - a cuan-do C ris-ío vol-ve - rá.

Ya no soy más dees-te mun-do, soy del reí - no ce- les - tial.
A mi Se - Sor Je - su - cris - to c a -ra a ca - ra le ve - ré.

h.^-Ji Ni-J VNjS , S Ns A

«X -0- -f- -f- * ■*" 'KJr 0 ^ 9 yjr * ®
A - fán y to -do t r a - b a - j o p a - r a mí t e r - m i - n a - ran,
Yo só-lo es-pe-ro e -se dí - a cuan-do me le - v a n - ta - ré
A - l l í no ha-bra más tris-íe - zas, ni tra - ba - jos p a - r a mí,
L I i__ I L -~
m

-sr
Cuan-do C r i s - to v e n - g a , a su r e i - n o me l l e - v a - rá.
De la t u m - b a frí - a con un cuer-po ya in-mor- tal.
Con los re - di - mi - dos al Cor - de - ro a - l a - b a - ré.

Ü
Frora Himnos de Fe y Alabanza, Attributed to
Juan José Morán in Himnos Inspirados y Selectos,
Notice the interesting syncopation in the 3rd and
lines.

i
In Tía l t z r h y t h . m

88 JE R U S A L E N LA HERMOSA
E fr a in Sanchez C a r lo s L o pe z
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t=± £
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tos tehaen-via - do Mi Pa-dre Dios__ iOh Je-ru-sa-len, Je-ru-sa-
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cihfc
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lén! Ciudad de Sion Lio - ra por ti hoy mi co-ra - zúa:----
siem-pre pro-tec-ción,Vi - neyoa tra-er - te sal-va- eion.

g rf - f f 4 |i f f r r f f | f f ..- f i r.r r i , r t r . :ii t e

Copyright 1944 by Concilio Latino Americano de Iglesias Cristiana).

r dt e, 44
From Himnos de Fe y Alabanza
Also in Rayos de Esperanza, no, 54
 173
Many o f these hymns are well known through Latin
A m e r i c a 9 a nd we b e l i e v e that some of them w i l l be part of
the p e r m a n e n t report oiré in future hymnbooks* Besides
these melodies included in other hymnals, there are others
that deserve to be mentioned* ”V e n a los pies de Jesús”,
No * 339 in HFA is accompanied with an "habanera" rhythm and
has a very interesting melodic rhythm.

1. Ven___ a los pies de Je - sús, Ven, ------- no des-

2. 0 - - ye la voz del Se - ñor, Mi - - ra su in-
3. Vuei ve tus o - .ios a Dios, Vuel - ve, es -
—
rp
M J ---- 1----.. -g— . ...
4 -----
”¿Has oído Señor mis oraciones”? , No* 202 in HFA and ”A la
victoria” , No* 251 in the same hymnal , have a flavor of
"corrido" and the r e p e t i t ion of the last p h r a s e is done in
many of his hymns * Other frequent things in the hymns by
C o1om are the melodic interval of the 4 ^ at the beginning,
and the use of the minor mode, as m a y be found in numbers
16, 22, 28 and 82 of this hymnal•^

The ”Familia Orbe” composed five new melodies included

in this hymnal, for old hymns which for long time have
appeared in other hymnals with well-known American and
European melodies * Perhaps the best ones are "Nunca Dios
mío” and ”Del culto el tiempo llega”,
We traced the authors of the following hymns,
identified as unknown in HFA; ”Soy feliz” (Mi testimonio),
in a rYnazurita” rhythm, was written and composed by Ramona
Alamo^, f r o m Puerto Rico; ”Ya vislumbro los albores” f which
is found in the local Pentecostal hymnals^ is probably
of Puerto Rican origin; ”Yo sólo espero ese día”t

A complete list of C o l o n e s hymns and other Latin

American hymn composers in H i m n o s de Fe y Alabanza m a y
be found in Appendix IX*
2
Luis del Pilar, H i m n o s de El Avivamiento* p* 6.

^Under the title ”La Mansión de Gloria” in Lira

Misionera and Himnario Voz de Júbilo y Salvación.
 174

which has a rhythm similar to the "huapango”1 is by Juan

2
J . Morán ; "Tierra de Palestina" which is played in time
of 2 has a "pasodoble"^ rhythm and is by Alejandro Tabales**.
"La mañana gloriosa” with a "corrido" rhythm is by Felicia
K
and Mariano Beltrán .
There are several melodies from different countries,
including some from Puerto Rico* A Cuban melody is given to
the hymn "Si fui motivo de dolor oh Cristo" (HFA, 303)* An
interesting melody is "Jesds venció la muerte",by Jaime Redinf
which is based on the Mexican serenade "Las Mañanitas"•
From Ecuador there are two Christmas carols, "Venid
Pastorcillos" and "Desde el Oriente Aquel"; and a very well-
known Puerto Rican carol, "Venid, Pastores, Venid", HFA 62.
Some ’boritos" have been included in HFA j among them, the
Puerto Rican "Orando", #207*
Other Contemporary Collections

During the last ten years some churches and groups have
been using several hymn pamphlets that come from different
Latin American countries, Spain, and the United States to
enrich their hymnody• Perhaps these collections will be
some of the sources for future hymnbooks, since most of
these hymns will become part of the common hymnic repertoire
in the churches«

"Huapango" i^ a Mexican rhythm.

2
According to Himnos Inspirados y Selectos. where
it is given without the syncopation.
n
J n Pasodoble" is a Spanish dance•

*\juan Concepción, Ecos de Vida, p. 9 6 .

^See Cantos de Campaña, Editorial Caribe, Costa Rica*

 One of the b e s t c o l l e c t ! o n s is Canci o n e r o A b i e r t o
published in 197^ by the School of Music of the "Instituto
Superior Evangélico de Estudios Teológicos" in Buen os Aires,
Argentina• There are hymns from 7 different Latin countries,
especially from Argentina and Uruguay* The style of the
compositions is related to the Latin American folkloric
music and with forms of the popular music; for example,
the "diablada" rhythm in "Alabemos al Señor", by Ricardo
Villareal from Bolivia; the "carnaval!to" rhythm in "Noche
de Alegría", by a youth group from Uruguay; the "zamba"
rhythm in "Ha venido", by Betty Sains:; the "chamarrita"
rhythm in "Canta hermano, canta", by Daniel Fernández,
from Argentina? the "xaxado" in "La Nueva Canción", by
Simei de Monteiro y from Brazil, and the "cueca" in "Mi vida *
esto no es mundo", by Ulises Torres, from Chile• There is
a great variety of rhythms in these hymns and this is
evidence of the new interest that the hymn composers have
in exploring the music folklore for the hymnic melodies
and rhythms• Only the melody is notated with the chords for
the accompaniment indicated in letters above the staff.
Other very good hymns, both with the words and music,
included in the Cancionero Abierto and which have been
used by some churches are "Ven hermano" and "Sobre estas
tierras"* Also, "Gracias Señor"* A new theological
emphasis in these hymns is the social implications of
Christianity and the life of the church, as it is evident
in the last two hymns mentioned *
Another interesting series of hymn pamphlets from
Argentina is the Corazón y Voz (5 volumes),
■ loa ni-ñosse duer-mea peu-san-doeu Je - süs. En un po -bre pe*
Ex* 2 "Ha Venido"

Ritmo deZamba

1. Yo co - no» -coun pue-bli - to chi * gut - to; u» pue-

Ex* 3 "Canta, hermano, canta" Chamarrita
SOL M SOL M 4 REM
-- ni
d h - , - 1 E
* A “1 ®— cg--
SCU &— -- ^— \~Ú— ¿1—J
t r ' >' W"
iCan-tá her*ma*nofíCan*fcá! ¡Can-tácon-mi-go,can-
COLM EE M

-£■
~w—
ta I ¡Can táí El es es - pe - ran * aa¡Can-íál Es jus -
Ex* h "Ea N u e v a Canción"

j uw rfP .jA
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i n¿® £¿ r xa
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___ ¡ip " j [b j '£~1 .....—3

1 *Canto un aue-vo ca»„toen el mutt-do,deI hom-brecjuea-ma yes*

MI M SIM __ M1M REM
--------------- a:— rzzjg

+ -é i t L ♦— j
p$* ra, Se-ñor, por ver tu re cons-true -cíójl— —-^Iía-Moquía
Ex* 5 "Mi Vida, esto no es mundo" Cueca
ESTRIBILLO
fju jj; »uw
FFf f - V r e = ^
<*- ___
■j—
¿iJ— — CE—- __ ¿r~

lia - do, quees co - roo _ lo quie- ro yo

 177
SOBRE ESTAS TIERRAS (lSt stanza)
Words: Federico Pagura Music: Nuñez Allanca (Perú)

VEN, HERMANO (lst stanza)

Words and Music by Waldino Suárez and 0. Catena (Argentina)
 XT©

published by the Board of Baptist Publications,, This

series includes hymns and songs composed by young
people from Argentina and nearby countries.
The most interesting ones from Volume 5
"Heme aquí Jesús Bendito”, a new melody by Josd Daniel
Verstraeten, for an old hymn by Juan Bautista Cabrera;
1
”Por eso canto yo", by Salomón Mussiett C*, in ”cueca”
rhythm | and "Salmo 46”, by Eduard o Zara ¡saga.
Toda la Gloria a Jesús is another collection of
"coritos” and hymns from Argentina which includes simple
compositions by contemporary hymn writers like R. E, Miller,
Jorge Himitian, Jorge Lacorava, Juan Carlos Ortiz, Jorge Pradas,
and Josó Daniel Verstraeten, who did the Harmonization for
most of the h;/mns. One third of the hymns in the collection
are of unknown origin, probably because there is not
information available about them.
2 .
Tiempo de Cantar is a collection of 42 hymns and
choruses, of which about 35 are by composers from
Colombia, Costa Rica, Ecuador, Chile, Bolivia, Brasil,
Mexico and Venezuela. The 10 hymns from Costa Rica are
by Jorge Díaz Mora, being the best known o f these, "Dios
está en mi corazón"* IVo Christmas by the Chilean Salomón
Mussiett, "Trote del Nacimiento" and "Borriquito Blanco"
are in the "trote" rhythm
There are 7 hymns b y Bolivian composers, among them, the
new melody for "Soy yo soldado de Jesús", by Sergio Vargas.

‘ ' '^T~' "

Folksong from Chile and Perú
2
Published by Casa Bautista de Publicaciones, EX
Paso, Texas, in 1973* and compiled by Edward Nelson*
 . 179

In Bolivia there is a "Iiymno logical National Committee"

for the purpose of stimulating the Bolivians to compose
hymns in a musical idiom which could reflect the Bolivian
culture« Many of the new hymns have been published in the
Bolivian protestant magazine Visión Evangélica. "Hoy en
grandes ciudades" by the Brasilian composer Joau V. Faustini,
is one of the Latin American greatest contemporary hymns.

A collection that has been very useful to the

liturgical churches , especially to the Episcopal, is
Canciones dé la Iglesia Joven, published in Quito, Ecuador,
with 60 hymns and Psalms, most of them of Latin American
origin. Among the music included is "Misa Juvenil" and
"Misa Pueblo de Bios", by J. Baylach ,from Ecuador;
several Psalms by J osé Antonio Espinosa, a Spanish priest
who worked in Perd; various hymns by Kiko Arguello, from
Ecuador, and six Negro Spirituals. One of the best songs
is "Dios es Amor", by J ♦ Baylach.

Another liturgical collection is mis;

published by the Roman Catholic church in Bogotá,
Colombia in 1970. It has a total of 119 hymns, including
13 Psalm tunes by Joseph Gelineau$ 10 hymns by Lukas Deiss;
several by Joaquin Sándhez, 3. J , , from Colombia; the
Mexican Mass, and another mass by J . J. Briceno.
The Psalms by Juan Antonio Espinosa published in
his book El Señor es mi Fuerzar 1971 % are used also in
many of the liturgical churches» The best known are %
Psalm 1X4 Caminará en presencia del Señor
Psalm 66 A Dios den Gracias los Pueblos
Psalm 137 Te damos gracias, Señor
Psalm 118 Tu Palabra me da Vida
Out of 42 hymns and Psalms in his books, 12 are Negro
Spirituals and the others are his own compositions, of
which "El Señor es ml Fuerza" is a very popular one* All
his music has a definitively Latin American flavor.

Contemporary Puerto Rican hymn composers

Although only sire Puerto Rican melodies have been

published in a standard hymnal * as it is the Himnos de
Fe y Alabanza, several laymen and pastors have composed
quite a large amount of hymns, most of them following
the standard hymn and gospel song patterns. One of the
most prolific authors is Pedro Escabi (b. 1924), A well-
trained musician, he has composed several congregational
masses of which "Misa en La menor" is the best known*
This production also includes Psalm tunes, antiphones and
a Kyriale with pi'oper chants and hymns for the liturgical
year. The interesting aspect of his music is that it is
based upon rhythmic and melodic elements of the musical
folklore of Puerto Rico , doing this in a very artistic
form.
1
Noel Estrada , box’ll in 191b, and a Presby terian
layman, has composed about 24 Christmas song© and 12
religious songs and hymns. Among his Christmas songs
are "Suenen Campanas de Gloria", "Noche de Dios"f
Fiesta del Espíritu" , Llévame a ver a Jesds, "Novidad
del Redentor, "Oigo Voces de Angeles", "Sonatina al
Mesías" and "Mi L&scua Boricua”♦ In this tunes, like
Eacabí, he also makes use of the popular rhythms like
the "mapeyé", Waltz, "aguinaldo" and "villancico"*

‘^Composer of the famous popular song "En mi Viejo

San Juan",
 iSi
MUSIC OF PEDRO ESCABI
Ex. l_Based on the "aprulnaldo jibaro” ----
lanA L.1 'U * MKliO-li p o r Pedro E sc a h í
/sm Vr- _

E x * 2 , Accompaniiiient to measures _18 - 21

n k k fs 1_____ _________._____________ #-
- y ------ — i ___ I_______i----------
A » a ■ nr ^ _______i—
(k\ * ~ T ..— ..- : ... ■iftv—. i
- 4 ------------------------ ——--------------------------------------------
p u - dad Jc no - s o - -fv-oS
C r\$-‘\o
ft '\
>--------- T ~TZ r>v -K
A— ^ — ■
«¡f_.
.
'■I . ^*£>1 J 1 b J r 1 TP *7 ^ j
r k —r— ~4— _#----
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: __g 7 -1 - H i - __ V - L -
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v/ yL -5 1* J ; *r*
*¡r
4*
*r V* tt *jr

* ^—........ ______ #*_____

-----= f --------- -V®----- 1--------- - p .............. ......
y --------Th 1 — . ..- •—
t r ■p

Ex# 3 The ’’Lord’s Prayer” in bolero style

“ " 1T\

Pft _ ORE N U E S - T R O QUEES-TIVS E M E L C I E - L Q SAM-TI-FI-CA-DO SE - A TU

Ex. 4 Psalm tune Poll owing the ”t ónica andaluza”

inn **
^ . ..,Mq ---—--- 0 --- _ZZ_ZM "I' '...4
--® --1--
 isa
The best known of his hymns is ”Oración de Año Nuevo",
which is arranged as a choral piece. His music has been
recorded by the choral groups "Embajadores del Rey" and
"Heraldos Melódicos”,
Pablo Fernández-Badillo, b. 1919» was for many years
professor of music in the Department of Public Education in his
native city of Aguadilla. A well-trained musician, a student of
Julian Bautista at the Conservatory of Music of Puerto Rico, he
has composed many school and art songs, choral works, and hymns.
His best hymns are "Alabanza” and ”Mi alma tiene sed” (Psalm 32).
He is now editing a hymnbook called Himnario Criollo, in which
he will publish his own hymns and also contributions from other
composers. Probably this book will be the first Puerto Rican
hymnal with the music printed.
The Rev. Luis Angel Toro, b . 1907? is a Presbyterian
minister who studied conducting and composition at the
Westminster Choir College• He has composed the hymns "El gran
triunfo de la Iglesia”, "Feliz Cumpleaños”, "El Doloroso”,
"Tiempo Alegre de Navidad” and "Mi Ofrenda". The last one is
used in many churches as an offertory hymn•
Angel M. Mattos , b , 1 9 1 8 , is a physician and conductor
of the famous "Coro Luterano Si<5n" • He has composed the
following hymns: "Es Cristo mi vida", "Tan grande Amor",
"¿Por qué te abates oh alma mía?", "Hombre confia", and the
choral hymns "En el Principio" and "Oh Profundidad". These
are sung by his choir in tours, concerts and presentations in
the churches•
A very prolific hymn writer is the Methodist pastor
Carlos Pastor López, b. 1931 * who has composed about
60 hymns. Most of them are used in his own church by the
choir and the congregation. "El Cristo del Calvario” and
"Al Dios Excelso” are the best known of his hymns,
 183

Antonio Rivera Martínez? a P r e s b y t e r i a n l a y m a n , who

was a p r o f e s s o r of H u m a n i t i e s at the U n i v e r s i t y of P u e r t o Rico?
published C u a d e r n o de M e l o d í a s R e l i g i o s a s with JO of his h y m n s ?
and Anecdotario H i m n o l ó g í c o , which includes 12 others* T he
first 30 h y m n s are in t w o - p a r t s h a r m o n y ? m o s t l y in i n t e r v a l s of
3r<*s a nd The o t h e r 12 t u nes are h a r m o n i z e d in f o u r
parts, b ut the h a r m o n i e s s o und v e r y e m p t y w i t h too m a n y 4 ^ ,
5 ^ a nd octave p a r a l l e l h a r m o n y i n t e r v a l s a n d the i n a d e q u a t e
use of the 6 chord* Hi s b e s t - k n o w n h y m n is nYo q u i e r o s er
TT
un h i m n o de a m o r ” , n u m b e r 100 in A n e c d o t a r i o H i m n o l é g i c o *
R i v e r a M a r t í n e z w r i t e s b o t h the w o rds and the m u s i c f or
his h y m n s •
C a r l o s H* V i a n a ? a minister of the D i s c i p l e s of C h r i s t
C h u r c h has composed several hymns of w h i c h the b e s t k n o w n ai^e
”Si tú tienes u n a c r u z ” and ”A l a b a d o Seas? O h S e ñ o r ” ,
One of the m o s t p r o l i f i c composers of the P e n t e c o s t a l
Church, is J u a n Pacheco, w ho p u b l i s h e d the words edition of
many of his h y m n s in A l a b a n z a s a D i o s , a collection of
96 hymns, m o s t of t h e m of P u e r t o R i c a n o r i g i n a nd e d i t e d
b y Pacheco*
O t h e r p e r s o n s w h o h ave b e e n w r i t i n g and c o m p o s i n g
hymns are J u a n A* Pacheco, Jos é L * Pacheco, José M * Q u i ñ o n e s -
Rodríguez, Rev* (Jeraldo L ó p e z , Rev* José A* Cardona9
Rev* Clemente B o b o n i s , and others*

Many of the c o m p o s i t i o n s b y the p e r s o n s m e n t i o n e d

m a y be f o u n d at the E v a n g e l i c a l S e m i n a r y of P u e r t o R i c o
Library, in S a n Juan* In m o s t of the cases, the m u s i c of
t h ese composers is u s e d l o c a l l y in t h e i r c h u r c h e s or b y
choral groups to w h i c h t h e y are related. It is a p i t y
that m a n y of these tunes h a v e n e v e r h a d the opportunity
to p r ove t h e i r v a l u e as c h u r c h music.
 CONCLUSIONS

Definitively, the gospel song tradition is still

very strong in the hymnals in Spanish that the Protestant
churches in Puerto Rico and Latin America have been using.
There are very few exceptions, especially among the
Lutheran and Episcopalian churches• The most-used hymnals
in Puerto Rico, Himnos de Gloria-Cantos de Triunfof and
Himnos de la Vida Cristiana are basically collections of
gospel songs. Hymnals in Spanish have followed the same
pattern in their content, with more or less the same
hymns, same arrangements, most of them copied from the
hymnals of the United States•

The majority of the Protestant churches in Puerto

Rico have been of the "evangelical type", with a special
emphasis on evangelism, rather than on the liturgical
life of the church. There has been more need for hymns
for evangelistic purposes, hymns vfh±ch speak about
"conversion"f "repentance" and "the sensual type of life
between Christ and the believer". The gospel song is the
kind of hymn which emphasizes this sort of theme• Another
important aspect of this type of song is the lively and
catchy rhythms and melodies, which are preferred for the
evangelistic meetings, besides the fact that the
syncopated and dotted eight notes rhythm are
characteristics of the Latin American popular music•

However, at present, new concepts of what evangelism is

and new methods of dealing with it demand new hymns and
more creative ways of using the rhythm and melodic elements
 185
of the popular and folkloric music, There is a new
tendency in the Latin American hymnody to use the 11protest
hyrnn-s ong" and hymns with ’’social concern” as a way of
making Christianity relevant to the contemporary social
problems and the purpose of creating the "new man”•

Internally, the churches are realizing the importance

of the liturgical life, and the church-world relationship.
New and old hymns in harmony with these concepts are being
discovered and included in the new hymnals, as The Methodist
Hymna 1 and Cántico Nuevo, We can "dig” more among other
hymnic traditions where we can find hymns, words and
melodies, which can be adequate for our liturgical needs.
Of course} we need more contemporary hymns, but not of the
type that looks like cartoons of the old gospel songs. This
is one weakness which can be pointed out about the
publications of the Nazarenes, Joyas Favoritas, and their
related books as Gracia y Devoción and Sendas de Bvangelismo«
The new hymns in these books are new gospel songs with the
same old personal evangelistic theology translated from the
English language. Instead, we need hymns of real merit,
hymns of strength, dignity, vigor, and devotion, which will
be an asset to the worship services and the church *s life,
rather than hymnals which are evangelistic oriented and
with hymns of the personal and individualistic type of
Christianity,

In the last seven years we have seen a new interest

in composing and writing hymns in the native Latin Arnex'lean
musical idiom, but this change is not yet evident in the
hymnals, and is shown very timidly in the churches1
repertoire. The inclusion of some melodies in the ’’corrido",
"vals" style and other typical rhythms in recent hymnals
like Himnos de Fe y Alabanza, and Himnos Inspirados y
Select os is the beginning of this practice, Most of the
 186
melodies and harmonies of these new compositions are not
the best that could be produced, because very few of the
composers are trained musicians and in the majority of the
cases, the poets are the ones who compose the melodies
for their own hymn-poems. Probably it could be a better
practice among our hymn writers if they would look for
musicians to compose the music for their hymns.
In general 5 we may say that there is not a clear
pattern of presence of the native music in the hymnals,
but airs of "valses11, marches , "boleros" , "corridos" and
"guarachas" may be found especially in the Pentecostal-
church hymnals, like Voz de J\1hilo y Salvación, Himnos
Inspirados y Selectos, Ecos de Vida and Lira Misionera.
It is possible that the future of our hymnody and the
development of a native hymnody will be related to the
use of the native popular rhythms and melodic patterns,
which will mature slowly into refined hymn odie forras
with a native musical background.
The hymnody of the present and the future, will
have to deal with what I call the art hymnody and the
classical hymns old and new, and also with the hymns ,
liturgical chants and religious songs newly composed and
based on the popular rhythms from the rock and beat to
the "cueca and plena"• The modern hymns should be in
these different styles, instead of playing all of them
in one single form. We don* t see any reason for playing
"Roca de la Eternidad" (Rock of Ages) in a "bolero" or
"mazurka" rhythm, as it is done in many Pentecostal
churches with the traditional hymns, if that hymn was
not originally in any of these rhythms. Instead, good
and new hymnic melodies and texts in "bolero" or any
other rhythm should be composed.
 187
New hymnals in Spanish 1 should come out with more
Latin American hymns, leaving out the weak and unworthy
hymns that have been carried in previous publications,
This practice will challenge native writers to compose
better hymns that would go beyond the "saccharine
melodies" and harmonies of* the imported gospel song tune.

There are also Tine poems in Spanish which can be

sung as hymns if somebody can set them to music. Probably
this is an area that could be worked out through contests,
to stimulate the composition oT new melodies Tor these
poems. This could be done in Puerto Rico with the poems
by José Espada Marrero, Angel Mergal, Adela Vázquez,
Samuel Vélez Santiago, Roberto Figueroa and many others.

Hymnals should be revised more frequently s o they

can keep the rhythm of the productions and answer
O
adequately to the liturgical demands. Perhaps, this
could be done by producing hymnal supplements, that could
include not only new hymns but also "coritos" of good
quality and religious songs, like the "songs of -protest"•

There is a need of making an adequate selection of

the best hymns from Latin America composed in the last
10 years, Each country has its own re pert oire, but it
should be enriched with the best from other hispanic countries.

Two new hymnals are in the process of compilation,

Casa Bautista de Publicaciones in E l Paso, Texas is
working in a new international hymnal in Spanish upon
the request of the Chile Baptist Mission; the United
Evangelical Church of Puerto Rico is planning to publish
its own hymnal,
2
Southern Baptist churches have been using Nuevo
Himnario Popular, which was edited in 1955? based on
Himnos Favoritos; most of‘the hymns were old ones•
Himnos de la Vida Cristiana, 106?, changed very little
from its 1939 edition; and Himnos de Gloria, 1921, has
never been revised. Recently, 50 new Latin American
hymns were added to Culto Cristiano, 1964,
 188
390 Pastor te Bendigo
Amatto ¡NVrvo Gonzalo !í.i«-Camsrgo

This is one of the few poems by .well-known Latin

American poets set to music as a hymn. This one is of
Mexican origin in both words and music, as included in
Himnario Metodista, 1973*
 189

These selections should be printed with a light

accompaniment, keeping the characteristic rhythmic
patterns if they are based on folkloric music* No
words edition should be published, unless the melodies
are well-known ones* At least, an edition with
melodies and words should be available for the
congregation*
Attention should be given to the hymnic education*
Some kind of program should be developed, like ”the hymn-
of-the«month plan”* Denominational hymnals like Culto
Cristiano, Himnario Metodista and Himnario Episcopal* have
a lot of material that is worth of being learned and used
in their churches♦ Among the non-denominational hymnbooks,
Cántico Nuevo * El Himnario and Himnos de Fe y Alabanza
should be considered in this order, as good substitutes
for the Himnos de Gloria, Himnos de la Vida Cristiana and
Himnario Popular* They have a better selection of old and *
contemporary hymns from different traditions and a wider
selection of hymns for the various liturgical needs.
A last word should be said about the hymns for children*
They should learn the standard hymns that are adequate
to their understanding and singing ability. There are
many hymns that fit these requirements. Perhaps a hymnal
like Himnos y Cantos para Niftoa should be revised to
include new hymns for the children and some more standard
hymns that would be adequate for them.
 190
APPENDIX I

BEST REPRESENTED GOSPEL SONGS COMPOSERS

IN THE SPANISH HYMNALS

Listed in chronological order, indicating the number

of1 tunes in each hymnal

NAMES DATES HVC HG MHP H cc CN

John H* Stockton 1813-1877 3 2 3 2 0 1

Silas J. Vail 18X8-1884 2 2 3 1 0 0
William Bradbury 1 8 1 6 -1 8 6 8 10 6 12 10 7 5
George F* Root 1 8 2 0 -1 8 9 5 6 5 5 4 4 2
Joseph P. Holbrook 1 8 2 2 -1 8 8 8 1 0 3 4 1 0
William F* Sherwin 1 8 2 6 -1 8 8 8 1 3 3 4 2 2
Robert Lowry 1826-1889 4 4 9 4 1 1
William Doane 1832-1915 9 8 11 6 3 2
William G* Fischer 1835-1912 2 3 1 3 1 1
J ohn R « Sweney 1837-1899 8 8 7 5 0 0
Philip P. Bliss 1838-1876 13 8 15 ‘ 7 2 0
William J* Kirkpatrick 1 8 3 8 -1 9 2 1 17 20 10 7 1 1
Hubert P* Main 1839-1926 1 2 2 3 0 2
Elisha A, Hoffman 1839-1929 5 2 0 3 0 0
Ira D. Sankey 1840-1908 4 4 8 4 3 3
James McGranaham 1840-1907 7 5 10 5 0 0
William A, Odgen 1841-1897 3 2 2 2 0 0
George C. Stebbins 1846-1945 14 6 17 14 2 3
Daniel B, Towner 1 8 5 0 -1 9 1 9 4 2 4 2 0 0
Edwin 0* Excell 1851-1921 5 5 7 5 2 0
Charles H* Gabriel 1856-1932 7 10 16 5 0 0
Mrs. C* H. Morris 1862-1929 6 7 4 2 1 1
C* Austin Miles 1 8 6 8 -1 9 W 2 5 4 1 0 0
Tullar Grant Colfax 1869-1950 3 2 3 3 0 1

Included are only those which have more than 3 tunes and
which are included in more than 3 hymnals*
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 Total number
publication

of hymns

Plainsongs
Bate of
c\t

English
ON
t**í

Himnario Popular 1924 , 1 9 2 6 336

El Himnario* 1931 491

Himnos de^la Vida

Cristiana 1939 316 1

Lluvias de Bendición 1947 253 0 7

Nuevo Himnario Popular 1955 389 0 29

1
Himnario Metodista 1955 252

Himnario Episcopal 1961 261 i4 90

Himnario EvangéIleo
Presbiteriano- 1961 500 0 68
Cántico Nuevo 1962 476 6 124
El Himnario 1964 443 3 90
Culto Cristiano 1964 412 2 110
Himnos de la Vida
Cristiana*» 1967 354 0 24

Himnario Metodista 1973 394 4 69

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25 280 4 46 ? 2 4 21 50
58 23 35 14 25 37 86 25 40
52 131 24 6 4 9 10 22 9
55 21 XT 9 3 13 75 7 45

4o 220 16 16 15 6 2 8 11

58 125 21 7 8 12 25 13 16
 APPENDIX III

Two-hundred best k n o w n tunes

(All the hymns are in H V C , unless otherwise i n d i c a t e d ;

asterisk indicates the gospel song t u n e s - 125 )

♦ACKELT (He lives) ♦CON GRAN GOZO (Bienvenido)

A CUALQUIERA PARTE CONVERSE (Erie)
ADELAIDE ♦CRISTO FIEL
ADESTE FIDELES ♦CROWN HIM
*A LA BATALLA ♦CUANDO ALLA SE PASE LISTA
♦ALL TO CHRIST ♦CUANDO COMBATIDO
A LOS PIES DE JESUCRISTO
AMERICA ♦ D A D N O S LUZ
ANGEL'S STORY DARWALL
ANTIOCH DEJA AL SALVADOR E N T R A R
APARTE DEL MUNDO DEJO EL M U N D O
á S U NOMBRE GLORIA
DENNIS (H)
♦ASSURANCE ♦DILO A C R I S T O
♦AT THE CROSS DEABEMATA
AURELIA ♦DIA DE VICTORIA
BORRNANCE
BARNARD DUCANNON
BATTLE HYMNS (h )
BEECHER EASTER HYMN
BETHANY BIN PESTE BURG
♦ B R I L L A EN E L S I T I O (H) ♦ E L C U I D A DE LAS AVES (HG)
♦ELIZABETH (T H O M P S O N )
CAROL ♦EN UN APOSENTO ALTO
CLEANSING FOUNTAIN ♦ES J E S U S E L M E J O R AMIGO
CHRISTMAS E V E N ME
♦COME T O T H E S A V I O U R EVENING PRAYER ( C H A T A U Q U A )
♦COMPRADO CON SANGRE
EVENTIDE
*f a c e to face ♦X WILL SING 1
faithful guide ♦I WILL SING FOR JESUS
fill ME HOW {P L E N I T U D ) * IN THE GARDEN
FLEMMING ITALIAN HYMN

♦JEHOVA ES M I PASTOR
GALILEE (H)
♦ JESUS I COME
GLORIA P A TRI (Me ine cke)
JESUS LOVES ME
GLORIA {.Ring the bells of heaven)
♦ JESUS IS CALLING
♦GOD BE W I T H YOU
JUANITA
GORDON
♦GOZO DA
♦KEEP IN TOUCH
♦ G OZO Y L UZ

♦LAFAYETTE
♦HAMBURG ♦LAS PISADAS DEL MAESTRO (lie)
♦HANDFORD ♦LEAD ME SAVIOR
♦HANKEY LENTO
♦HAY UN CANTO N U E V O ♦LIGHT OF THE WORLD
♦HE L E A D E T H ME ♦LILLY OP VALLEY
♦ H E R M A N O S , DINGS HOY ♦LIMPIO EN LA SANGRE
HIGHER ground ♦LIVING FOR JESUS
♦HOLINESS (LON G S T A F F ) ♦ L O W IN THE GRAVE
♦HUBO QUIEN ♦LOWER L I G H T S
I-tURSLEY LUCHANDO ESTAIS
♦I AM T H I N E (H) LUK E
♦I GAVE MY LIFE LYONS
♦I NEED THEE
♦ I SURRENDER ALL MADRID
♦I WILL GO WHERE YOU WANT MANOS C A R I Ñ O S A S
 195
♦MAS ALLA PATMOS
MARTYN (H) PASS ME NOT
♦MCAFEE PIES DIVINOS
♦MEET ME THERE ♦POR FE EN JESUS
MENDELSSOHN POR LA MARAÑA
MI CULPA EL LI/EVO ♦POWER IN THE BLOOD
MI REY Y AMIGO ♦PRECIOUS NAME
♦MOMENT BY MOMENT ♦PRESTE OIDOS (H)
MORECAMBE ♦PROCURO EN VANO (Balderas)
MULLER ♦PROFUNDO AMOR
MY PRAYER ♦PROMISES
PUEBLA
♦NAYLOR (115) PUERTA ENTRE ABIERTA 50
NEAR THE CROSS
NEARER RE.ED CITY 252
NETTLETON ♦REFUGE
NICEA REGENT SQUARE 81
RESUCITO, LA HUEVA DAD (NHP)
♦O CRISTO MUESTRA ROCA ♦REVIVE US AGAIN
♦OBREROS ♦ROOM FOR THEE
VÍH GLORIOSO MENSAJE ♦ROYAL BANNER
♦OH ÍÍÁPFY BAY ♦RUTHERFORD
♦OID, OID
♦OIGO LA VOZ (Sliepherd) 254
OLD HUNDRETH ♦SANTO f SANTO GRANDE ETERNO DIOS
♦OLD RUGGED CROSS ♦SEMBRARE
OLIVET ♦SH ONALTER
♦ONE DAY ♦SHOWERS OF BLESSINGS
OPEN MY EYES SICILIAN1S MARINERS
♦OPORTO ♦SIEMPRE ORAD
0 STORE GUD ♦SI HAY VALOR DE FE
 196

♦SINCE JESUS CAME INTO MY HEART ♦WAY OF THE VROSS

SOFTLY AND TENDERLY (THortspson) ♦WELCOME VOICE
♦SOY PEREGRINO ♦WHEN HE COMETH
♦ S O Y YO SOLDADO ♦WHO WILL FOLLOW JESUS
ST* CATHERINE ♦WONDERFUL WORDS
ST. GERTRUDE WOODWORTH
♦ST. G E O R G E WINDSOR ivGRIC SONG
S T . LOUIS
STILLE NACHT YIELD NOT
♦SWEET BY AN D BY
SWEET HOUR ZION (H)
♦SWEET PEACE

TELL ME THE S T O R I E S OF JESUS

TENDRAS QUE REHACER
♦TENGO UN AMIGO
TIDINGS
♦TODO RENDIDO
♦ T O I L I N G ON (TO THE WORK}
TOPLADY
♦TRABAJAR Y ORAR
♦THE G R E A T PHYSICIAN
♦TRUE-HEARTED
TRUST AND OBE Y
♦ T R U S T IN JESUS
♦VALOR Y FE
♦ V E D LA F U E N T E
♦VIENE OTRA V E Z
VOX DILECTI
♦VOLUNTARIOS DE JESUS
 197

APPENDIX IV

HYMN TEXTS GIVEN WITH DIFFERENT T O E S

{Partial l i s t )

ASTRO MAS BELLO

Wesley IIVC, H
Epifanía CN
Morning Star HE | CC

AUNQUE SOY PEQVBEmhO

31schoff NHP, LLBt MIE
Lirtby GG

AMOROSO NOS CONVIDA

j ones LLB
Mount Vernon CC
Galilee CN
Dulce Carmen HM

A DIOS OBEDECEN EL RAYO T EL VIENTO

Sullivan II
Iiremser CO

AMOROSO SALVADOR
Viena CC
Mercy H

á LOS PIES DE JESUCRISTO

0 Durchbreoher CC
Anónimo H

APARTE DEL MUNDO

Kremser CC
Ve Praise Th.ee a
A NUESTRO PADRE DIOS
América (almost in all hymnals)
Dyb af Kjaerlighed CC
AL TRONO EXCELSO

1st© Confesor CNt HM

Die Nach 1st líominen CC
Flemming H
G. M # Garrett HEP
Cloisters HE
A DIOS DAD GRACIAS
Mit Freuden Zart HM
Allein Gott In der Htth CM
CUAN DULCE EL NOMBRE

Sit.* Peter HE 9 CC,

St „ FAso.vi.asit CM
Zeraii NHP
CUAN FIRME CIMIENTO

Foundation HM
Maidwin CN
Adeste Fideles HVC , H
CARIÑOSO SALVADOR
Himno Español CC
Refuge NHP , HM
Martyn H
Aberystwyth CN
CANTAR NOS GUSTA UNIDOS
Rotterdam CC
Anónimo NHP
DEL CULTO EL TIEMPO LLEGA
Aurelia HM
Familia Orbe HP A
DESCIENDE ESPIRITU DE AMOR
Come Holy Spirit-Beethoven CN
St. Agnes HM
Evan H
DIVINA LUZ
Lux Benigna H f HM
Sandon CN
DIOS HASTA AQUI ME ACOMPAÑO
A l l e i n Gott in d e r HtJh CC
Es 1st g e w i s s l i c h GN

DESPERTAD , OH C R I S T I A N O S
Wesley CC
Mendoza HEP
Puebla HG, H M
De F l e u r y NHP

DIOS TE BENDIGA
Toulon CC
Moreeambe lis H V C

DIOS ETERNO EN T U PRESENCIA

Armstrong H
New Year CN
St. H i l a r y CC
Fa ben NHP, HM
ES C R I S T O D E SU I G L E S I A
Aurelia H
Eck HVC
FELIZ MOMENTO (Día .Feliz)
Hebron HM
Oh H a p p y B a y HVC, H
PUENTE DE LA V I D A E T E R N A
Nettleton
Ripley

GLORIA A DIOS E N LAS ALTURAS

Si * G e o r g e Windsor H, HVC
Trefaenan ON
GUARDA ¿QUE NOTICIAS DAS ?
S t . Ge orge W i n d s o r H
P l e y e l *s H y m n CC

H O Y POR LOS SANTOS

S ine N o m i n e CN
Saruna (a n o t h e r t r a n s l a t i o n ) H
Sine Nomine (different translation) HE
 200

HIJOS D E L CELESTE REY

Brasted CM
P l e y e l 9s H y m n H
Innocents CO

HOY VENIMOS CUAL HERMANOS

Dormanes HVC, HM, H
Sardis CN

HAY UN LUGAR DO Q U I E R O ESTAR

Winchester New CC (no r e f r a i n )
Asilo H, H V C

JESUS TE NECESITA
Arrfegui.n H
Anón IXED
Excel! HS 9 H E P

LUZ DE VIDA ALUMBRAME

Hinehman H
L i e b s t e r Jesu, wird sin h i e r CN

LOOR A TI MI DIOS EN ESTA N O C H E

L o o r a Ti ( S a n k e y ) H
Valderraina CC
White HEP

LA PALABRA H O Y SEMBRADA
Zion H
Hollywood CC

mil arpas y mil voces

Harwell H s HVC
U n s e r H e r r s c her I!M ( w i thout
Alleluias)

MI M A N O T E N f SENOS
Caritas Perfecta CC
Hold Thou My Hand EL, CN, HM
 201

MIRAD AL S A L V A D O R JESUS
Ach Got i uiid Herr C N (no r e f r a i n )
Puerta Entre Abierta N H P 9 HVC

NUNCA DIOS MIO

Horeb CC
Flemming HVC* C N ? HM
Familia Orbe HFA

OH NUESTRO PADRE
Asomen H
St. Agues CN
St* Anne CC

OH DIOS ESCUCHA CON BONDAD

Arlington H
Martyrdom (Avon) CN

OH SEÑOR PROCURO EN VANO

Balderas H
L1ansanan CN

OH QUIEN PUDIERA ANDAR CON DIOS

Dalehurat
Mar tyrd om (Av on ) CC
Beatitud© HE

OH PASTOR DIVINO ESCUCHA

Holbrook H , HM
Guide me C\C

OH SEÑOR A TUS ALTARES

Día tras día (Carter) CN
O Der Alies OC
Evening Prayer (stebbins) B
Petersen HE

OH PAN D E L CIELO
St* P e t e r s b u r g CN, H E
Hebron H, H M
Grace Church CC
 202

OH CRISTO N U E S T R O 0020 X B I E N
Quebec H
Germany KM

PARA TODO VIAJERO

Love Divine (Le Jeune) H
Longden CN

PRESTE OIDOS EL HUMANO

I am Coming (s&nkey) H, FIVC
Saint Asaph CC
Kyfrydol CN

QUE MI VIDA ENTERA ESTE

Patmos CC
Mozart CN
Hendon H, HM
Ducannon HVC, EH

REFUGIO TU DEL PECADOR

Manoah H
Chelsea Square CN
Dundee CC

ROSTRO DIVINO
Crucifixion HFA
Lento HVC
R, D P ¥111lama HXS
SEGUN TU DICHO AL EXPIRAR
Manoah HVC
Dalehurst H
Evaa CC

SEÑOR EN TI YO CREO
leh weiss, woran ich glaube CN
Angel1s Story CC
SEÑOR YO TE CONOZCO
Missionary Hymn H, HM
Lanc&nshir© CC
 203

SIENTE EL ALMA
War urn s o3.lt Ich mich denn grSmen? CC
Fr'óhlich s oil CN
SI FUI MOTIVO DE DOLOR
Melodía Cubana HFA
Camacua CN
An Evening Prayer LLB

TE ALABAMOS OH GRAN DIOS

Jesu meine Zuversicht CC
Grosser Gott UN, HM

TESORO INCOMPARABLE
V a l e t w i l l ich d i r geben (st• Theodulph) CC
Rutherford HVC, H
F a m i l i a Orbe HFA

TU DE LOS FIELES, ETERNAL CABEZA

Perfect Love H s CC
Td de los fíeles HM, CN
A l b a n y (Ancient of Days) HE

U NA H I S T O R I A D I R E M O S
Millar CC
Message H

UNIDOS COMO HERMANOS

Greenland H
Magdalena CN
S t , Th e o d ulph CC

VEN OH TODOPODEROSO
Be t h a n y CC
Bavaria HVC, H

VENID NUESTRAS VOCES

Kremser CC
Stockwell CN

YO TE BUSQUE SEÑOR
Wachusett HM
Mon Dieu CN
 20¿*

APPENDIX V

H Y M N S T R A N S L A T E D M O R E T H A N ONCE

ALL CREATURES OF GOD O UR K I N G

Oh P u e b l o a V u e s t r o Dios y R e y H
Oh C r i a t u r a s d el S e ñ o r CN, H M
G l o r i o s o s A n g e l e s Alzad HE

A L L H A I L T H E P O W E R OF J E S U S N A M E
El N o m b r e de J e s ú s Load H HVC
Al R e y Jesús G l o r i f i c a d CN
L o o r e s d a d a C r i s t o el R e y HPA, CC
A N G E L S F R O M T H E R E A L M OF G L O R Y
A n g e l e s alzad el v u e l o HE
A n g e l e s a l z a d el canto HM
A n g e l e s d e l A l t a Glor i a H

A L L GLORY, L A U D AND H O N O R
A ti , h o n o r y glor i a H, CN
H o nor, l o o r y g l o r i a II H M , HE
La s a l v a c i ó n l l e v a n d o H

C OME T H O U F O U N T A I N OF E V E R Y B L E S S I N G
F u e n t e de la v i d a e t e r n a H HM, HVC
V e n de t o d o b i e n la f u e n t e CN H M

C R O W N H IM W I T H M A N Y C R O W N S
A C r i s t o coronad HVC
Al Salvador Jesús CN
G l o r i a y honor a Ti HE
A Cristo proclamad CC

D E A R L O R D A N D F A T H E R OF M A N K I N D
Oh Padre Nuestro Celestial HM
Oh Padre de la Humanidad H CN CC

FOR ALL THE SAINTS

Po r los g l o r i o s o s santos del E d é n HE

H o y p o r los S a n t o s CN HM
Por los que ya d e j a r o n su l a b o r H
Siempre bendigan tu g l o r i o s o nombre HE
FOR THE BEAUTY OF THE EARTH
Por lo hermoso que h a y f Señor CC
Por la hermosa extensión HE, HM
Por la excelsa majestad CN
Por lo hermoso en derredor H

FAIREST , LORD JESUS

Jesús Divino, gran Rey del Mundo CC
Bendito Cristo HM
Hermoso Salvador H
Cristo Divino CN
Jesús Excelso HE

GOOD CHRISTIAN MEN REJOICE

Cristianos oh cantad H
Cristianos alegraos HM

GOD OF OUR FATHERS

Oh J ehová Omnipotente Di os H, HM
A Ti Señor, Omnipotente Dios CN
Oh gran Señor, Omnipotente Dios HE

GOD OF GRACE AND GOD OF GLORY

Dios de Amor y Dios de Gloria HM, H
Dios de Gracia y Dios de Gloria CN

HOW GREAT THOU ART

Señor mi Dios, al contemplar HVC, HM
Oh Dios al contemplar H

IN THE HOUR OF TRIAL

Al ser yo tentado co
Cristo al ser tentado H, HVC
Cuando sea tentado HM
En las horas tristes HE

IT CAME UPON THE MIDNIGHT CLEAR

A media noche resonó HM
A media noche en BelÓn HVC
Venid Zagales CN

JESUS CALLS US 0»ER THE TUMULT

Cris t o llama de 1 tumult o HM, H
Jesucristo desde el cielo H
Desde el cielo Cristo llama CC
Dios nos llamma del tumulto HE
JE S U S I S ALL THE WORLD TO ME 206
C r i s t o ©s mi d u l c e S a l v a d o r HVC
C r i s t o el É>eñor es para ml HM

JESUS KEEP ME NEAR THE CROSS

L e jos de mi Padre Dios CM, CC, H M
C r i s t o a c é r c a m e a la cruz H, H V C

JOY T O T H E W O R L D
Dichosa Tierra HM, H
Gozo del Mundo CN
Al M u n d o P a z , n a c i 6 J e s ú s HVC

LIFT UP YOUR HEADS '

A l z a d oh p u ertas HM
V u e s t r a s c a b ezas h o y a l z a d H

LOVE DIVINE
Oh a m o r que e x c e d e a todos CN
Solo e x c e l s o a m o r d i v i n o HM, H

LEAD ON OH K I N G E T E R N A L
V e n T ú , oh R e y E t e r n o H V C , H, CN,
HE, CC
Conduce oh R e y E t e r n o HM

L O O K Y E S A I N T S , T H E N I G H T IS G L O R I O U S
V e d a C r i s t o , R e y de G l o r i a HVC, HE, CN
V ed oh á n g e l e s d e l cielo HM, HE

L O R D I W A N T T O BE A C H R I S T I A N
C r i s t o q u i e r o se r c r i s t i a n o HM
Oh Señor, yo q u i e r o ser c r i s t i a n o II

M A N OF S O R R O W S , W H A T A N A M E
El v a r ó n de g r a n d o l o r HM
L e v a n t a d o fue J e s ú s HVC, H

MORE LIKE THE MASTER

Más corno Cris t o HVC, H
Má s cual m i C r isto HM, HG
MORE LOVE TO T H E E OH C H R I S T
Anhelo amarte más H
A m a r t e m á s , Jesús HM
 207

m y f a i t h looks up to thee
Objeto de mi Te H, HM, GN
Mi Te espera en Ti HVC
MY JESUS AS THEY WILL
Cristo Tu voluntad CN
Jesds tu voluntad HH

O CREATURES OF OUR GOP AND KING

Oh. criaturas del Seuor CN , HM
Dh pueblo a vuestro Rey H
Gloriosos ángeles a1zad HE

0 COME , EMMANUILL
Oh ven, oh ven, Emmanuel H , CC
Oh ven, oh ven, bendito Emmanuel HI»'A
Oh va$ oh ven, rescata CN, HM
Oh ven, oh ven, Mesías ven HE

0 FOR A THOUSAND TONGUES

Quisiera yo poder cantar HM
Mil vocea para celebrar CN
Tu santo nombre alabaré HVC
IOh \ que tuviera lenguas mil HFA

O MASTER OF THE WALKING WORLD

Oh Dios al mundo en confesión HM
Oh. Cristo de infinito Amor* CN, íIM

O SACRED HEAD NOW WOUNDED

Oh Rostro Ensangrsntado C N , HM
Cabeza En sangrentada Cubierta CC
Cabeza Ensangrentada Herida HVC, lí
Oh Santo y Triste Rostro HE

PRAISE TO THE LORD THE ALMIGHTY

Loor a Dios H
Alma Bendice al Seilor CN, HM

PASS ME NOT
Salvador a Ti acucio ON
No me pases, no me olvides HVC, HM
 208

RISE UP, 0 MEN OF GOD

Venid siervos de Dios HM
Venid hombres de Dios H

SOMETHING FOR JESUS

Cristo al morir, Tu amor H
Cristo Tu santo amor HM

THE CHURCH *S ONE FOUNDATION

Es Cristo de su Iglesia H
Un solo fundamente HE, CC
De la Iglesia el fundamento HE

THE SON OF GOD GOES FORTH TO VAR

Sale a la lucha el Salvador HVC, H
El Cristo eterno ha de implantar HM, CN

THE STRIFE IS 0»ER

La ruda lucha HVC, H
Ya la batalla terminó HM, CN

THE FIRST NOEL

La primera Navidad HM
Las buenas Nuevas H

THERE *S A SONG IN THE AIR

Un arrullo escuchad HVC, H
Suena ya la canción HM
Cantan ángeles mil HP A

TIS MIDNIGHT AND ON OLIVE *S BROV

Es media noche y el fulgor HM, CN
Es noche en los olivos H

TO GOD OF ABRAHAM PRAISE

Al Dios de Abraham loor CN, HVC
Al verdadero Dios HE

VE THREE KINGS OF ORIENT ARE

Vamos reyes tres a Belén H
Del Oriente venimos tres HE
Del Oriente somos tres HM
 209

APPENDIX vi

TUNES USED FOR MORE THAN ONE HYMN

ADESTE FIDELES
Cuan Firme Cimiento HVC , H
Despierta Alma Mía CC
Venid Fieles Todos CN, H,

ANCIENT OF DAYS
Al Dios de Sabaoth H
Eres del Mundo la Esperanza CN, H,
Hogar Feliz H
IOh Dios Eterno! H
Tú de los fieles H
AURELIA
Al Trono Majestuoso CN, CC
Del Culto el Tiempo Llega H, CC
Es Cristo de Su Iglesia H
Oh Dios por Nuestros Padres H
Tu Pueblo Júbilos0 HVC
Un solo Fundamento HE
AUSTRIA
De la Iglesia el Fundamento HE
Glorias Mil de Ti se Cuentan H, HVC
Tenebroso Mar, Undoso HM
Ven de todo bien la Fuente CN, HM
AZMON
Je s ú b bendito ya no más H
Jesús tu excelso y santo amor HM
Mil Voces para Celebrar CN
Oh Nuestro Padre Eterno Dios H

BEECHER (ZUNDEL)
Dicha Grande es la del Hombre H, HM,
La Bondad de Dios Inmensa H
Luz Brillante Dulce y Pura CC
Oh Amor que Excede CN
Tu Palabra, oh Padre Santo CC
CONSOLATION
Al despertar la purpurina HM, H
Cruzando el M u n d o CC

CRUCIFIXION
Mira mis Manos H M , CN
Rostro Divino HFA
DARWALL
Con Cánticos Señor HE9 H V C , CN
De M u n d o s C r e a d o r H
Oh A n g e l e s de D i o s HE
DIADEMATA
A Cristo Coronad H , HVC
A Cristo Proclamad CC
Al S a l v a d o r J e sds CN
Es Mi P a s t o r J e sds HE
Gloria y H o n o r a Ti HE
DIX
A l m a cese tu D o l o r CC
O l v i d a n d o Su D o l o r H
P o r la E x c e l s a M a j e s t a d CN
P or lo H e r m o s o que h a y S e ñ o r CC
DORRANCE
Caridad , cuan Pura y Santa H
H o y V e n i m o s cual H e r m a n o s HVC
DULCE CARMEN (N E W YEAR)
A m o r o s o n os C o n v i d a HM
Dio s E t e r n o en T u P r e s e n c i a CN
G u í a n o s E t e r n o P a dre HE

DUNDEE
Hay una Fuente sin Igual CN
H a z oh S e ñ o r que T u P o d e r HE
Oid en Su V o z Y a C e r c a E s t á H , HE
R e f u g i o de este Pecador CC
V e n S a n t o Espíritu H M * CC
EASTER HYMN
(El Señor) C r i s t o Ha R e s u c i t a d o H F A , HVC
El S e ñ o r R e s u c i t ó H E , CC
Sólo a T i D i o s y S e ñ o r H

EBENEZER
El P r o f u n d o A m o r de C r i s t o HVC
V e n oh T o d o p o d e r o s o HM, CN
ELLACOMBE
Cabalga Majestuoso CC
Hosannas dieron a Jesds H
Jerusalem despierta Ya CN
Oh F e s t i v a l M a ñ a n a HE
V e n i d , V e n i d Z a g ales CC
EVE N I N G PRAYER
Ante Ti S e ñ o r E s t a m o s CN
B e l l o Amor, D i v i n o , S a nto HM
Cristo Guárdanos Ahora H , CC
Oh S e ñ o r , a T us A l t a r e s H

EWING
Jerusalem Celeste CN, HE,
Jerusalem, Despierta H
J e sds d e l H o m b r e H i j o CC
Oh Q u i e n en T i M o r a r a HE, CC
FINLANDIA
Alma C o n f í a HM
C r i s to S e ñ o r HFA
Este es mi Cant o HM
Oh C r i s t o T u Obra H

FLEMMING INTEGER V I T A E )

Al T r o n o E x c e l s o HE, H
N u n c a D i o s Mío H V C , CN
Supremo Dios Te Ruego HFA

GALILEE
A m o r o s o N os C o n v i d a CN
Cantará Oh Madre Mía H
C r i s t o L l a m a de l T u m u l t o H , HVC
D e s d e el C i e l o C r i s t o L l a m a CC
Dios n os L l a m a d e l T u m u l t o HE
J e s u c r i s t o d e s d e el C i e l o H
S a b i a y J u s t a y T o d a Pura H
 212

GERMANY
Entre el Vaivén de la C i u d a d HM, CN
Oh Crista Nuestro Gozo y Bien HM

HYFRYDOL
¡Aleluya! Prez a Cristo HE
Heme aquí Jesús Bendito CC
Preste Oidos el Humano CN
V e n , Jesús muy Esperado HM, H
ISTE CONFESSOR (ROÑEN)

Al T r o n o E x c e l s o CN
Oh D r i s t o , Gloria de los
Santos Angeles HE
LANCASHIRE
El D í a de la Pascua CC
Oh Padre que Bendice HE
Proclamen las Naciones H
Señor yo Te Conozco CC
Ven Tú oh Rey Eterno CC, HE, HVC, H
LYONS
Al Rey A d o r a d H
En buena hora Vengas CC
Iglesia de Cristo HVC
Oh qué hermosas s on HE
MISSIONARY HYMN
De heladas Cordilleras H M , CC
D e l más l e j a n o Or i e n t e CN
S e ñ o r yo Te Conozco H

MORECAMBE

Dios t© Bendiga HVC, H, CN

En mi Alma Mora H, HVC, CN
Quiero Mirar Tu Rostro Aquí H
Tú que Oyes la Sincera Petición H

MUNICH
Amémonos Hermanos CN
Confío yo en Cristo CC
J e sús T u V o l u n t a d HM
Oh V e r b o E n c a r n a d o H, HE, HM
 213

NETT LETON
Fuente de la V i d a E t e r n a H M , II
Los que somos B a u t i z a d o s HVC, H

PERFECT LOVE (SANDRINGHAM)

Mi S a l v a d o r J e sús CN
Oh Dios de Amor P e r f e c t o CC
Perfecto Amor HM, H , HE, HVC
Tú de los Fieles H, CC

PENITENCE

Al ser yo t e n t a d o CC
C r i s t o al S er T e n t a d o H
C u a n d o sea t e n t a d o CN
El A n g e l G-lorioso HE
E n las h o r a s t r i s t e s HE

PUEBLA
D ad a D i o s H , HE
D i o s Bendiga las almas HM., HVC
Dios E t e r n o , Clemente Benigno HM

FUER N O B I S

Oh Lu z que B r o t a H M , CN
Qué E s t r e l l a es E s t a HE

REGEN" SQUARE
A n g e l e s de l A l t a G l o r i a H
A n g e l e s A l z a d el v u e l o HE
Como ovejas c e l e b r a m o s H , CC
C on las Nutres V i e n e Cris to H , HVC
Cristo V i v e , C r i s t o Vive CC
De la I g l e s i a el F u n d a m e n t o CN
Por mil Arpas y m i l V o c e s HE
S e a n todos Bienvenidos CC
V e d oh A n g e l e s d e l C i e l o H

ST. C R I S T O P H E R

Oid cual R u e g a el P a d r e HE
J u n t o a la C r u z H V C , H, H M
J e s ú s Te N e c e s i t o CC
 214

ST GEORGE'S WINDSOR
A l a b a n z a s Hoy C a n t a d H F A , HM
Cuanta Lu z en Noche Obscura CC
Elevemos al Creador CN
Gloria a Dios en las Alturas HVC
Guarda, ¿Qué Noticias Das? H
ST. T H E O D U L P H

A Ti, que P or T u M u e r t e C N , CC
El Mundo E n t e r o es P a t r i a CC
Espíritu Divino Fiel Santificador CC
H o n o r , Loor y Gloria HM, HE, Ii
ST. THOMAS (W E B B E )

De mi vida Tú Oh Cristo CN
Voz del Cielo Descendiendo HE
Y o Te A d oro J e s u c r i s t o HE
ST* PETER
C u a n D u l c e es el N o m b r e de J e s ú s H E , I-I, CC
E s c u c h a , Oh D i o s , N u e s t r a O r a c i ó n CC
O r i e n t e ni O c c i d e n t e CN

TOURS

A Ti H o n o r y G l o r i a CN, HM
La Salvación Llevando H
Levántate Cristiano H
TRURO
Acepta Buen Pastor y Rey II
S e ñ o r Jesús E t e r n o R e y H , C N , C C , HM
Vuestras Cabezas Hoy Alzad H

UNSER HERRSCHER (NEANDER)

De M i l Arpas y Mi l Voces H M , CC
Vedle Ya Resucitado HE
Voz del C i elo D e s c e n d i e n d o CN

YILGAD (LEOKI)

Al Dios de Abraham Loor CN, HVC

Al Verdadero Dios HE
Resucitó Jesús HFA
 215

APPENDXX VII

LIST OF HYMNALS WHICH HAVE BEEN KNOWN IN THE PUERTO RICAN CHURCHES

ARPA Y VOZ DE SALMODIA, H. C. Ball, editor

Springfield, Mo,s Editorial Vida, 1939
CANTICO NUEVO
Buenos Aires, Argentinas Methopress, 1962
CANTOS DE ALABANZA, PUREZA Y PODER, S. D. Athans, editor
Los Angeles; Free Tract Society; 1 9 3 0 (3 r edition);
1 9 2 2 , Is edition)
CANTOS DE TRIUNFO, H. C. Ball, editor
Springfield, Mo*; Editorial Vida, 1927
^CANTOS SAGRADOS
Episcopal Church, San Juan, Puerto Rico 1924
CULTO CRISTIANO
New York; Publicaciones El Escudo, 1964
*ECOS DE VIDA, Juan Concepción, editor
New York; Editorial Ebenezer, n, d ,
GRACIA Y DEVOCION
Kansas City, Mo •1 Lilianas Publishing, 1962
EL HIMNARIO PARA EL USO DE LAS IGLESIAS EVANGELICAS
DE HABLA ESPAÑOLA EN TODO EL MUNDO
New York, New York; American Tract Society, 1931
EL HIMNARIO
Winona Lake, Indiana: The Rodeheaver Co,, 1964
(Sponsored by the Council on Spanish American Work, New Mexico)
EL HIMNARIO DE LA IGLESIA EPISCOPAL
Iglesia Episcopal* Greenwich, Conn,; Seabury Press, 1961
HIMNARIO ADVENTISTA
Mountain View, California; Publicaciones Interamericanas,
Pacific Press Publishing Association, 1962
HIMNARIO CRISTIANO
Iglesia Metodista Episcopal del Sur
Nashville, Tenn,; Smith y Lamar, I9 O9
HIMNARIO CRISTIANO
Iglesia Menonita, Moundridge, Kansas:
Gospel Publishers, 197^
 2X6

HIMNARIO DE LA ESCUELA DOMINICAL

Buenos Aires , Argentina; Imprenta Metodista, 1926
HIMNARIO EVANGELICO
Buenos Aires, Argentina; Imprenta Metodista, 1943
(Revisado en 1962 como Cántico Nuevo)
HIMNARIO EVANGELICO, EL
New York, New York; American Tract Society, 1893 and I895
HIMNARIO EVANGELICO PRESBITERIANO
Asamblea General de la Iglesia Nacional Presbiteriana
de Mexico? Mexico, D. F . , Publicaciones El Faro, S . A.;
2 ed., 1 9 6 8 ; Ist ed,, I961
HIMNARIO M E T O D I S T A
Iglesia Metodista. San Antonio, Texas;
Method 1st Publishing House, 1955
HIMNARIO METODISTA
Iglesia Metodista Unida• Nashville, Tenn,;
Casa de Publicaciones de la Iglesia Metodista Unida, 1973
HIMNARIO POPULAR
Convención Nacional Bautista de Mexico, Monterrey,
N. D., 1924, 1926, 1932
♦HIMNARIO VOZ DE JUBILO Y SALVACION
Manatí, Puerto Rico; Editorial Ecos del Distrito,
1964 (4th edition)
HIMNOS DE ASPIRACION, George P• Simmonds, editor
Albuquerque, N , M.: Concilio Internacional para la
Obra Hispana, 1950
HIMNOS DE FE Y ALABANZA, Robert C. Savage, editor
Grand Rapids, Michigan; Singspiration, Inc., 1966
HIMNOS DE GLORIA, H. C* Ball, editor
Springfield, M o *; Editorial Vida, 1921
HIMNOS DE LA VIDA CRISTIANA
Alianza Cristlana y Misionera, New York
1 9 3 9 ? Is edition; 1 9 6 7 ? 2 nd edition-revised
HIMNOS Y CANTICOS DEL EVANGELIO
Argentina: Talleres Gráficos de LEC; 1964, 5 ^ edition
HIMNOS Y CANTOS PARA LOS NINOS, Gonzalo Báez-Camargo, editor
Mexico; Casa Unida de Publicaciones; 1950 and 1963
HIMNOS FAVORITOS
Casa Bautista de Publicaciones, El Paso, Texas, 1953.
HIMNOS INSPIRADOS Y SELECTOS
Springfield, Mo*: Editorial Vida, 1965
 217

HIMNOS SELECTOS, Vicente Mendoza, editor, Mexico, D. F.s

Casa Unida de Publicaciones, primera ed*, 190^;
última ed., 1952
♦LIRA MISIONERA
Iglesia de Cristo Misionera; Santurce, Puerto Rico
LLUVIAS BENDICION, Haldor Lillenas, editor
Kansas City, Mo.: Nazarena X’ublishing House , 19^7
MELODIAS EVANGELICAS, S . D. Athans, editor
El Paso, Texas: CasaBautista de Publicaciones, 1936
♦MISIONERA CANTOR, EL. Juan Ortiz León, editor
Barceloneta, Puerto Rico; 1931® 3ra edición
♦NUEVA SALMODIA EVANGELICA, Virgilio I. González
Corozal, Puerto Rico, 1938
NUEVO HIMNARIO EVANGELICO, New York: American Tract
Society, 1953
NUEVO HIMNARIO POPULAR, EL
El Paso, Texas: Casa Bautista de Publicaciones, 1955
RAYOS DE ESPERANZA, Vessie D. Hargrave, editor
San Antonio, Texas: Editorial Evangélica, 1952;
edición aumentada; editor, Héctor Camacho, 1973
♦SALMODIA EVANGELICA, V. I. González, editor, 19 3^

LIST OF OTHER HYMNALS AND SMALL COLLECTIONS OF HYMNS

ADELANTE JUVENTUD I and II

Robert 0. Savage, editor. Grand Rapids: Zondervan, 19^7
ADELANTE JUVENTUD III and IV
R o b e r t C . S a v a g e , editor. G r and R a p i d s : Singspiration, 1953
A JEHOVA
A L A B A A L M A MIA
Bernardo Castex; Mianii, Florida; Ed. Selecciones Religiosas
ALABANZA CRISTIANA
Comunidad Internacional de Estudiantes, Buenos A i r e s ,
Argentina: Ediciones Certeza, 19^9
♦ALABANZAS A DIOS, Juan Pacheco, editor
Manatí, Puerto Rico. William Armáis
CANCIONERO ABIERTO Vol. I, Vol. II
Pablo Sosa, editor. Buenos Aires, Argentina;
Escuela de Música ISEDET, 197^, 1975
 218

CANCIONES DE LA IGLESIA JOVEN

Quito, Ecuador! Editorial Camino, n* d.
CANTATE DOMINO
World 1s Student Christian Federation Hymnal
Geneva, 1951. Kassels Barenreiter, 197^
CANTE CONMIGO
Brus del Monte, editor, Maracaibo, Venezuela:
Editorial Libertador, 1971
CANTEMOS: LOS HIMNOS DE JOHN PETERSON
Miami, Florida! Publicaciones Juventud, 1966
CANTEMOS: HIMNOS DE MAYORDOMIA
Iglesia Presbiteriana, Mexicos Iglesia Presbiteriana Nacional
CANTICOS DE GOZO E INSPIRACION (Adelante Juventud series)
Roberto C . Savage, editor; Zondervan, 1953
CANTICOS DE ESPERANZA
Winona Lake, Indiana: Rodeheaver, Hall-Mack Company, 19^8
CANTOS BIBLICOS, William C. Halliday, editor
Iglesia Presbiteriana Asociada Reformada
Río Verde, S , L. P, Mexico: BethanyPress, 1965
«CANTOS DE CAMPAÑA
San José, Costa Ricas Ed. Caribe,
Misión Latinoamericana, Inc,, n, d .
CANTOS DE EVANGELISMO (Adelante Juventud series)
Grand Rapids, Michigan: Singspiration
CANTOS PRECIOSOS
Honorato Reza y Floyd W, Hawkins, editors
Kansas: Lillenas Publishing Co *
COFRE DE CANTICOS (Adelante Juventud series)
Roberto C . Savage, edit or
Zondervan-BeIsin, 1968
COLECCION ESPECIAL DE HIMNOS PARA EL DIA DE LA BIBLIA
H, T, Marroquín, Mexico: AgenciaBíblica, 1936, 19^2, 1953
CORAZON Y VOZ, Kent W, Balyeat, editor
Buenos Aires: Junta Bautista de Publicaciones; 5 volumes
CUADERNO DE MELODIAS RELIGIOSAS
Antonio Rivera Martínez; Santurce, Puerto Rico, 1973
CUNA DE FLORES, Rafael Cuna, editor
San Juan, Puerto Rico, n, d.
DUOS, TRIOS Y CUARTETOS (Adelante Juventud series)
Grand Rapids, Michigan: Singspirati on
 2X9

EL SEÑOR ES MX FUERZA, Juan Antonio Espinosa, editor

Lima, Madrid; Ed. Apostolado de la Prensa, 1971
FAVORITOS JUVENILES
Roberto Savage, editor
Grand Rapids, Michigan! Singspiration, 1973
♦HIMNARIO DE CANTICOS ESPECIALES
(Nueva Vida Hallé en Cristo)
Manatí, Puerto Rico; Romualdo Real, San Juan, P. R., n* d.
HIMNARIO DE LA IGLESIA METODISTA EPISCOPAL
Mexico, D, F.s Imprenta de la Iglesia Met. Episcopal, 1881
♦HIMNOS DE CARLOS WESLEY
Iglesia Metodista de Puerto Rico, Conferencia Anual
Provisional, Quincuagésima Séptima Sesión
San Juan, Puerto Rico! Imprenta Rico, n. d.
HIMNOS DE EL AVIVAMIENTO
Luis Francisco del Pilar-Piñeiro, editor
Bayamón, Puerto Rico, 1973
HIMNOS EVANGELISTICOS
Campaña de Billy Graham en Puerto Rico
Singspiration, 19&7
♦HIMNOS Y COROS
Para Uso de la Iglesia Metodista de Puerto Rico,
Cruzada por Cristo, 1948-49•
HIMNOS SELECTOS, Vicente Mendoza, editor
Mexico, D. F . ; Casa Unida de Publicaciones, 1904, 1952
♦HIMNOS SELECTOS
Arreglados por T o m á s M. Westrup
Filadelflia, U.S.A.:
Sociedad Bíblica y de Publicaciones, n. d * (1875 ?)
♦HIMNOS EVANGELICOS
Puerto Rico para Cristo Campaign, Puerto Rico Evangélico, 1922
Segunda edición para la Cruzada de la Fe Evangélica« 1934
Cuarta edición para la Cruzada de la Fe Evangélica
Publicado por la Asociación de Iglesias Evangélicas de P. R.
para la Cruzada de la Fe Evangélica, 1950
♦HIMNARIO DE LA JUVENTUD, J. L. Santiago y Luis Angel Toro,
editores. San Juan, Puerto Ricos Imprenta Venezuela, n, d.
HORA NUEVA, Roger Oviatt, editor
Iglesias Metodistas de Costa Rica y Panamá
Librería Alajuela, Costa Rica.
 220

JOYAS FAVORITAS
Kansas City, Missouri¡ Lillenas Publishing Company
VOLS. I 19^9
II 1955
III 1958
iv 1962
v 1969

l ib r o de alabanzas
Fundación Editorial de Literatura Reformada, 1967
MELODIAS DE BENDICION (Adelante Juventud series)
Robert C * Savage, editor; Zondervan, 1950
MELODIAS DE VICTORIA
Mountain View: California: Publicaciones
Interamericanas, 1953
MISA Y JUVENTUD, Joaquín Sánchez, editor
Bogotá, Colombia: Editorial Fax, 1970
PRELUDIOS CELESTIALES (Adelante Juventud series)
Roberto C . Savage, edit or; Zondervan, 1951
SENDAS DE EVANGELISMO
Kansas, Mo,: Lillenas Publishing Co,, 1973
*TESOROS DE COROS EVANGELICOS, Ephraim Rivera, editor
San Juan, Puerto Rico, 1971
VENITE EXULTEMOS
Federación Mundial Cristiana de Estudiantes, Ginebra; 1964
VIDA NUEVA
Iglesia Metodista, Costa Rica
Programa de Mdsica por Extensión, 1973
VIDA Y SOLAZ
Himnos y Cantos de Juventud y Evangelismo
Honorato Reza y Floyd W, Hawkins
Lillenas Publishing Co *, 1958
VOCES DE JUBILO (Adelante Juventud series)
Grand Rapids, Michigan: Singspiration, 1954

APPENDIX VIII
LIST OF HYMNALS AND COLLECTIONS WITH CHORUSES (CORITOS)
Adelante Juventud I , II
Adelante Juventud III * IV
Alaba Alma Mía a Jehová
Cánt icos de Goao e Inspiración
Cofre de Cánt icos
Colección de Coritos^
Favoritos Juveniles
Himnario de Cánticos
Especiales 1
Himnario Evangélico
Presbiteriano, 1 9 6 1
Himnos de Fe y Alabanza
Himnos de la Vida Cristiana,
1939
Himnos Evangelisticos
Himnos Inspirados y
Selectos
Lira Misionera^
Melodías de Bendición
221
12 , 15 , 16-44, 46- 50, 34-60
1- 2 , 6~ 10, 16- 20, 22 , 24-34,
38-39* 43* 46*»52, 56* 60, 63*
66 , 72 , 76 * 77 ”79 * 86
2-3* 5«9* 12-14, 16-17 , 18-19
22 , 25
3* 3 , 10, 12-14, 20-21 * 50-51
53-56
4 - 8 , 10 -27 , 30 ”35 * 38- 39* 42,
4 4 — 4 5 t 51* 53* 55* 57* 59
12 , 14, 16 «23* 27* 30-31, 33,
38-39, 4i, 47* 51* 63, 65* 73
75 , 81 , 105
(2nd part), No s * 1 -32
474-492
90-91* 118 , 153* 190, 1 9 8 ,
204, 207, 226 , 267 , 325-326
301-306
53-62
65- 127 * 133* 175* 183
(2nd pa r t ) , No s * 1-52
3* 11* 18- 19* 28-29, 33-36,
39* 4l- 47* 50
 222

Nuevo Himnario Popular, 1955 175* 178» 185* 203* 365

Preludios Celestiales 11-1 2 , 14 “17 9 20-23, 2 5 -2 6 ,

2 8 , 3 6 -3 8 , 44- 45, 48 -51,
54-59 * 63 —64

Rayos de Esperanza 2 1 , 3 0 , 3 8 , 94 , 103» 109,

1 1 8 » 128» 153* 155* 175,
177* 1 7 8 » 1 8 2 » 183? 187 #
2 1 1 » 213» 21 j $ 0 5^ 225,
22?» 229» 231

Salmodia Evangélica! includes 20 ch o r u s e s

Voz de Júbilo y Salvación' pages 32 * 53, 84» 93 , 103,

1 3 2 » 1 5 8 » 1 7 6 » 186* 194, 248
2 6 2 » (36 in to tal)

Tesoros de Coros 123 choru ses (words only)

Evangé1ic osl

Toda la Gloria a Jesús JO chorus es

'words only
Colección de Coritos * compiled by Tamil Correa Negrón
and Samuel Ruiz Arana» is the largest
collection of choruses with 423*
 APPENDIX IX

HYMNS OF LATIN AMERICAN ORIGIN IN

Himnos de Fe y Alabanza

Hymns by Alfredo Colom M «*

From Guatemala
HFA
A la Victoria Jesús nos llama 16
Ahora que soy niño 354
América será para Cristo 36B
Canten con alegría 166
Cristo me redimió 192
Cuidemos nuestra vida 278
De tu cántaro dame 84
Entonemos un canto de alabanza 22
Embajadores de Jesucristo 258
Espíritu de vida, ven 206
Estando Jesús en Betania 85
En la hora postrera 127
Hay un canto que vibra 82
¿Has oído Señor mis oraciones? 202
Jesús es la Roca 16
Jesús me libertó I56
Le canto a mi Señor 175
Los que con lágrimas sembraron 3^3
Los que esperan en Jehová 225
Los redimidos por la sangre 169
Manos cariñosas 114
Para qué pecar 257
Por la mañana yo dirijo mi alabanza 26
Proclamad juventud redimida 321
Pies divinos 115
Purifica el templo 28
Quiero yo seguir fiel 298
Yo sé que Cristo salvó mi alma 194
Yo no quiero pecar 296
Ven a los pies de Jesús 339
Mi pequeño corazón 355
w
■ 22k

Hymns by Juan Xsáia.

from Mexico

Nuestra Patria 370

Recíbeme cual soy 218
Te seguiré Maestro 297
Yen amigo a Jesús 333

Hymns by the Orbe Family

Del culto el tiempo llega 21
Escucha pobre pecador 337
Nunca Dios mío 29
Meditad en que hay un hogar 317
Tesoro incomparable 14

TRADITIONAL OR FOLKLORIC f AND ANONYMOUS MELODIES IN UFA

Cristo es la peña Puerto Rico 101

Cristo guarda siempre Anon. 230
Desde el oriente azul Ecuador 77
(Segundo Eran ja Almeida)
Después de la tormenta Puerto Rico 244
El puede Anón. 93
En la noche los pastores Anón. 73
Hay un lirio que habita Anón. 103
Jesús el buen Pastor Brasil 100
Jesús de Dios enviado
(Dale tu corazón) Venezuela 340
Jesús oye mi oración A nón. 198
La venida de Cristo Chile 148
Mi Pastor es Jesús An on. 9
Nuevas alegres Anon. 187
Grand o Puerto Rico 207
Ora a Tu Dios Anon,
Orando sin cesar Anon,
Oh Santo Espíritu Consolador • Anon, 265
Si fui motivo de dolor Cuba 303
Solamente en Cristo Anon, 159
Venid a Mi Venezuela 343
Venid, pastores, venid Puerto Rico
(villancico) 62
Venid pastorcillos Ecuador 72
(villancico)
Ya vislumbro los albores Anon, 2.4,5
I
 225
Other Latin American Authors

A Jesds crucificado Jaime Redin 135

Aleluya, me purifica Guillermo Guillam 26l
Á Ti mi Señor Luis Silva 153
Cuando el ciego escuchó Israel Aguilera 39
Cuando haya tristeza I# Granados 233
Cuand o allá se pase lista Cristóbal Hidalgo 311
En el valle florece la rosa Manuel de la Cruz 104
El que habita (Puerto Rico) Rafael Cuna 234
En las horas amargas Ricardo Guerrero 235
Escogido fui de mi Dios Víctor Garrido 242
Esta es la Escuela Dominical Jaime Redin 362
Espinas de mi Cristo Rafael Moreno Guillen 125
Hay una senda Tomás Estrada 172
Iba por los caminos Leopoldo Colom 30
Jesds es mi Rey Soberano Vicente Mendosa 5
(Mexico)
Jerusalem la hermosa Carlos López 88
La América será para Cristo J„ Arturo Savage 367
La vid y los pámpanos Víctor Garrido 227
La mañana gloriosa Felicia y Mariano
Beltrán 312
Mas allá del sol Emiliano Ponce 31*1
Oh qué inmenso amor Redin 118
Oh Cristo mío Guillermo Guillam 282
Yo quiero vencer J * A . Savage 288
¿Rumbo a dánde ? Guillermo Guillam 332
Soy la triste oveja Juan Ramón 217
Si sientes compásión Antonio Morales
(Bolivia) 326
Tierra de Palestina Alejandro Tabales 8?
Vacaba por el mundo Ramona Alamo
(Soy feliz) (Puerto Rico) 163
Vida nueva encontró Adán Calderón 185
Yo sólo espero ese día Juan J* Morán 144
Yo vis o Señor, porque Td vives A , Calderón 190
Yo quiero vencer J * Arturo Savage 288
 226

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Castro Rodriguez, Félix* "Alfredo Colom Maldonado"f

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3

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Himnario Evangélico” , Puerto Rico Evangélico#
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________ « "¿Qué cantaremos esta Navidad?” ,

El Nuevo Evangelista (Año 5* d i e , 197^0? p# 18#

_______ # ”¿Qué es lo nuevo en la música de

la Iglesia?” , El Nuevo Evangelista. Año 6 , No, 12,
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_____________________ # "Un nuevo himnario para la

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. "El empleo de coritos" (una encuesta)

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_______________ . "Hacia una Limnología contemporánea",

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. "Himnología protestante y emergencia

latinoamericana", Encuentro N o . 7 (oct, 1973),
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# "Música religiosa; Lacia nuevos

Horizontes", Encuentro No# 2 (julio 1972 )t pp. 2 3 - 2 5 .

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R i c o " , Puerto Rico Evangélico, Val# X V I , No# 48
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 t

RECORDS OF FQLKLORIC MUSIC AND HISPANIC HYMNODY

Canta con Nosotros» Grupo Musical Discípulos de

Villa Palmeras, Santurce , Puerto R i c o , Carlos V i a n a ,
Bayamón, Puerto Rico.
Ecos del Cielo* Galo Viteri* Iglesia Bautista, Milwaukee,
Wisconsin*

E'scabi, Pedro* Misa en la menor* Hermanas del Instituto

Religioso de Jesds Mediador*
Espinosa, Josá A. El Señor es mi Fue r z a .
Pax L 385M and Y-702 - S * (Psalms by Espin o s a ).

Folklore de Puerto Rico* Borinquen, DG 1001•

Madrigal, Delfino y Cardona, Sergio. Misa Mexicana*

Musart 1052•

Melodías Navideñas * Heraldos Melódicos «

Emmanuel BH 3 LP* (Christmas Music of Noel
Estrada and Rafael Hernández *

léquitQ López Cruz y su Conjunto Típico * Adrián

Associates, PEC , EF-901.

Semana Santa en Comería, 19&9* Padres Dominicos,

LOP~ NoT 2 (Popular rhythms for the liturgical
music).
Valses Criollos * Modesto Rosario, Guarany, GLP 204*
 UNPUBLISHED MATERIALS

Ball, H. C • "Autobiographical notes". Letter upon

personal request * December 28, 1961.

Bromson, Hazel Buton. "Historical and Biographical

Backgrounds oí* Nineteenth Century Hymns and Hymn
Tunes". Unpublished A. M. dissertation, Boston
% University Graduate School, 1929*

Donalds on, W, L. (Mrs *) "Notas biográficas sobre el

Rdo. George P. Simmonds". Upon personal request.
Alburquerque, New Mexico, 1961.

Franke, Florence Alma* "The Evolution of Hymn-Tunes

from Sacred and Secular Sources and their Worship
Values". Unpublished M. A. dissertation, Boston
University Graduate School, 1933•

Personal letter from Melvin L, Hodges, Assemblies

of God Graduate School, Springfield, Missouri.
August l6, 1976.
Olivieri, Luis A. "Crítica a la Himnodia Popular de las
Iglesias Bautistas de Puerto Rico"• B, D.
dissertation, Evangelical Seminary of Puerto
Ric 0 , 1962.
Personal letter from Sylvia A . Valdez, Editorial
Evangélica, San Antonio, Texas.
August 27, 1976•
Vélez, Samuel J • "Normas para un Himnario de la Juventud"
Unpublished B, D . dissertation, Evangelical
Seminary of Puerto Rico, n, d .

MICROFILMS

Nelson, E d w a r d Warren. Problems of C o m p i l i n g a H y m n a l

for Spanish-Speaking Evangelical C h u r c h e s .
Ed. D . Thesis. New Orleans Baptist Theological
Seminary, Ann Arbor, Michigan. University
Microfilm, 1972.