Throughout the history of the Church, Christians have expressed their faith in word and song. Among the ways they confessed what they believed was through creeds. The term"creed," which comes from the Latin credo ("I believe"), has played a central role in the identity of the Church and expressing her core beliefs. Some of the more famous creeds are the Apostles' Creed and Nicene Creed. While these creeds developed in the first few centuries of the Church, the earliest creeds are embedded within the New Testament text itself. The singing of hymns, which are closely associated with creeds, has also been part of the Church's ancient heritage. These credal hymns were adopted from the synagogues and have continued to be an integral expression of worship today. The New Testament contains many of the hymns that the early Christians sang. Since these hymns are confessional in nature, we can state that hymns were creed-like, confessing in song what the earliest Christians believed. This book examines the ancient creeds and hymns found in the New Testament, shedding light on what the earliest Christians held to be central, definitional, and foundational to their faith.

Enchantment and Creed in the Hymns of Ambrose of Milan offers the first critical overview of the hymns of Ambrose of Milan in the context of fourth-century doctrinal song and Ambrose's own catechetical preaching. Brian P. Dunkle, SJ, argues that these settings inform the interpretation of Ambrose's hymnodic project. The hymns employ sophisticated poetic techniques to foster a pro-Nicene sensitivity in the bishop's embattled congregation. After a summary presentation of early Christian hymnody, with special attention to Ambrose's Latin predecessors, Dunkle describes the mystagogical function of fourth-century songs. He examines Ambrose's sermons, especially his catechetical and mystagogical works, for preached parallels to this hymnodic effort. Close reading of Ambrose's hymnodic corpus constitutes the bulk of the study. Dunkle corroborates his findings through a treatment of early Ambrosian imitations, especially the poetry of Prudentius. These early readers amplify the hymnodic features that Dunkle identifies as "enchanting," that is, enlightening the "eyes of faith."

"From the first days of the church, Christians confessed their faith in Jesus Christ in both theological discussion and in popular hymns of devotion. After the major church councils from Nicaea to Chalcedon brought clarification and definition to Christological doctrines, the hymns began to express clearly this belief in Jesus as truly God and truly human." "Father Liderbach shows that pre-Nicaean hymns inductively held in tension both the full humanity of Jesus and his more-than-human status. Then during the councils from Nicaea to Chalcedon, deductive doctrine held sway in the new hymn compositions. But the final definition by Chalcedon encouraged new hymns in which humanity and divinity are once again held in experiential tension according to the "rule of faith" of the earliest period."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved

Enchantment and Creed in the Hymns of Ambrose of Milan offers the first critical overview of the hymns of Ambrose of Milan in the context of fourth-century doctrinal song and Ambrose's own catechetical preaching. Brian P. Dunkle, SJ, argues that these settings inform the interpretation of Ambrose's hymnodic project. The hymns employ sophisticated poetic techniques to foster a pro-Nicene sensitivity in the bishop's embattled congregation. After a summary presentation of early Christian hymnody, with special attention to Ambrose's Latin predecessors, Dunkle describes the mystagogical function of fourth-century songs. He examines Ambrose's sermons, especially his catechetical and mystagogical works, for preached parallels to this hymnodic effort. Close reading of Ambrose's hymnodic corpus constitutes the bulk of the study. Dunkle corroborates his findings through a treatment of early Ambrosian imitations, especially the poetry of Prudentius. These early readers amplify the hymnodic features that Dunkle identifies as "enchanting," that is, enlightening the "eyes of faith."

In "Christian Hymns of the First Three Centuries" by Ruth Ellis Messenger, readers are presented with a comprehensive collection of early Christian hymns dating back to the first three centuries of Christianity. Messenger meticulously examines the lyrical content and musical structure of these hymns, shedding light on the rich literary tradition of early Christian worship. This book provides a valuable resource for scholars and enthusiasts of early Christian literature, offering a unique insight into the religious fervor and spiritual expression of the early church. Messenger's scholarly approach delves into the historical and cultural context of each hymn, providing a deeper understanding of the theological themes and poetic devices employed by the earliest Christian poets. Her meticulous research and thorough analysis make this book an essential addition to any library of early Christian texts. Ruth Ellis Messenger, with her background in ancient languages and religious studies, brings a wealth of expertise to this study of early Christian hymnody. Her passion for the subject is evident in the thoroughness of her research and the clarity of her analysis. Readers who are interested in the origins of Christian liturgy and the development of Christian worship practices will find "Christian Hymns of the First Three Centuries" to be a valuable and enlightening read.

This indispensable collection of hymns is organized according to the articles of the Christian creed, making it an ideal resource for planning and leading worship. Featuring beloved classics alongside lesser-known gems, this volume is a must-have for anyone involved in church music. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This book offers the first English translation of the earliest Christian hymnal, a little-known and overlooked text that preserves the sacred songs of Jerusalem’s Christian communities during the late fourth or early fifth century. This hymnal, known as the Jerusalem Georgian Chantbook, preserves the hymnography of the Jerusalem churches from a crucial moment in early Christian history, when Christianity was transitioning from a small minority faith into the faith of an empire. This book presents the hymns that were used for regular Sunday worship. These hymns not only are the oldest part of the collection, but they also would have had the most influence in forming the faith of Jerusalem’s congregations.

An encyclopedic guide to the interpretation and understanding of biblical literature. Though written by members of the National Association of Baptist Professors of Religion, the 1,450 original entries by some 225 contributors are diverse in viewpoint and devoid of theological prescription. They're

Hymns from the Greek Office Books: Together with Centos and Suggestions by John Brownlie is a selection of Greek hymns with the marvelous influence of sweet musicality. Excerpt: "O destitute of all defense, We bow before Thee now; In mercy let Thy mercy come, For merciful art Thou. II Our trusting souls in quiet repose Would rest Thy love within;— O be not angry with us, Lord, Nor think upon our sin."