“In
Genung’s Guidebook to Biblical Literature (p.445), the reference “to the chief
Musician” is explained, with the Hebrew words that accompany it. “To the
chief Musician on Neginoth upon Sheminith” (Psalm 6) means “on stringed
instruments, on the octave, that is, with men’s voices. To continue, “A
song upon Alamoth” (Psalm 46) means “set to women’s voices.” “Upon
Nehiloth” (Psalm 5) probably means “with wind instruments.” Such phrases
as “Aijeleth Shahar” (Psalm 22) or “Jonathelem-recholim” (Psalm 56) are names
of the familiar folk songs to which these Psalms were set, showing that, like
many Christian hymn tunes, ...the earlier religious melody of Israel had a
popular origin.”
The compilers of the Hymnal Notes were good detectives. The hymn We thank Thee,
Heavenly Father (376) was originally marked anonymous, but “careful
search discovered them in The Christian Science Journal, July, 1894,
placed at the end of a prose article.” M. Fannie Whitney, the writer of
the article admitted they were her words. She had been “content in
knowing they were useful.”
An article by Fannie echoes “the correcting rod” theme
of the hymn. See “Lessons from a homely experience” Christian
Science Sentinel March 25, 1905 http://sentinel.christianscience.com/issues/1905/3/7-30/lessons-from-a-homely-experience).
Interestingly, I found an article by Fannie in the July 1, 1894 Journal, but
could find no poem at the end of it.* What an exciting thing it is to be a
periodicals detective these days with the help of JSH On-line.
Joyce Voysey
*Ed. I have
just found the poem “We Thank Thee Heavenly Father” here http://journal.christianscience.com/issues/1894/7/12-4/we-thank-thee-heavenly-father
It follows the article mentioned above, “The Father’s
Care” by the same author. http://journal.christianscience.com/issues/1894/7/12-4/the-father-s-care
1 comment:
Thank you for that, Detective Inspector.
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