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FOUR-FOLD ANALYSIS OF “ALL HAIL THE POWER OF JESUS’ NAME”

A PROJECT SUBMITTED TO

JOHN TYLER

IN PARTIAL FULFILLMENT OF

TE REQUIREMENTS FOR THE COURSE

MU 403

HYMNOLOGY

BY

GROUP 2
BOX 672

LANCASTER, CALIFORNIA

OCTOBER 29, 2015

All Hail the Power Researched Information
IMPORTANT:
Project Due: Thursday, October 29th, 2015
Email: john.tyler@wcbc.edu Subject Line in Email: “Hymnology Assignment 2”
Save Document Name: mu403_assignment-group2.doc

Assigned Roles:

Hannah Bee:
Primary Role: Typist (Outline the paper, Collect ALL relevant information, Type final paper)
Secondary Role: Researcher (Collect relevant data, Cite source with Turabian format)

Hannah Fieseler:
Primary Role: Typist (Outline the paper, Collect ALL relevant information, Type final paper)
Secondary Role: Researcher (Collect relevant data, Cite source with Turabian format)

Jesse Medrano:
Primary Role: Researcher (Collect relevant data, Cite source with Turabian format)
Secondary Role: Proofreader (Review the Typist before submitting to Brother Tyler)

Jacob Heneise:
Primary Role: Coordinator (Coordinate and organize group meetings and discussions)
Secondary Role: Proofreader (Review the Typist prior submitting to Brother Tyler)

Title: All Hail the Power of Jesus’ Name

Purpose: “The purpose of this study is to bring better understanding to the text and music for the benefit of the congregation.”
Theme: “The central theme of this hymn is a direct declaration which exalts Christ and celebrates His exaltation.”
Ten-word-summary: Every created being has a call to crown Jesus King.
Content, form, structure, expression:
Content meets the requirements of simplicity by Milton in the fact that… 1. Simplicity- This hymn is simple in its music. The timing is not difficult in that it mainly uses quarter notes and eighth notes, keeping a very consistent march like feel to the entire song. The language is on somewhat of a higher level, but from the context of the song, the message of majesty and royalty is conveyed. The rhyme is contrite and simple. The rhyme scheme is a simple ABAB pattern, which makes it instantly visible to the corresponding word. 2. Sensuous- “All Hail the Power of Jesus Name” follows the senses using descriptive words to create strong pictures throughout the lyrics. The lyrics begin with heavenly angels, bringing the royal apparel for King Jesus, and hailing his name. The next verse continues with the same idea of crowning Jesus, but focusing in on the Jewish people. The following verse goes on to all those “on this terrestrial ball,” describing the earth and its inhabitants. These strong lyrics paint a picture of majesty and a king supreme over all the earth. This may not have appealed so much to the common man at the time, but these words were penned closely after the American colonies won their independence from England. Even though they were no longer under a monarchy, these words would still have been relevant and familiar due to the monarchy in England which they had just been released. 3. Feeling- The strong march like feel of this song communicates a large and powerful air. The majesty of the message and the music brings a feeling of pride and glory to be crowning the King, Jesus.
Lyricist: Edward Perronet
Edward Perronet was a theologian who was very close to Charles Wesley. However it has been said that in his dealings with other people, he was very harsh and abrasive, almost mean and sharp to those around him. The lyrics most common today are not the only stanzas that Perronet wrote. The full hymn was published in a magazine a year after the first publishing of the first verse in 1779( http://www.hymnary.org/text/all_hail_the_power_of_jesus_name_let ).
The original lyrics are still slightly altered even today in some of the order of the words, and the spelling of some words. In these additional lyrics, Perronet still uses the theme of angels in heaven, the Jewish people, and those who have gone on to heaven.

Composer: Oliver Holden
Oliver Holden was an American citizen, which is interesting because of the strong English royal feel in the music. Again, the Americans were still being strongly influenced by the English monarchy when this hymn was written. Although the tune was not written until 1808, the culture was still very English because that is all that the people had known until this time. The tune of “coronation” is one of the earliest American tunes that is still in continual use today. Even though he was a carpenter,

Edward Perronet's testimony is almost a jarring contrast with Oliver Holden's in both quantity and quality. Edward Perronet has a lot written about him, but it's mostly of how much he angered those he served under and how unkind of a person he was. Oliver Holden doesn't have a lot said about him outside of his published work, but it seems to work to his benefit. In fact, there are arguments that this hymn has survived so long because of Oliver's memorable arrangement among a few other versions of the song

Tune Title: Coronation

Published: 1779

Scripture Reference:

Philippians 2:9-11—“Therefore God exalted him to the highest place and gave him the name that is above every name, that at the name of Jesus every knee should bow, in heaven and on earth and under the earth, and every tongue acknowledge that Jesus Christ is Lord, to the glory of God the Father.”

Isaiah 45:23—“I have sworn by myself, the word is gone out of my mouth in righteousness, and shall not return, That unto me every knee shall bow, every tongue shall swear.”

Copy right:

Key: G

Meter: 8.6.8.6 (Common Meter)

Metrical Patterns: Iambic Meter

Rhyme Scheme: (Cross Rhyme?) ABAB

Literary Devices: Litany - each stanza is completed by the same short phrase or refrain in each stanza….. “And crown Him Lord of all”

Poetic Devices: This song appears to be a form of call and response. The lyrics plead and immediately follow with a response to with the reaction to hail Jesus name.

Tessitura: d- e (octave +1)

Rhythm and Meter: The rhyme scheme found throughout the entire hymn is ABAB. The first and third phrases rhyme, as does the second and fourth phrases.

Texture: Homophonic

Form:

IMPORTANT
Five References (Possible Reference Topics):

Text:
1. All hail the pow’r of Jesus’ Name!
Let angels prostrate fall;
Bring forth the royal diadem,
And crown Him Lord of all!

2. Ye chosen seed of Israel’s race,
Ye ransomed from the fall,
Hail Him Who saves you by His grace,
And crown Him Lord of all!

3. Let every kindred, every tribe,
On this terrestrial ball,
To Him all majesty ascribe,
And crown Him Lord of all!

4. Oh, that with yonder sacred throng
We at His feet may fall!
We’ll join the everlasting song,
And crown Him Lord of all! The meter of this hymn is 8.6.8.6. or common meter. Common meter has the poetic foot of the iambic tetrameter, which gives the rhyme scheme of ABAB. The ending of the first phrase will always rhyme with the ending of the third phrase, and the second phrase rhyming with the fourth phrase. This pattern can also be referred to as iambic tetrameter. “All hail the power of Jesus name (A) Let angels prostrate fall (B) Bring forth the royal diadem (A) And crown him Lord of all” (B)

The devices used in the poetry of the song are few, but powerful in their simplicity. Litany is used as a main portion of the song itself. The phrase “And crown Him Lord of all” is used as the main form of litany throughout the entire song. Another device is not so direct in its appearance, but more obscure. The poetic device used could be viewed as a call and response. The hymn itself is the call to worship, adoration, and praise. However, the response is not expressed, but is expected from the congregation who is engaging the song.

Harmony:

G G D7 G D7 G D7 e G/D D7 G
All Hail the power of Je- sus name let an-gels pro- strate fall

D G D G/D D G D/F# e D7 D
Bring forth the royal diadem, and crown Him Lord of all!

G D7 e G/B C G D7 G
Bring forth the royal diadem, and crown Him Lord of all!

The harmonies are primarily diatonic, including two secondary dominants. One of these occurs in the second system, and the other occurs in the third system. The tessitura is the most typical kind, being an octave + 1 (and octave and a whole step). This makes the song simple in not only the lyrics, but also the music itself. “The central theme of this hymn is a direct declaration which exalts Christ and celebrates His exaltation.” The lyrics convey a biblical truth, however, they are not scripture, neither are they paraphrased, but are of an original composition. There are references to the crowning of Christ in the Bible, but Perronet did not quote them or paraphrase them. He seems to draw his images and main theme from Philippians 2:19, and from Isaiah 45:23. The main idea in these verses is that there will be a crowning of the Lord as the one and only Lord of all throughout creation.

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