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Cornelius Bryan

1775 - 1840 Person Name: Cornelius Bryan (c. 1775-1840) Scripture: Psalm 25 Author of "Psalm 25" in Christadelphian Hymn Book

Charles F Monroe

Person Name: Charles F. Monroe Scripture: Psalm 25:1-2 Author of "Unto Thee, O Lord" in The Celebration Hymnal

Carl Maria von Weber

1786 - 1826 Scripture: Psalm 25:1-10 Composer of "SEYMOUR" in Trinity Hymnal (Rev. ed.) Carl Maria von Weber; b. 1786, Oldenburg; d. 1826, London Evangelical Lutheran Hymnal, 1908

1836 - 1879 Person Name: Frances R. Havergal Scripture: Psalm 25:5 Author of "I Am Trusting Thee, Lord Jesus" in The Worshiping Church Havergal, Frances Ridley, daughter of the Rev. W. H. Havergal, was born at Astley, Worcestershire, Dec. 14, 1836. Five years later her father removed to the Rectory of St. Nicholas, Worcester. In August, 1850, she entered Mrs. Teed's school, whose influence over her was most beneficial. In the following year she says, "I committed my soul to the Saviour, and earth and heaven seemed brighter from that moment." A short sojourn in Germany followed, and on her return she was confirmed in Worcester Cathedral, July 17, 1853. In 1860 she left Worcester on her father resigning the Rectory of St. Nicholas, and resided at different periods in Leamington, and at Caswall Bay, Swansea, broken by visits to Switzerland, Scotland, and North Wales. She died at Caswell Bay, Swansea, June 3, 1879. Miss Havergal's scholastic acquirements were extensive, embracing several modern languages, together with Greek and Hebrew. She does not occupy, and did not claim for herself, a prominent place as a poet, but by her distinct individuality she carved out a niche which she alone could fill. Simply and sweetly she sang the love of God, and His way of salvation. To this end, and for this object, her whole life and all her powers were consecrated. She lives and speaks in every line of her poetry. Her poems are permeated with the fragrance of her passionate love of Jesus. Her religious views and theological bias are distinctly set forth in her poems, and may be described as mildly Calvinistic, without the severe dogmatic tenet of reprobation. The burden of her writings is a free and full salvation, through the Redeemer's merits, for every sinner who will receive it, and her life was devoted to the proclamation of this truth by personal labours, literary efforts, and earnest interest in Foreign Missions. [Rev. James Davidson, B.A.] Miss Havergal's hymns were frequently printed by J. & R. Parlane as leaflets, and by Caswell & Co. as ornamental cards. They were gathered together from time to time and published in her works as follows:— (1) Ministry of Song, 1869; (2) Twelve Sacred Songs for Little Singers, 1870; (3) Under the Surface, 1874; (4) Loyal Responses, 1878; (5) Life Mosaic, 1879; (6) Life Chords, 1880; (7) Life Echoes, 1883. About 15 of the more important of Miss Havergal's hymns, including "Golden harps are sounding," "I gave my life for thee," "Jesus, Master, Whose I am," "Lord, speak to me," "O Master, at Thy feet," "Take my life and let it be," "Tell it out among the heathen," &c, are annotated under their respective first lines. The rest, which are in common use, number nearly 50. These we give, together with dates and places of composition, from the Havergal mss. [manuscript], and the works in which they were published. Those, and they are many, which were printed in Parlane's Series of Leaflets are distinguished as (P., 1872, &c), and those in Caswell’s series (C., 1873, &c). 1. A happy New Year! Even such may it be. New Year. From Under the Surface, 1874. 2. Certainly I will be with thee. Birthday. Sept. 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 3. Church of God, beloved and chosen. Sanctified in Christ Jesus, 1873. (P. 1873.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 4. God Almighty, King of nations. Sovereignty of God. 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 5. God doth not bid thee wait. God faithful to His promises. Oct. 22, 1868, at Oakhampton. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. 6. God of heaven, hear our singing. A Child's hymn for Missions. Oct. 22, 1869, at Leamington. Published in her Twelve Sacred Songs for Little Singers, 1870, and her Life Chords, 1880. 7. God will take care of you, All through the day. The Good Shepherd. In Mrs. Brock's Children's Hymn Book, 1881. 8. God's reiterated all. New Year. 1873, at Winterdyne. (C. 1873.) Published in Loyal Responses, 1878, and Life Mosaic, 1879. 9. Have you not a word for Jesus? Boldness for the Truth. Nov. 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 10. He hath spoken in the darkness. Voice of God in sorrow. June 10,1869, at Neuhausen. (P. 1870.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. 11. Hear the Father's ancient promise. Promise of the Holy Spirit. Aug. 1870. Published in Under the Surface, 1874, and Life Mosaic, 1879. 12. Holy and Infinite! Viewless, Eternal. Infinity of God. 1872. Published in Under the Surf ace, 1874, and L. Mosaic, 1879. 13. Holy brethren, called and chosen. Election a motive for Earnestness. 1872. Published in Snepp's Songs of Grace & Glory, 1876. 14. I am trusting Thee, Lord Jesus. Faith. Sept. 1874, at Ormont Dessona. (P. 1874.) Published in Loyal Responses, 1878, and Life Chords, 1880. Miss Havergal’s tune, Urbane (Snepp's Songs of Grace & Glory, 1048), was composed for this hymn. The hymn was the author's "own favourite," and was found in her pocket Bible after her death. 15. I bring my sins to Thee. Besting all on Jesus. June, 1870. (P. 1870.) Printed in the Sunday Magazine, 1870, and Home Words, 1872. Published in Under the Surface, 1874, and Life Chords, 1880. 16. I could not do without Thee. Jesus All in All. May 7, 1873. (P. 1873.) Printed in Home Words, 1873, and published in Under the Surface, 1874, and Life Mosaic, 1879. 17. In full and glad surrender. Confirmation. Miss Havergal's sister says this hymn was “The epitome of her [Miss F. R. H.'s] life and the focus of its sunshine." It is a beautiful hymn of personal consecration to God at all times. 18. In the evening there is weeping. Sorrow followed by Joy. June 19, 1869, at the Hotel Jungfraublick, Interlaken. "It rained all day, except a very bright interval before dinner. Curious long soft white clouds went slowly creeping along the Scheinige Platte; I wrote “Evening Tears and Morning Songs” (Marg. reading of Ps. xxx. 5.)" (P. 1870.) Published in Under the Surface, 1874. 19. Increase our faith, beloved Lord. Increase of Faith desired. In Loyal Responses, 1878, in 11 stanzas of 4 lines, on St. Luke xvii. 5. It is usually given in an abridged form. 20. Is it for me, dear Saviour? Heaven anticipated. Nov. 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 21. Israel of God, awaken. Christ our Righteousness. May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 22. Jehovah's covenant shall endure. The Divine Covenant, 1872. Published in Snepp's Songs of Grace & Glory, 1876. 23 Jesus, blessed Saviour. New Year, Nov. 25, 1872, at Leamington. (P. 1873.) Printed in the Dayspring Magazine, Jan. 1873, and published in Life Chords, 1880. 24. Jesus only! In the shadow. Jesus All in All. Dec. 4, 1870, at Pyrmont Villa. (P. & C. 1871.) Published in Under the Surface, 1874, and in Life Mosaic, 1879. 25. Joined to Christ by [in] mystic union. The Church the Body of Christ. May, 1871, at Perry Barr. (P. 1872.) Published in Under the Surface, 1874, Life Mosaic, 1879. 26. Just when Thou wilt, 0 Master, call. Resignation. In Loyal Responses, 1878, in 5 stanzas of 4 lines, and Whiting's Hymns for the Church Catholic, 1882. 27. King Eternal and Immortal. God Eternal. Written at Perry Villa, Perry Barr, Feb. 11, 1871, and Published in Snepp's Songs of Grace & Glory, 1876; Under the Surface, 1874 ; and Life Mosaic, 1879. 28. Light after darkness, Gain after loss. Peace in Jesus, and the Divine Reward. In Sankey's Sacred Songs and Solos, from her Life Mosaic, 1879. 29. Like a river glorious, Is God's perfect Peace. Peace. In her Loyal Responses, 1878, in 3 st. of 8 1., with the chorus, "Stayed upon Jehovah." In several collections. 30. Master, speak! Thy servant heareth. Fellowship with and Assistance from Christ desired. Sunday evening, May 19, 1867, at Weston-super-Mare. Published in Ministry of Song, 1869, and L. Mosaic, 1879. It is very popular. 31. New mercies, new blessings, new light on thy way. New Life in Christ. 1874, at Winterdyne. (C. 1874.) Published in Under His Shadow, 1879, Life Chords, 1880. 32. Not your own, but His ye are. Missions. Jan. 21, 1867. (C. 1867.) Published in Ministry of Song, 1869; Life Mosaic, 1879; and the Hymnal for Church Missions, 1884. 33. Now let us sing the angels' song. Christmas. In her Life Mosaic, 1879; and W. B. Stevenson's School Hymnal, 1880. 34. Now the daylight goes away. Evening. Oct. 17, 1869, at Leamington. Published in Songs for Little Singers, 1870, and Life Chords, 1880. It originally read, " Now the light has gone away." 35. Now the sowing and the weeping. Sorrow followed by Joy. Jan. 4, 1870, at Leamington. Printed in Sunday at Home, 1870 ; and published in Under the Surface, 1874, and L. Mosaic, 1879. 36. 0 Glorious God and King. Praise to the Father, Feb. 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 37. 0 Saviour, precious [holy] Saviour. Christ worshipped by the Church. Nov. 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 38. O thou chosen Church of Jesus. Election. April 6, 1871. Published in Under the Surface, 1874, and L. Mosaic, 1879. 39. O what everlasting blessings God outpoureth on His own. Salvation everlasting. Aug. 12, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and L. Mosaic, 1879. 40. Our Father, our Father, Who dwellest in light. The blessing of the Father desired. May 14, 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tertius, was composed for this hymn. 41. Our Saviour and our King. Presentation of the Church to the Father. (Heb. ii. 13.) May, 1871, at Perry Barr. (P. 1871.) Published in Under the Surface, 1874, and L. Mosaic, 1879. 42. Precious, precious blood of Jesus. The precious Blood. Sept. 1874, at Ormont Dessons. (C.) Published in Loyal Responses, 1878, and Life Chords, 1880. 43. Sing, O heavens, the Lord hath done it. Redemption. In her Life Mosaic, 1879, and the Universal Hymn Book, 1885. 44. Sit down beneath His shadow. Holy Communion. Nov. 27, 1870, at Leamington. (P. 1870.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 45. Sovereign Lord and gracious Master. Grace consummated in Glory. Oct. 22, 1871. (P. 1872.) Published in Under the Surface, 1874, and Life Mosaic, 1879. 46. Standing at the portal of the opening year. New Year. Jan. 4, 1873. Published in Under the Surface, 1874, and Life Chords, 1880. 47. To Thee, 0 Comforter divine. Praise to the Holy Spirit. Aug. 11, 1872, at Perry Barr. Published in Under the Surface 1874, and Life Mosaic, 1879. Miss Havergal's tune, Tryphosa, was written for this hymn. 48. True-hearted, whole-hearted, faithful and loyal. Faithfulness to the Saviour. In her Loyal Responses, 1878, and the Universal Hymn Book, 1885. 49. What know we, Holy God, of Thee? God's Spirituality, 1872. Published in Under the Surface, 1874, and Life Mosaic, 1879. 50. Who is on the Lord's side? Home Missions. Oct. 13, 1877. Published in Loyal Responses, 1878, andLife Chords, 1880. 51. With quivering heart and trembling will. Resignation. July, 10, 1866, at Luccombe Rectory. (P. 1866.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. 52. Will ye not come to Him for life? The Gospel Invitation. 1873. Published in Snepp's Songs of Grace and Glory, 1876. 53. Worthy of all adoration. Praise to Jesus as the Lamb upon the throne. Feb. 26 1867, at Oakhampton. Published in Ministry of Song, 1869, and Life Mosaic, 1874. It is pt. iii. of the "Threefold Praise," and was suggested by the "Worthy is the Lamb," the "Hallelujah" and "Amen" choruses in Handel's Messiah. 54. Ye who hear the blessed call. The Invitation of the Spirit and the Bride. March, 1869, at Leamington. (P. 1869.) Published in Ministry of Song, 1869, and Life Mosaic, 1879. Suggested by, and written for, the Young Men's Christian Association. 55. Yes, He knows the way is dreary. Encouragement. 1867. Published in Ministry of Song, 1869. Most of these hymns are given in Snepp's Songs of Grace and Glory, 1872]and 1876, his Appendix, 1874, and the Musical edition, 1880, and many of them are also in several other hymnbooks, including Hymns Ancient & Modern, Thring, Church Hymns, Hymnal Companion, &c, and some of the leading American collections. --John Julian, Dictionary of Hymnology (1907) ============================== Havergal, Frances Ridley, p. 496, i. Miss Havergal's Poetical Works were published in 2 vols. in 1884 (Lond., J. Nisbet); and the hymns therein are accompanied by notes. From these volumes, and the Havergal manuscript, we gather the following facts concerning additional hymns in common use: 1. In God's great field of labour. Work for Christ. Written Feb. 27, 1867, and published in her Ministry of Song, I860, and later works. In Snepp's Songs of Grace and Glory, 1872, it begins with stanza ii., "Sing to the little children." “The poem expresses her own life-ministry of song, and relates true incidents" in that life. [Hav. mss.] 2. Only a mortal's power. Consecration of Self to Christ. Published in her Loyal Responses, 1878, in 7 stanzas of 4 lines, and headed "Only.” In Common Praise, 1879, stanzas ii.-vi., are given for Confirmation as, "Only one heart to give." 3. Through the yesterday of ages. Jesus always the same. Written at Leamington, Nov. 1876, and published in her Loyal Responses, 1878. 4. What hast Thou done for me, 0 Thou my mighty Friend. Good Friday. Written at Leamington, Jan. 1877, and pub. in Loyal Responses, 1878. 5. Yes, He knows the way is dreary, p. 498, i. 55. This hymn was written at Shareshill Parsonage, Nov. 17, 1865, and first printed as one of Parlane's leaflets; then in Lyra Britannica, 1867; and later, in several of her books. It was "suggested by a letter from her niece, A. M. S., at school, and written to console her when weary, lonely, and the only absentee at the rejoicings for her brother J. H. S.'s coming of age." [Hav. mss.] --John Julian, Dictionary of Hymnology, Appendix, Part II (1907) =================== Havergal, Frances R., pp. 426, ii., 1569, ii. During the past fifteen years Miss Havergal's hymns have been in great request by compilers of hymnals for Missions and Conventions. In addition to the large number already annotated in this Dictionary, the following are also in common use:— 1. Begin at once! in the pleasant days. [Temperance.] From her Poetical Works, vol. i., p. 303, into The Sunday School Hymnary, 1905. In her Poetical Works. It is given as a "Band of Hope Song," and dated "May, 1876." 2. God in heaven, hear our singing. An altered form of her "God of heaven, hear our singing," p. 497, i. 6. 3. Holy Father, Thou hast spoken. [Holy Spirit desired.] Written May 5, 1876. P. Works, 1874, ii., p. 261. 4. I love. I love my Master. [Jesus the object of love.] Written at Fins, Hants., July 16, 1876. In her Loyal Responses, 1878, and her Poetical Works, 18S4, ii., p. 274. 5. I love to feel that I am taught. [Love of Divine Teaching.] Written at Morecambe Bay, Aug., 1867, for her Ministry of Song, 1869. Included in her Poetical Works, 1884, i., p. 36. 6. Jesus, Thy life is mine. [Union with Christ.] Written June 2, 1876. Poetical Works, 1884, ii., p. 268. 7. Looking unto Jesus, Never need we yield. [Jesus, All in All.] Dated 1876. P. Works, 1884, ii., p. 253. 8. Master, how shall I bless Thy Name! [Holy Service.] Written at Whitby, Sept. 27, 1875. A long hymn of 17 stanzas of 6 lines. P. Works, 1884, ii., p. 280. 9. Resting on the faithfulness. [Union with Christ.] A metrical epitome of a dozen or more of the attributes of Our Lord and His manifestation of loving kindness towards men, in which the word "Resting" is used eighteen times. Written June 11, 1876. Poetical Works, 1884, ii., p. 260. 10. Singing for Jesus, our Saviour and King. [Praise of Jesus.] Written at Winterdyne, June 12. 1872; published in her Under the Surface, 1874, p. 94, and her P. Works, 1884, ii., p. 70. 11. Unfurl the Christian Standard with firm and fearless hand. [Courage for the Christian Warfare. This begins with st. iv. of her hymn, "Unfurl the Christian Standard, lift it manfully on high," written at Perry Barr, Sep. 23, 1872 ; published in her Under the Surface, 1874; and her Poetical Works, 1884, ii. 12. Unto him that hath Thou givest. [Growth in Grace.] Written at Leasowes, April 12, 1876. P. Works, 1884, ii. 259. Of these hymns Nos. 3, 4, 6, 7, 8, 9, and 12 were published in the first instance in J. Mountain's Hymns of Consecration and Faith, 1876. At the present time (1907) the number of Miss Havergal's hymns in common use reaches nearly one hundred. --John Julian, Dictionary of Hymnology, New Supplement (1907)

B. Mansell Ramsey

1849 - 1923 Scripture: Psalm 25:4-5 Author of "Teach Me Thy Way, O Lord" in Hymns for the Living Church

Joseph Gelineau

1920 - 2008 Person Name: JG Scripture: Psalm 25 (Composer (Gelineau tone) of "[To you, I lift up my soul]" in Worship (3rd ed.) Joseph Gelineau (1920-2008) Gelineau's translation and musical settings of the psalms have achieved nearly universal usage in the Christian church of the Western world. These psalms faithfully recapture the Hebrew poetic structure and images. To accommodate this structure his psalm tones were designed to express the asymmetrical three-line/four-line design of the psalm texts. He collaborated with R. Tournay and R. Schwab and reworked the Jerusalem Bible Psalter. Their joint effort produced the Psautier de la Bible de Jerusalem and recording Psaumes, which won the Gran Prix de L' Academie Charles Cros in 1953. The musical settings followed four years later. Shortly after, the Gregorian Institute of America published Twenty-four Psalms and Canticles, which was the premier issue of his psalms in the United States. Certainly, his text and his settings have provided a feasible and beautiful solution to the singing of the psalms that the 1963 reforms envisioned. Parishes, their cantors, and choirs were well-equipped to sing the psalms when they embarked on the Gelineau psalmody. Gelineau was active in liturgical development from the very time of his ordination in 1951. He taught at the Institut Catholique de Paris and was active in several movements leading toward Vatican II. His influence in the United States as well in Europe (he was one of the founding organizers of Universa Laus, the international church music association) is as far reaching as it is broad. Proof of that is the number of times "My shepherd is the Lord" has been reprinted and reprinted in numerous funeral worship leaflets, collections, and hymnals. His prolific career includes hundreds of compositions ranging from litanies to responsories. His setting of Psalm 106/107, "The Love of the Lord," for assembly, organ, and orchestra premiéred at the 1989 National Association of Pastoral Musicians convention in Long Beach, California. --www.giamusic.com

Robert Schumann

1810 - 1856 Person Name: Robert A. Schumann Scripture: Psalm 25:4 Composer of "CANONBURY" in The Worshiping Church Robert Alexander Schumann DM Germany 1810-1856. Born at Swickau, Saxony, Germany, the last child of a novelist, bookseller, and publisher, he began composing music at age seven. He received general music instruction at the local high school and worked to create his own compositions. Some of his works were considered admirable for his age. He even composed music congruent to the personalities of friends, who took note of the anomaly. He studied famous poets and philosophers and was impressed with the works of other famous composers of the time. After his father’s death in 1826, he went to Leipzig to study law (to meet the terms of his inheritance). In 1829 he continued law studies in Heidelberg, where he became a lifelong member of Corps Saxo-Borussia Heidelberg. In 1830 he left the study of law to return to music, intending to pursue a career as a virtuoso pianist. His teacher, Friedrich Wieck, assured him he could become the finest pianist in Europe, but an injury to his right hand (from a practicing method) ended that dream. He then focused his energies on composition, and studied under Heinrich Dorn, a German composer and conductor of the Leipzig opera. Schumann visited relatives in Zwickau and Schneeberg and performed at a concert given by Clara Wieck, age 13 at the time. In 1834 he published ‘A new journal for music’, praising some past composers and deriding others. He met Felix Mendelssohn at Wieck’s house in Leigzig and lauded the greatness of his compositions, along with those of Johannes Brahms. He also wrote a work, hoping to use proceeds from its sale towards a monument for Beethoven, whom he highly admired. He composed symphonies, operas, orchestral and chamber works, and also wrote biographies. Until 1840 he wrote strictly for piano, but then began composing for orchestra and voice. That year he composed 168 songs. He also receive a Doctorate degree from the University of Jena that year. An aesthete and influential music critic, he was one of the most regarded composers of the Romantic era. He published his works in the ‘New journal for music’, which he co-founded. In 1840, against the wishes of his father, he married Clara Wieck, daughter of his former teacher, and they had four children: Marie, Julie, Eugenie, and Felix. Clara also composed music and had a considerable concert career, the earnings from which formed a substantial part of her father’s fortune. In 1841 he wrote 2 of his 4 symphonies. In 1843 he was awarded a professorship in the Conservatory of Music, which Mendelssohn had founded in Leipzig that same year, When he and Clara went to Russia for her performances, he was questioned as to whether he also was a musician. He harbored resentment for her success as a pianist, which exceeded his ability as a pianist and reputation as a composer. From 1844-1853 he was engaged in setting Goethe’s Faust to music, but he began having persistent nervous prostration and developed neurasthenia (nervous fears of things, like metal objects and drugs). In 1846 he felt he had recovered and began traveling to Vienna, Prague, and Berlin, where he was received with enthusiasm. His only opera was written in 1848, and an orchestral work in 1849. In 1850 he succeeded Ferdinand Hiller as musical director at Dusseldorf, but was a poor conductor and soon aroused the opposition of the musicians, claiming he was impossible on the platform. From 1850-1854 he composed a wide variety of genres, but critics have considered his works during this period inferior to earlier works. In 1851 he visited Switzerland, Belgium, and returned to Leipzig. That year he finished his fourth symphony. He then went to Dusseldorf and began editing his complete works and making an anthology on the subject of music. He again was plagued with imaginary voices (angels, ghosts or demons) and in 1854 jumped off a bridge into the Rhine River, but was rescued by boatmen and taken home. For the last two years of his life, after the attempted suicide, Schumann was confined to a sanitarium in Endenich near Bonn, at his own request, and his wife was not allowed to see him. She finally saw him two days before he died, but he was unable to speak. He was diagnosed with psychotic melancholia, but died of pneumonia without recovering from the mental illness. Speculations as to the cause of his late term maladies was that he may have suffered from syphilis, contracted early in life, and treated with mercury, unknown as a neurological poison at the time. A report on his autopsy said he had a tumor at the base of the brain. It is also surmised he may have had bipolar disorder, accounting for mood swings and changes in his productivity. From the time of his death Clara devoted herself to the performance and interpretation of her husband’s works. John Perry

Communauté de Taizé

Person Name: Taizé Community Scripture: Psalm 25:5 Author of "O Lord, Hear My Prayer (The Lord Is My Song)" in Glory to God

Doris Akers

1923 - 1995 Person Name: Doris M. Akers, 1922-95 Scripture: Psalm 25:5 Author of "Lead Me, Guide Me" in Lutheran Service Book Doris Mae Akers USA 1923-1995. Born at Brookfield, MO, one of nine siblings, her (inter-racial) parents divorced when she was age three. She then lived with her mother, who remarried when she was age six. They lived in Kirksville, MO. Some of her brothers lived with her father after the divorce. The family attended the Bethel AME Church in Kirksville, where she learned to play piano by ear at age six. She wrote her first song at age 10. In the 1930s she formed a singing gospel group with siblings, Edward, Marian, and Donald, who went by the name ‘Dot and the Swingsters’. Early in her career (1938) she moved to Los Angeles, CA. There she became known for her work with the ‘Sky Pilot Choir’, an integrated group that made recordings and appeared on Radio and TV across the country. Her fresh, modern arrangements of traditional negro spirituals drew large crowds from far and near, and increased her church’s attendance dramatically. Her choir group released three record albums. She recorded solos in 1963 and also collaborated with the Statemen Quartet in 1964. She ended working with the choir in 1965, but reunited with it again in 1974 to make a 4th recording for RCA Victor. In 1970 she moved to Columbus, OH, where she continued composing, recording, and traveling. In the 1980s she released a new gospel album each year on a regional Midwest label. She also released a few albums in Canada (not distributed in the U S). In the 1990s she began recording for the Gaither label and appeared in some of their TV productions and concerts. She was affectionately known as ‘Miss Gospel Music’, respected and admired by everyone in the gospel music business. By this time, she had mastered vocalization, keyboards, choir directing, arranging, composing, and publishing. She worked with many of the early pioneers in gospel music and authored gospel compositions, some selling millions of records for other performers and evangelists. In her final years she was Minister of Music at Grace Temple Deliverance Center, Minneapolis, MN. In 1994 she broke her ankle, and also discovered she had spinal cancer. She died at Edina, MN. She never married. She wrote 500+ songs. She received many awards over the years, including ‘Gospel Music Composer of the Year’ (for both years 1960 and 1961). In 1976, the city of Kirksville, MO, held “Doris Akers’ Day’, featuring her as the headline act, as part of the bicentennial celebration. Over 20,000 attended the celebration there. In 1992 she was honored by the Smithsonian Institution as ‘The Foremost Gospel Writer in the U S’. Her works include eight collections of music. In 2001 she was inducted into the Gospel Music Hall of Fame. In 2011 she was inducted into the Southern Gospel Music Hall of Fame. John Perry

Timothy Dudley-Smith

1926 - 2024 Person Name: Timothy Dudley-Smith, 1926- Scripture: Psalm 25:9 Author of "Christ Be My Leader" in Worship and Rejoice Timothy Dudley-Smith (b. 1926) Educated at Pembroke College and Ridley Hall, Cambridge, Dudley-Smith has served the Church of England since his ordination in 1950. He has occupied a number of church positions, including parish priest in the diocese of Southwark (1953-1962), archdeacon of Norwich (1973-1981), and bishop of Thetford, Norfolk, from 1981 until his retirement in 1992. He also edited a Christian magazine, Crusade, which was founded after Billy Graham's 1955 London crusade. Dudley-Smith began writing comic verse while a student at Cambridge; he did not begin to write hymns until the 1960s. Many of his several hundred hymn texts have been collected in Lift Every Heart: Collected Hymns 1961-1983 (1984), Songs of Deliverance: Thirty-six New Hymns (1988), and A Voice of Singing (1993). The writer of Christian Literature and the Church (1963), Someone Who Beckons (1978), and Praying with the English Hymn Writers (1989), Dudley-Smith has also served on various editorial committees, including the committee that published Psalm Praise (1973). Bert Polman