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A Prayer for Love

Author: C. Eric Lincoln Appears in 2 hymnals First Line: Lord, let me love; let loving be the symbol

[Lord, let me love; let loving be the symbol]

Appears in 2 hymnals Composer and/or Arranger: J. Jefferson Cleveland, 1937-1988 Tune Key: D Major Incipit: 54123 55412 33343 Used With Text: A Prayer for Love

Instances

Published text-tune combinations (hymns) from specific hymnals

Author: C. Eric Lincoln, 1924- Hymnal: Songs of Zion #70 (1981) First Line: Lord, let me love; let loving be the symbol Topics: Hymns Languages: English Tune Title: [Lord, let me love; let loving be the symbol]

A Prayer for Love

Author: C. Eric Lincoln, 1924-2000 Hymnal: New Wine In Old Wineskins #2 (2007) First Line: Lord, let me love; let loving be the symbol Topics: Love for Others; Love of God for Us; Mercy; Prayer and Petition Languages: English Tune Title: [Lord, let me love; let loving be the symbol]

People

Authors, composers, editors, etc.

J. Jefferson Cleveland

1937 - 1986 Person Name: J. Jefferson Cleveland, 1937- Composer of "[Lord, let me love; let loving be the symbol]" in Songs of Zion Judge Jefferson Cleveland (1937-1986) was one of the most important scholars and editors of African-American congregational song of the 20th century. Along with Verogla Nix, he edited what is arguably the most groundbreaking collection of African-American song in the last half of the 20th century, Songs of Zion (1981/1982). Lutheran hymnologist Marilyn Stulken provides a biographical sketch of Cleveland’s life and accomplishments. Born in Georgia, Cleveland graduated from Clark College (Atlanta), Illinois Wesleyan University and received his doctorate in education from Boston University. He served on the faculty of three historically black Christian colleges: Claflin College (South Carolina), Langston University (Oklahoma), and Jarvis Christian College (Texas), before teaching at the University of Massachusetts and Wesley Theological Seminary in Washington, D.C. Cleveland’s musical arrangements, historical research and scholarship on the performance practice of African-American song have proven invaluable for the advancement of black gospel song, not only among African Americans, but also in Anglo hymnals to the present day. For example, Cleveland’s essay, “A Historical Account of the Hymn in the Black Worship Experience,” in Songs of Zion is a helpful introduction for laypersons and scholars alike. In addition to serving as a hymnody consultant for the United Methodist General Board of Discipleship, he toured the United States and Africa in 1981 and Europe in 1984 as a teacher, lecturer and performer. --www.umportal.org/