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Text Identifier:"^praise_ye_the_lord_praise_the_lord_chant$"

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Praise ye the Lord

Appears in 7 hymnals Topics: Psalms Scripture: Psalm 146 Used With Tune: [Praise ye the Lord]

Tunes

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[Praise ye the Lord]

Appears in 3 hymnals Composer and/or Arranger: Gadsby Incipit: 13457 14321 Used With Text: Lauda, anima mea
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[Praise ye the Lord]

Appears in 7 hymnals Composer and/or Arranger: Rev. W. Felton Incipit: 51235 56321 Used With Text: Lauda, anima mea
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[Praise ye the Lord]

Appears in 50 hymnals Composer and/or Arranger: Dr. Randall Incipit: 51235 17665 34565 Used With Text: Lauda, anima mea

Instances

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Published text-tune combinations (hymns) from specific hymnals

Praise ye the Lord

Hymnal: The Methodist Hymn-Book with Tunes #C62a (1933) Topics: Psalms Scripture: Psalm 146 Languages: English Tune Title: [Praise ye the Lord]

Praise ye the Lord

Hymnal: The Methodist Hymn-Book with Tunes #C62b (1933) Topics: Psalms Scripture: Psalm 146 Tune Title: [Praise ye the Lord]
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Crusade Psalm

Hymnal: The White Ribbon Hymnal #157 (1892) First Line: Praise ye the Lord, Praise the Lord, O my soul Languages: English Tune Title: [Praise ye the Lord, Praise the Lord, O my soul]

People

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Authors, composers, editors, etc.

F. A. Gore Ouseley

1825 - 1889 Person Name: F. A. G. Ouseley Composer of "[Praise ye the Lord]" in The Methodist Hymn-Book with Tunes Born: August 12, 1825, London, England. Died: April 6, 1889, Hereford, England. Buried: Church of St. Michael and All Angels, Tenbury Wells, Hereford and Worcester, England. Gore-Ouseley was educated at Oxford University (BA 1846, MA 1849, DMus 1854), and was ordained in 1849. In 1855, he was appointed Oxford Professor of Music, succeeding Henry Bishop. At that time, Oxford music degrees were easy to obtain, as there were no conditions of residence. Candidates only had to submit a musical composition, (e.g., for choir or orchestra). This was then approved by the examiner, rehearsed and performed to a small, select audience at Oxford. As far as Ouseley was concerned, this only meant two or three trips to Oxford each year, usually for two or three days each time, as there was no music "taught" in the university and very little in Oxford itself at the time. Also in 1855, Ouseley was appointed Precentor of Hereford Cathedral, a post he held for the next 30 years, before becoming a Canon there. Although theoretically in charge of the cathedral choir, Ouseley only had to be in residence at the cathedral two months each year, and he arranged these to take place during the summer vacation, when he was not required to be at his College, although such was his commitment that he did make regular visits to the cathedral, which was only 18 miles from his College at St. Michael’s. His College of St. Michael’s, Tenbury, a "model" choir school, opened in 1856, mostly at his own expense. He founded the College and was its first Warden, which was the greater part of his work for the next 33 years. Ouseley’s compositions covered a wide range: operas, songs, chamber music and organ pieces. His works include the following treatises: Harmony (London: 1868) Counterpoint (London: 1869) Canon and Fugue (London: 1869) Form and General Composition (London: 1875) --www.hymntime.com/tch/

John Randall

1717 - 1799 Person Name: Dr. Randall Composer of "[Praise ye the Lord]" in Sunday-School Book

William Hayes

1706 - 1777 Person Name: W. Hayes Composer of "[Praise ye the Lord]" in The Methodist Hymn-Book with Tunes William Hayes (26 January 1708 (baptised) – 27 July 1777) was an English composer, organist, singer and conductor. Hayes was born in Gloucester. He trained at Gloucester Cathedral and spent the early part of his working life as organist of St Mary’s, Shrewsbury (1729) and Worcester Cathedral (1731). The majority of his career was spent at Oxford where he was appointed organist of Magdalen College in 1734, and established his credentials with the degrees of B.Mus in 1735 and D.Mus in 1749. (He was painted by John Cornish in his doctoral robes around 1749.) In 1741 he was unanimously elected Professor of Music and organist of the University Church. He presided over the city’s concert life for the next 30 years, and was instrumental in the building of the Holywell Music Room in Oxford in 1748, the oldest purpose-built music room in Europe. He was one of the earliest members of the Royal Society of Musicians, and in 1765 was elected a ‘privileged member’ of the Noblemen’s and Gentlemen’s Catch Club. He died in Oxford, aged 69. William Hayes was an enthusiastic Handelian, and one of the most active conductors of his oratorios and other large-scale works outside London. His wide knowledge of Handel left a strong impression on his own music, but by no means dominated it. As a composer he tended towards genres largely ignored by Handel—English chamber cantatas, organ-accompanied anthems and convivial vocal music—and his vocal works show an English preference for non-da capo aria forms. Hayes also cultivated a self-consciously ‘learned’ polyphonic style (perhaps inspired by his antiquarian interests) which can be seen in his many canons, full-anthems, and the strict fugal movements of his instrumental works. Nevertheless, several of his late trio sonatas show that he was not deaf to newly emerging Classical styles. Although he published virtually none of his instrumental music, his vocal works were extremely popular, and the printed editions were subscribed to by large numbers of amateur and professional musicians. Substantial works like his ode The Passions, the one-act oratorio The Fall of Jericho, and his Six Cantatas demonstrate that Hayes was one of the finest English composers of the eighteenth century. As a writer, his Art of Composing Music includes the first published description of aleatoric composition—music composed by chance—albeit deliberately satirical in intent. In his Remarks he reveals much about his aesthetic outlook: in particular that he valued the music of Handel and Corelli over that of Rameau, Benedetto Marcello and Geminiani. Finally, the Anecdotes offer insights into the organization of provincial music festivals in the mid-eighteenth century. Hayes bequeathed his important and wide-ranging music library to his son Philip Hayes; the manuscripts of both father and son eventually passed to the Bodleian Library, Oxford, in 1801. Sacred works The Fall of Jericho, oratorio, c. 1740–50 Sixteen Psalms (London, 1773) David, oratorio, completed by Philip Hayes around 20 anthems and service music, in Cathedral Music in Score, edited by Philip Hayes (Oxford, 1795) --en.wikipedia.org/wiki
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