O'Neill Eichinger

It was a choral composition in honor of a divinity and it is used in the Christian Latin literature of the Middle Ages to commemorate the crucifixion of Jesus. The Greek language (hymnos) is where the word derives from and is used in almost all of the languages of Europe.

It's a representation of an event so high in the air that it needs to be captured in music or text.

A famous person, a saint, a hero, or a god can be the subject of a song. It can also be dedicated to celebrating a victory or other memorable event, in which case it's better called an ode. It can be a musical composition that identifies a community, a region, a town or a nation, and that is interpreted by all. The last hymn are usually marches or poems.

Among the oldest hymns are the Sumerian and Greek royal hymns (end of the 3rd millennium BC), the Great Hymn to the Aten, composed by Pharaoh Akhenaten in Ancient Egypt, the Vedas, a collection of hymns in the tradition from Hinduism, psalms, a collection of songs from Judaism, the Gathas, hymns in honor of Ahura Mazda and the hymn of Ugarit.

The oldest complete annotated work of ancient music is a Hurrian song.

The Homeric Hymns, a collection of ancient Greek hymns, were written in the 7th century BCE. The deities of Ancient Greece are praised.

A collection of six literary hymns by Callimachus has survived. A. C.

The Greeks adorned the hymn with rhythms of poetry and music. There were many types of hymn, including the invocative, laudative, admiring, votive, and the theogonic. The invocative genre refers to the Orpheus hymns.

They were composed of many different genera by Homer, Cleanto, Callimachus, Anacreon, and others. The Greek tragedy's chorus was nothing more than invocations.

The Carmen saeculare was composed by Augustus for the celebration of the ludi saeculares in 17 BC. A choir of young men and maidens sang a song of praise to the gods.

2710 years before Christ, the prophetess Deborah sang a hymn to the Hebrew God, which is the oldest known one. The largest number of Hebrew songs in the Bible is contained in the Sepertheillim, that is, book of praises.

Hymns were sung to the sound of harps and lyres (only the strings accompanied the voices) by alternate choirs; the first sang the hymn, and the other, at certain intervals, repeated an intercalated couplet or a refrain, thus imitating the seraphim, whom the prophets had heard alternately sing: Holy, Holy, Holy, Lord God of the armies.

The temple of Yahweh was the site of the celebration of these songs by four thousand Levites, who were under the rule of David and Solomon.

The use of singing psalms and hymns was introduced into religious ceremonies from the first centuries of the Christian Era.

The creation of the hymnody is attributed to San Ambrosio, who composed an entire group of them. Saint Benedict and the monastic movement promoted by him would follow until the hymn was accepted for divine services.

Innocent III, Clement VII and Saint Gregory were some popes who made them a great honor. Among the hundreds used by the Catholic Church we will mention the Stabat Mater, produced by Innocent III, who also composed the Veni Sancte Spiritus; Dies irae, a composition by the Franciscan Tomás Celano; or the Ave maris stella, which came from the pen of Saint Bernard.

The Pange lingua is the hymn composed by the doctor of the Church Santo Toms de Aquino for the prayer of the Blessed Sacrament and the feast of Corpus Christi.

When the music was purely melodic, it turned to plainchant melodies and hymns in polyphonic style were not composed until the 13th century. Palestrina composed the most famous work in 1589: Hymni totius anni.

The meaning of a hymn or song is the result of a constant interaction between poetic text, musical practices and political context according to Juan José Carreras. Two fundamental aspects must be taken into account in the analysis of political song. «The first is to take into account the ability of sound to appropriate a certain space (let's remember: a flag is displayed in a place, but it does not occupy it as it happens with the sound of a band or a choir -moreover, until the invention of the phonograph, auditory perception always implies a co-presence between transmitter and acoustic receiver, with all that this implies).

The second (and no less important) is the very powerful identification effect that the practice of singing in common in unison of the different verses or the chorus of a song: an effect that those "hymns" that lack lyrics do not fully have. , since the mere hearing of a sound emblem does not have the same emotional implications as its collective manufacture through song».

It was the French Revolution that discovered the enormous political potential of singing done in unison as an effective collective expression: «its flexibility, simplicity of musical invoice and fluid exchange between oral and printed culture allowed this type of song to play an extraordinary role in the mobilization politics, realizing the Rousseauian ideal of the "communion of souls, represented by the unison of voices"».

The most famous and influential patriotic song was the chant de guerre of the Army of the Rhine, which will be known as La Marseillaise. The moderate Spanish liberal Antonio Alcalá Galiano warned of the novelty that these patriotic songs represented: «That a song could not achieve only fame, but influence on events; and that when sung it encouraged the warriors in the fight, or the seditious in their acts of violence, something that was hardly an example in modern times until the day of the French Revolution arrived. The liberal editor Mariano de Cabrerizo wrote the following in his collection of patriotic songs.

During the War of Independence in Spain, the patriotic song appeared. The first documented case was the order given in 1810 by the Captain General of Valencia Luis Alejandro de Bassecourt that «the drummers teach their bands the patriotic songs that I have distributed with this order, so that they sing them as the columns march to the attack, taking care of the chiefs and officers that the troops repeat the chorus". during the pronouncement led by Lieutenant Colonel Rafael del Riego, which will become an "exceptional acoustic symbol — an authentic place of democratic memory — that has endured through time". In this case, it is known from an eyewitness that the letter "was printed in San Fernando and San Miguel, who was then commander, carried it in packages, put in the holsters, from where he took copies to distribute them". From the continuous presence The ance (and influence) of the Hymn of Riego during the Triennium was witnessed by Antonio Alcalá Galiano when he stated in his memoirs: "Remove from 1820 to 1823 the Hymn of Irrigation, and contemporary events can hardly be understood."

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