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Sir John STAINER, M.A., Mus. D., for his tune "Charity.”
Dr. CHARLES STEGGALL, for his tune “Grosvenor."
Mr. SAMUEL SMITH (Windsor), for his tune “Ruth."
Rev. FREDERIC SOUTHGATE, for his tune "S. Agatha.”.
Mr. A. H. D. TROYTE, for his Chants Nos. 1 and 2, granted for the former edition.
Mr. E. H. TURPIN, for his tunes “ Argyle” and “Eynsham,” by permission of the

proprietors of Hymn Tunes.
Bishop Turton, for his tune "Ely,” in addition to “S. Ethelreda," granted for the

former edition. Mr. FREDERIC WEBER, for his tune "Orlestrund,” from Church of England Chorale

Book.

The Committee also tender their acknowledgments to the following composers and proprietors, whose copyrights have been inserted by arrangement:

Mr. ARTHUR H, BROWN.
Messrs. BROWN AND Co., Salisbury,

proprietors of The Sarum Hymnal.
Dr. EDWARD DEARLE.
Lady VICTORIA EVANS-FREKE.
Mr. J. W. ELLIOTT.
Mrs. GAUNTLETT.
Dr. E. J. HOPKINS,
Mrs. LOMAS.
Messrs. MASTERS AND Co.

Messrs. METZLER AND Co.
Messrs. Novello, EWER AND Co.
Dr. A. L. PEACE,
Miss M. A. SIDEBOTHAM, on behalf of

the proprietors of The Children's Hymn

Book.
Sir ROBERT P. STEWART.
Sir ARTHUR S. SULLIVAN.
Rev. F. G. WESLEY, on behalf of the

proprietors of The European Psalmist.

If any

Great pains have been taken to ascertain the proprietorship of all copyright hymns and tunes, and to obtain permission for their use. copyright has been unintentionally infringed, it is hoped that this will be pardoned. It is due to the Editors of “Hymns Ancient and Modern” to acknowledge their great courtesy in granting the use of so many tunes,in addition to those granted for the former edition,—without which this collection would have been incomplete. They are also specially indebted to Mr. E. O. Dykes, brother of the late Rev. J. B. Dykes, Mus. D., and to the Rev. R. R. Chope, for their kindness in placing at the disposal of the Committee so many additional tunes by that esteemed composer.

Special thanks are due to the Rev. Alexander Galloway, B.D., Minto, for much valuable labour in verifying the sources of the tunes and settling their proper nomenclature, as well as for the preparation of the Musical Indexes; to Mr. J. Montgomerie Bell, W.S., Edinburgh, for much skilful aid, which his zeal and practical knowledge qualified him to render; and to Mr. J. O. Anderson, Edinburgh, for unwearied service in the general arrangement and oversight of the work while passing through the press.

December 1885.

Note to Preface.

ADVANTAGE is taken of the present reprint to effect the following objects, namely S

1. To revise and bring up to date the statements in the Index of Tunes and throughout the volume as to the composers or sources of tunes, obligation for which is specially acknowledged to Mr. James Love, Falkirk.

2. To add a second tune at Hymn 214, and to correct two notes in tenor part of second tune to Hymn 240.

3. To make slight corrections on the words of Hymns 144, 241, 255, and 330, giving the faithful text.

4. To introduce the accent (') in addition to the bar at Hymns 245, 262, and 386, which have chant settings; and also at Hymns 290 and 314, the tunes for which are partly recitative.

5. To introduce into the pointing of the Ancient Prose Hymns 352-356 the symbols adopted in The Psalter, with Selected Passages of Scripture, and Ancient Hymns. In explanation of these symbols suffice it to say :- The bar (1) in the words corresponds with the bar in the music. The accent (1) marks a resting or rallying point in the Recitation, to bring the voices to gether; it is placed on the most convenient word, and is meant to denote only a very slight prolongation of the word or syllable on which it is placed. The asterisk (*) is used to indicate the places at which alone effect is to be given to the punctuation, not by a rest, but by the slightest prolongation of the word preceding. The bind (4) means that the two syllables so joined are to be sung to one note. When only one syllable occurs between the bars, that syllable is to be sung to the whole bar of music. The dash ( means that the preceding syllable is to be continued in singing through the space occupied by the dash. In the Te Deum the verse marked with the dagger () may be sung either to the second half of the double chant, or to its first and last sections. The double chants selected for the Te Deum adapt themselves to this latter treatment, which is recommended. The section (8) indicates a change of chant, corresponding to a change of subject or sentiment.

May 1889,

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