General Overseer A.J. Tomlinson, here holding a "Church of God Evangel" with Publishing House staff about 1920, initiated the publishing ministry of the Church in 1910. The Publishing House purchased equipment for songbook printing and created the subsidiary Tennessee Music and Printing Company in 1931.
The Red Back Hymnal
Various styles of music and singers have enabled worship music in the Church of God to stay fresh and meaningful with each succeeding generation. One of the most significant and lasting influences on music was the adoption of the convention song during the 1920s and the subsequent publication of the Church Hymnal, affectionately known as the “Red Back,” in 1951. From the 1920s until the early 1960s, the convention song (a type of gospel song) was a main feature of Church of God worship. Charles Towler, a former
music editor for the Church of God, once described its importance: "Can you imagine a Pentecostal church service without a gospel song…. As Church of God members, we have grown quite accustomed to the role of the gospel song in our times of worship—so much so that it is difficult indeed to imagine a service without its influence.... [The gospel song] is the heritage of the Church of God; may it never cease to be."
music editor for the Church of God, once described its importance: "Can you imagine a Pentecostal church service without a gospel song…. As Church of God members, we have grown quite accustomed to the role of the gospel song in our times of worship—so much so that it is difficult indeed to imagine a service without its influence.... [The gospel song] is the heritage of the Church of God; may it never cease to be."
General Overseer S.W. Latimer served as the first president of Tennessee Music and Printing Company.
Launching a New Company
In the 1920s, the Church of God Publishing House published several songbooks that other companies printed. As the publishing ministry blossomed, the growing denomination decided to purchase materials and equipment that would enable the Publishing House to begin printing their own songbooks. A significant result of this decision was the creation of Tennessee Music and Printing Company (TMPC) in 1931, as a subsidiary of the Publishing House, for the purpose of publishing music and providing musical supplies. The initial officers of the company were General Overseer S.W. Latimer, president; General Secretary E.J. Boehmer, secretary; and Music Editor Otis L. McCoy.
The early success of Tennessee Music and Printing Company can be attributed in large part to the talents, skills, and dedication of Otis McCoy. His musical abilities, reputation, and numerous contacts in
gospel music circles enabled him to lead the fledgling company effectively. His ability to find new songs and writers enabled him to promote the gospel song and present a steady stream of original music to the Church of God.
In the 1920s, the Church of God Publishing House published several songbooks that other companies printed. As the publishing ministry blossomed, the growing denomination decided to purchase materials and equipment that would enable the Publishing House to begin printing their own songbooks. A significant result of this decision was the creation of Tennessee Music and Printing Company (TMPC) in 1931, as a subsidiary of the Publishing House, for the purpose of publishing music and providing musical supplies. The initial officers of the company were General Overseer S.W. Latimer, president; General Secretary E.J. Boehmer, secretary; and Music Editor Otis L. McCoy.
The early success of Tennessee Music and Printing Company can be attributed in large part to the talents, skills, and dedication of Otis McCoy. His musical abilities, reputation, and numerous contacts in
gospel music circles enabled him to lead the fledgling company effectively. His ability to find new songs and writers enabled him to promote the gospel song and present a steady stream of original music to the Church of God.
Having studied and taught at the Vaughan Normal School of Music, Otis L. McCoy was the first music editor at Tennessee Music and Printing Company.
Born in Ninety Six, South Carolina, in 1897, McCoy was raised in Alabama after his family moved there in 1900. As early as eight years of age, McCoy received musical instruction in the four-shape system of the Sacred Harp from his grandfather, Thomas Jackson Denson, and possibly from his great-uncle, the Sacred Harp revisionist Seaborn McDaniel Denson.
In 1923, McCoy made the decision to quit farming and study music. Through James D. Vaughan’s kindness and assistance, McCoy was able to enroll in the Vaughan Normal School of Music in Lawrenceburg, Tennessee. There, he developed his vocal ability and considerable instrumental skills. His propensity for music enabled him to begin traveling and teaching singing schools during his first year of study. Additionally, Vaughan asked McCoy to join three other students in forming the Vaughan Radio Quartet. McCoy worked with the Vaughan Music Company and toured with this popular group for seven years.
A new avenue of music and ministry became available to McCoy in 1930 when J.H. Walker, newly appointed president of the Bible Training School, invited him to become a music teacher at the school. Through his music classes and organization of several quartets, McCoy taught such prominent southern gospel musicians as Vep Ellis, Aycel Soward, and Alphus and Urias LeFevre.
McCoy became the part-time music editor at Tennessee Music and Printing Company in 1931 and then full-time in 1934. During his three tenures as music editor, TMPC became a leader in the field of seven-shape-note music publication, with more than fifty convention songbooks published during his first tenure in office.
In 1923, McCoy made the decision to quit farming and study music. Through James D. Vaughan’s kindness and assistance, McCoy was able to enroll in the Vaughan Normal School of Music in Lawrenceburg, Tennessee. There, he developed his vocal ability and considerable instrumental skills. His propensity for music enabled him to begin traveling and teaching singing schools during his first year of study. Additionally, Vaughan asked McCoy to join three other students in forming the Vaughan Radio Quartet. McCoy worked with the Vaughan Music Company and toured with this popular group for seven years.
A new avenue of music and ministry became available to McCoy in 1930 when J.H. Walker, newly appointed president of the Bible Training School, invited him to become a music teacher at the school. Through his music classes and organization of several quartets, McCoy taught such prominent southern gospel musicians as Vep Ellis, Aycel Soward, and Alphus and Urias LeFevre.
McCoy became the part-time music editor at Tennessee Music and Printing Company in 1931 and then full-time in 1934. During his three tenures as music editor, TMPC became a leader in the field of seven-shape-note music publication, with more than fifty convention songbooks published during his first tenure in office.
In addition to being a prolific songwriter and editor, Otis McCoy sang with gospel groups such as Homeland Harmony and the Daniel Sisters, seen here.
Tennessee Music and Printing Company published its first songbook, "Radiant Gems," in 1931.
Apparently, Church members initially were confused when they heard about TMPC because an “explanation” appeared in the Church of God Evangel on May 23, 1931, “in answer to the many inquiries received….” Then an advertisement in the September 17, 1932, Evangel further clarified that “this company is owned and controlled by the Church of God with all proceeds coming to the Publishing House.” Part of the confusion was due to the omission of any reference to the Church of God in the company’s title. Charles W. Conn
addressed the significance of this omission in Like a Mighty Army: “Heretofore, almost everything had been prefaced Church of God—the Bible Training School, the Home for Children, the Publishing House, and so on.... That willingness to adapt showed the pragmatic side of getting the gospel to people everywhere.”
This pragmatic decision to create a music publishing company without the name Church of God attached to it enabled TMPC to enjoy greater success in ministry and publication than would have been possible for a company linked by name to a Pentecostal denomination. The company was able to print songbooks for a diverse group of publishers and make music plates for others. TMPC also developed a significant sheet music division printing tens of thousands of individual songs.
The first songbook TMPC published using their newly purchased equipment was Radiant Gems. The June 27, 1931, Evangel noted, “Brother McCoy is faithfully working on our new song book, Radiant Gems. We expect to have it ready by the Assembly. We are sure our people will be pleased with this book.”
By the first week of September, the 160-page Radiant Gems went to press. Edited by McCoy, the book sold for 30 cents per copy. Speaking again to the unfamiliarity of TMPC, an Evangel ad affirmed, “this is the Church of God’s Song Book…The Tennessee Music & Printing Co. is the property of the Church of God. Radiant Gems is edited and published for the sole interest of the Church of God.”
Radiant Gems was well received. By October of 1931, 876 books had been sold, with over 7,500 copies sold in 1932 and over 1,100 copies in 1933. This began a trend of yearly convention books. The first three books published by TMPC (Radiant Gems, Heralds of Heaven, and Carols of Love) each sold over 6,500 copies within their first three years of printing. Radiant Gems was the most popular with over 9,500 copies sold in that span. The sales of these songbooks is even more significant since the U.S. was in the middle of the
Great Depression.
Starting in 1934, TMPC published, on average, at least one songbook each year for the next several years. Starting with Carols of Love (1934), the company often took popular songs from previous books and added a few new songs to create a new book. This method was used in books such as Crowning Church of God Songs (1934), His Glory in Song (1935), Revival Favorites (1937), Songs of Prayer and Praise (1940), and Songs of Prayer and Praise Number 2 (1944).
The success of convention songbooks allowed TMPC to print music for other companies, publish music theory books, make phonograph records, and become a leader in sheet music printing. Additionally, TMPC partnered with or purchased other music companies such as the Denson Music Company in 1937. An article reporting the status of Church of God finances in the June 12, 1937, Evangel proved the growth and importance of TMPC. The article reported that from 1935 to 1937, cash receipts for the Evangel decreased by 12 percent, general sales increased by 27 percent, and TMPC sales increased by an outstanding 65 percent. Over the next few decades, TMPC became a primary source of income for the Publishing House.
addressed the significance of this omission in Like a Mighty Army: “Heretofore, almost everything had been prefaced Church of God—the Bible Training School, the Home for Children, the Publishing House, and so on.... That willingness to adapt showed the pragmatic side of getting the gospel to people everywhere.”
This pragmatic decision to create a music publishing company without the name Church of God attached to it enabled TMPC to enjoy greater success in ministry and publication than would have been possible for a company linked by name to a Pentecostal denomination. The company was able to print songbooks for a diverse group of publishers and make music plates for others. TMPC also developed a significant sheet music division printing tens of thousands of individual songs.
The first songbook TMPC published using their newly purchased equipment was Radiant Gems. The June 27, 1931, Evangel noted, “Brother McCoy is faithfully working on our new song book, Radiant Gems. We expect to have it ready by the Assembly. We are sure our people will be pleased with this book.”
By the first week of September, the 160-page Radiant Gems went to press. Edited by McCoy, the book sold for 30 cents per copy. Speaking again to the unfamiliarity of TMPC, an Evangel ad affirmed, “this is the Church of God’s Song Book…The Tennessee Music & Printing Co. is the property of the Church of God. Radiant Gems is edited and published for the sole interest of the Church of God.”
Radiant Gems was well received. By October of 1931, 876 books had been sold, with over 7,500 copies sold in 1932 and over 1,100 copies in 1933. This began a trend of yearly convention books. The first three books published by TMPC (Radiant Gems, Heralds of Heaven, and Carols of Love) each sold over 6,500 copies within their first three years of printing. Radiant Gems was the most popular with over 9,500 copies sold in that span. The sales of these songbooks is even more significant since the U.S. was in the middle of the
Great Depression.
Starting in 1934, TMPC published, on average, at least one songbook each year for the next several years. Starting with Carols of Love (1934), the company often took popular songs from previous books and added a few new songs to create a new book. This method was used in books such as Crowning Church of God Songs (1934), His Glory in Song (1935), Revival Favorites (1937), Songs of Prayer and Praise (1940), and Songs of Prayer and Praise Number 2 (1944).
The success of convention songbooks allowed TMPC to print music for other companies, publish music theory books, make phonograph records, and become a leader in sheet music printing. Additionally, TMPC partnered with or purchased other music companies such as the Denson Music Company in 1937. An article reporting the status of Church of God finances in the June 12, 1937, Evangel proved the growth and importance of TMPC. The article reported that from 1935 to 1937, cash receipts for the Evangel decreased by 12 percent, general sales increased by 27 percent, and TMPC sales increased by an outstanding 65 percent. Over the next few decades, TMPC became a primary source of income for the Publishing House.
A premier songwriter and gifted singer, Vep Ellis was an assistant compiler for the "Church Hymnal."
The early success of Tennessee Music continued under the leadership of gifted gospel song performers and writers such as Vep Ellis. An ordained Church of God minister for more than forty-five years, Vesphew Benton "Vep" Ellis was a popular pastor, preacher, soloist, and songwriter in the early days of southern gospel music. Admired for his smooth baritone singing voice, Ellis was a favorite song director and soloist at camp meetings and General Assemblies. One of the most gifted songwriters in the history of the Church of God, he penned gospel classics such as “I’m Free Again,” “Over the Moon,” “Let Me Touch Him,” “My God Can Do Anything,” “I’m in a New World,” and “I Know He Heard My Prayer.”
Ellis was one of the premier songwriters for southern gospel quartets during the late-1940s and 1950s. Writing songs in diverse styles of gospel music, he enjoyed challenging the skills of quartet singers by composing songs with intricate rhythms and harmonies. Overall, Ellis composed and published approximately five hundred songs through TMPC and Lillenas Publishing Company.
Ellis also served two terms as the music editor of TMPC, and like McCoy, he successfully found new songwriters for the annual convention books. Ellis enjoyed training, guiding, and encouraging these new songwriters. During the 1960s, he was able to minister to an even greater number of the Pentecostal/Charismatic community when he served for six years as the music director and soloist for Oral Roberts’s ministry team.
Ellis was one of the premier songwriters for southern gospel quartets during the late-1940s and 1950s. Writing songs in diverse styles of gospel music, he enjoyed challenging the skills of quartet singers by composing songs with intricate rhythms and harmonies. Overall, Ellis composed and published approximately five hundred songs through TMPC and Lillenas Publishing Company.
Ellis also served two terms as the music editor of TMPC, and like McCoy, he successfully found new songwriters for the annual convention books. Ellis enjoyed training, guiding, and encouraging these new songwriters. During the 1960s, he was able to minister to an even greater number of the Pentecostal/Charismatic community when he served for six years as the music director and soloist for Oral Roberts’s ministry team.
In March 1950, McCoy appeared before the Church of God Supreme Council (today’s Executive Council) to discuss the publication of a new hymnal. Seen here with their clerical assistants, the Council approved an expenditure of up to $1,500. Seated at desk from left: Assistant General Overseer Zeno C. Tharp, General Overseer H.L. Chesser, and General Secretary and Treasurer R.R. Walker.
The Church Hymnal
The first Pentecostal songbooks that could be considered hymnals were published in the 1930s by the Assemblies of God: Spiritual Songs (1931) and Songs of Praise (1935). All major Pentecostal denominations followed suit with the publication of at least one hymnal between 1940 and 1957. Most of these included a significant number of gospel songs and convention songs, and many were printed in shape notes, either exclusively or in addition to round-note editions.
The Church Hymnal was the Church of God’s contribution to this influx of Pentecostal hymnals. The editors of the Church Hymnal wanted to create a songbook with broad appeal. Including songs from many different publishers in addition to copyrighted songs owned by TMPC, the Church of God was able to produce a hymnal that was not only acceptable and useful to our congregations but also to other evangelical denominations and church groups.
The genesis of the Church Hymnal occurred in the 1940s with the publication of early hymnal models. In 1940 and 1944, Tennessee Music published Songs of Prayer and Praise and Songs of Prayer and Praise Number 2. These books became significant predecessors of the Church Hymnal. In addition to soft-covered editions, both volumes of Songs of Prayer and Praise were sold in board- or hard-covered editions. These appear to be the first hard-covered songbooks that TMPC printed. In addition, seventy-five percent of the songs in the original Songs of Prayer and Praise and fifty-five percent of the songs in the Songs of Prayer and Praise Number 2 were included in the later Church Hymnal. As a result, over half the songs in the Church Hymnal were in the two earlier publications.
Otis McCoy’s selection of popular songs for both volumes of Songs of Prayer and Praise reflected his concerted effort to include the best gospel and convention songs available, regardless of a song’s composer or source. Revealing the overall purpose of these first Church of God hymnals, a January 1940 ad announced the upcoming publication of Songs of Prayer and Praise:
The first Pentecostal songbooks that could be considered hymnals were published in the 1930s by the Assemblies of God: Spiritual Songs (1931) and Songs of Praise (1935). All major Pentecostal denominations followed suit with the publication of at least one hymnal between 1940 and 1957. Most of these included a significant number of gospel songs and convention songs, and many were printed in shape notes, either exclusively or in addition to round-note editions.
The Church Hymnal was the Church of God’s contribution to this influx of Pentecostal hymnals. The editors of the Church Hymnal wanted to create a songbook with broad appeal. Including songs from many different publishers in addition to copyrighted songs owned by TMPC, the Church of God was able to produce a hymnal that was not only acceptable and useful to our congregations but also to other evangelical denominations and church groups.
The genesis of the Church Hymnal occurred in the 1940s with the publication of early hymnal models. In 1940 and 1944, Tennessee Music published Songs of Prayer and Praise and Songs of Prayer and Praise Number 2. These books became significant predecessors of the Church Hymnal. In addition to soft-covered editions, both volumes of Songs of Prayer and Praise were sold in board- or hard-covered editions. These appear to be the first hard-covered songbooks that TMPC printed. In addition, seventy-five percent of the songs in the original Songs of Prayer and Praise and fifty-five percent of the songs in the Songs of Prayer and Praise Number 2 were included in the later Church Hymnal. As a result, over half the songs in the Church Hymnal were in the two earlier publications.
Otis McCoy’s selection of popular songs for both volumes of Songs of Prayer and Praise reflected his concerted effort to include the best gospel and convention songs available, regardless of a song’s composer or source. Revealing the overall purpose of these first Church of God hymnals, a January 1940 ad announced the upcoming publication of Songs of Prayer and Praise:
|
Yes, it is coming. The new Church of God hymnal, Songs of Prayer and Praise, the complete church hymnal for all worship. This will be a book of 288 pages of the finest songs of all-time, old-time songs that have brought the power of God down, songs of comfort and consolation, songs of service and consecration, songs of prayer and songs of praise that lift the soul to greater days, that waft the lives to heaven above where life is blended into love. This will be something new for us, but it is a long-needed publication. Pastors for years have wanted a church hymnal with songs suitable for all times and all occasions. This is the answer to that prayer.
|
Published in 1940, "Songs of Prayer and Praise" was Tennessee Music and Printing Company’s first hard-covered songbook.
|
The guidelines and intentions for editing Songs of Prayer and Praise appear similar to the policies followed later in publishing the Church Hymnal.
Following the successful publication of the two volumes of Songs of Prayer and Praise, TMPC made the decision to publish a more substantial hymnal. In March 1950, McCoy appeared before the Church of God Supreme Council (today’s Executive Council) to discuss the publication of a new hymnal. The Council proposed and passed the following motion:
Following the successful publication of the two volumes of Songs of Prayer and Praise, TMPC made the decision to publish a more substantial hymnal. In March 1950, McCoy appeared before the Church of God Supreme Council (today’s Executive Council) to discuss the publication of a new hymnal. The Council proposed and passed the following motion:
|
That the Editor of the Tennessee Music and Printing Company, the Music Board and the Business Manager of the Publishing House be notified that they have received the approval of the council for the expenditure of not more than $1,500 to obtain copyrights and permissions to obtain songs needed in the publication of a new church hymnal.
|
The council’s motion also identified two of the initial participants in the development of the Hymnal: the music editor, McCoy, and the Publishing House’s business manager, Acie M. Phillips. Because Phillips left his position in August 1950, the scope of his involvement in developing the Church Hymnal is unclear.
Work on the Church Hymnal was in progress by the end of 1950. Business Manager Cecil Bridges printed the following announcement on the back cover of the August 4, 1951, Church of God Evangel:
Work on the Church Hymnal was in progress by the end of 1950. Business Manager Cecil Bridges printed the following announcement on the back cover of the August 4, 1951, Church of God Evangel:
|
For the first time in the history of the Church of God we are coming out with a “real” church hymnal. I have been in the Church for over 26 years and all these years I have heard our different pastors and others talk about having a real church hymnal for the choir. I have always wondered why this hymnal could not be published by our own Publishing House. After coming to the Publishing House last fall, I immediately heard the cry, “Why not give us the hymnal?” Checking, I found that it had been discussed in our Supreme Council, as well as in some of our churches, and I immediately called the brethren together and began working on this book.
|
Assistant General Overseer Zeno C. Tharp represented executive leadership in compiling songs for the "Church Hymnal."
Determining the membership of the music board, or hymnal committee, is a challenging matter today. Since the Church of God did not develop an official music committee until August of 1956, it is unclear if the music board referred to by the council was an already existing group or yet to be created. There also is no evidence as to the role of the board in the Church Hymnal’s development. The omission of an editorial page or listing of editors has led to speculation concerning the membership of the hymnal committee. The original copyright for the Church Hymnal reveals that Otis McCoy was the editor and Vep Ellis and Zeno Tharp were assistant compilers.
After the selection and editing of songs, the editors proceeded to have new plates made for each song in the new hymnal. This decision was significant because many of the earlier books printed by Tennessee Music and other companies often borrowed plates from the original printing of a song, resulting in an inconsistent layout and design in any one book. The initial run of 25,000 copies was projected to cost almost $30,000 including making the plates, printing the Hymnal at the Publishing House, and hiring Kingsport Press to bind the book.
The Church Hymnal became available to the public in November 1951 with an original purchase price of $1.50 each or $105 for 100 copies. The Hymnal was only printed in shape notes and was bound with a maroon or green board cover. Compared to older plates and songbooks, the print of the Church Hymnal was clearer and easier to read. In addition to the new music plates, a larger printed page than was typical of the earlier convention books contributed to its clarity.
With its selection of songs and the need and desire for a hymnal of this type, the Church Hymnal was well received within the Church of God. In the first three months of publication, over 14,000 copies were sold, and a second printing of 27,500 was available as early as May 1952. Interestingly, the sale of 25,000 hymnals within the first five months occurred in a denomination with a membership of only 122,000 in the United States and less than 221,000 worldwide in 1951.
The most prominent factor contributing to the early acceptance and continued popularity of the Church Hymnal was its unique selection of songs, which included many of the most popular gospel and convention songs from the first half of the twentieth century. Prominent gospel music publishing companies such as James D. Vaughan, Stamps-Baxter, Hartford Music, J.M. Henson, and R.E. Winsett are represented. This inclusion of songs from other publishers and denominations resulted in an ecumenical hymnal that became popular with adherents and devotees of the gospel song and seven-shape-note tradition, regardless of their religious or denominational affiliation. Songs in the Church Hymnal represented the musical preferences and styles of southern evangelicals of the mid-1900s more so than the distinctive theological beliefs of the Church of God. Although there are many songs about heaven and salvation, favorite topics of both Pentecostals and other Holiness groups, few songs specifically deal with Holy Spirit baptism
After the selection and editing of songs, the editors proceeded to have new plates made for each song in the new hymnal. This decision was significant because many of the earlier books printed by Tennessee Music and other companies often borrowed plates from the original printing of a song, resulting in an inconsistent layout and design in any one book. The initial run of 25,000 copies was projected to cost almost $30,000 including making the plates, printing the Hymnal at the Publishing House, and hiring Kingsport Press to bind the book.
The Church Hymnal became available to the public in November 1951 with an original purchase price of $1.50 each or $105 for 100 copies. The Hymnal was only printed in shape notes and was bound with a maroon or green board cover. Compared to older plates and songbooks, the print of the Church Hymnal was clearer and easier to read. In addition to the new music plates, a larger printed page than was typical of the earlier convention books contributed to its clarity.
With its selection of songs and the need and desire for a hymnal of this type, the Church Hymnal was well received within the Church of God. In the first three months of publication, over 14,000 copies were sold, and a second printing of 27,500 was available as early as May 1952. Interestingly, the sale of 25,000 hymnals within the first five months occurred in a denomination with a membership of only 122,000 in the United States and less than 221,000 worldwide in 1951.
The most prominent factor contributing to the early acceptance and continued popularity of the Church Hymnal was its unique selection of songs, which included many of the most popular gospel and convention songs from the first half of the twentieth century. Prominent gospel music publishing companies such as James D. Vaughan, Stamps-Baxter, Hartford Music, J.M. Henson, and R.E. Winsett are represented. This inclusion of songs from other publishers and denominations resulted in an ecumenical hymnal that became popular with adherents and devotees of the gospel song and seven-shape-note tradition, regardless of their religious or denominational affiliation. Songs in the Church Hymnal represented the musical preferences and styles of southern evangelicals of the mid-1900s more so than the distinctive theological beliefs of the Church of God. Although there are many songs about heaven and salvation, favorite topics of both Pentecostals and other Holiness groups, few songs specifically deal with Holy Spirit baptism
An advertisement in the November 17, 1951, "Church of God Evangel" announced that the "Church Hymnal" was ready for purchase.
The publication information in the Church Hymnal also was important to its acceptance by non-Pentecostal churches. The denominationally vague name, Tennessee Music and Printing Company, was nonthreatening and agreeable to all gospel song enthusiasts. The omission of the names of editors or hymnal committee members added to the obscurity.
A final factor in the success of the Church Hymnal was the practice of sharing, or trading, songs and copyrights among music publishers. During the heyday of the singing-schools and traveling quartet salesmen, music publishers such as James D. Vaughan, A.J. Showalter, and Stamps-Baxter printed a plethora of convention songbooks containing both new and old songs. Some of these songs became popular immediately, while others were seldom printed again. Sharing songs between companies was an integral element of the success of the Church Hymnal, enabling TMPC to publish a hymnal that would have been too costly with a more traditional copyright arrangement.
The influence of the Church Hymnal on the Church of God was profound. The printing of a hardback hymnal led to the book’s physical longevity compared to the paperback convention books, but it also codified a group of songs that became accepted and entrenched as a repository of Church of God worship. For the first few years after the book’s publication, some churches used the Hymnal as the primary songbook for their choirs rather than the annual convention books. Eventually, the entire Church utilized the Hymnal as a popular source of songs for various musical needs: congregational and choral singing, ensemble performance, solos, funeral selections, and music for special occasions.
Although there is a lack of research on the global influence of the Church Hymnal, there is an abundance of anecdotal information about its use. Red Backs, or the songs included in them, have been used in such diverse places as Hungary, Fiji, England, and Germany. The Church of God in Germany published its own hymnal, Jubel-Lieder (Songs of Rejoicing), which included songs from the Church Hymnal. In England, the New Testament Church of God used the Red Back and even published their own version in the 1980s, which only contained lyrics without musical notation. During the 1970s to 1980s, Ministry to the Military Centers around the world often used the Church Hymnal.
A final factor in the success of the Church Hymnal was the practice of sharing, or trading, songs and copyrights among music publishers. During the heyday of the singing-schools and traveling quartet salesmen, music publishers such as James D. Vaughan, A.J. Showalter, and Stamps-Baxter printed a plethora of convention songbooks containing both new and old songs. Some of these songs became popular immediately, while others were seldom printed again. Sharing songs between companies was an integral element of the success of the Church Hymnal, enabling TMPC to publish a hymnal that would have been too costly with a more traditional copyright arrangement.
The influence of the Church Hymnal on the Church of God was profound. The printing of a hardback hymnal led to the book’s physical longevity compared to the paperback convention books, but it also codified a group of songs that became accepted and entrenched as a repository of Church of God worship. For the first few years after the book’s publication, some churches used the Hymnal as the primary songbook for their choirs rather than the annual convention books. Eventually, the entire Church utilized the Hymnal as a popular source of songs for various musical needs: congregational and choral singing, ensemble performance, solos, funeral selections, and music for special occasions.
Although there is a lack of research on the global influence of the Church Hymnal, there is an abundance of anecdotal information about its use. Red Backs, or the songs included in them, have been used in such diverse places as Hungary, Fiji, England, and Germany. The Church of God in Germany published its own hymnal, Jubel-Lieder (Songs of Rejoicing), which included songs from the Church Hymnal. In England, the New Testament Church of God used the Red Back and even published their own version in the 1980s, which only contained lyrics without musical notation. During the 1970s to 1980s, Ministry to the Military Centers around the world often used the Church Hymnal.
Although originally available in maroon and green colors, and later blue, the popularity of maroon with gold embossed lettering led to the "Church Hymnal" being affectionately known as the “Red Back.”
A significant phenomenon was the acceptance and popularity of the Church Hymnal in other denominations. Although the original intent of the Tennessee Music and Printing Company was to publish songbooks that would minister to the Church of God and other denominations, the success of the Church Hymnal in non-Pentecostal circles was a surprise to some. Among those that favored the Red Back in the early years were Independent Baptists, Southern Baptists, and various other southern and rural groups. The inclusion of so many gospel and convention song favorites in the Church Hymnal, as well as the growing incorporation of Pentecostal worship practices into these denominations, contributed to the Hymnal’s success. Without any significant advertisement outside of Church of God publications, sales of the Church Hymnal steadily increased among non-Church of God denominations simply by word of mouth. The acceptance and success of the songbook among other denominations invoked a sense of pride in the Red Back within the Church of God.
The legacy and influence of the Church Hymnal continue because of its useful collection of popular gospel and convention songs from the early- to mid-twentieth century. Outliving many of its contemporaries in the publication of shape-note hymnals, the Church Hymnal has become a unique icon of gospel songs, religious experience, and shape-note history. Music editors from a small Pentecostal publishing house were able to compile a hymnal that combined their own songs with the best convention and gospel songs from other publishers, resulting in a highly successful and long-lasting songbook that is still popular today.
In Church of God congregations in America, the Church Hymnal has become woven into the fabric of musical life and worship experience for over two generations. Although the Hymnal’s practical relevance and usefulness have diminished in recent years, the songs it contains remain, at least for now, a common musical language that is shared throughout much of the Church of God. Whether or not the songs from the Hymnal are frequently included in Sunday worship services or relegated to the senior adult choir, they continue to be a vital part of our heritage. The Church Hymnal has greatly enriched the musical culture and worship of the Church of God and many other church groups.
The legacy and influence of the Church Hymnal continue because of its useful collection of popular gospel and convention songs from the early- to mid-twentieth century. Outliving many of its contemporaries in the publication of shape-note hymnals, the Church Hymnal has become a unique icon of gospel songs, religious experience, and shape-note history. Music editors from a small Pentecostal publishing house were able to compile a hymnal that combined their own songs with the best convention and gospel songs from other publishers, resulting in a highly successful and long-lasting songbook that is still popular today.
In Church of God congregations in America, the Church Hymnal has become woven into the fabric of musical life and worship experience for over two generations. Although the Hymnal’s practical relevance and usefulness have diminished in recent years, the songs it contains remain, at least for now, a common musical language that is shared throughout much of the Church of God. Whether or not the songs from the Hymnal are frequently included in Sunday worship services or relegated to the senior adult choir, they continue to be a vital part of our heritage. The Church Hymnal has greatly enriched the musical culture and worship of the Church of God and many other church groups.
In recent years Red Back Hymnal singings have surged in popularity, such as this annual one at the First Baptist Church in Gardendale, Alabama.
El Himnario de la Iglesia
Los diversos estilos musicales y cantantes han permitido que la adoración en la Iglesia de Dios se mantenga fresca y memorable a lo largo de las diferentes generaciones. Una de las influencias más significativas fue la adopción de canciones de convenciones durante la década de 1920 y la posterior publicación del Himnario de la Iglesia, conocido cariñosamente como el “Red Back”, en 1951.
La Iglesia de Dios creó la Compañía de Música e Imprenta de Tennessee (TMPC) en 1931 como una subsidiaria de la Casa Publicadora de la Iglesia de Dios. Su éxito inicial puede atribuirse a Otis McCoy, a partir de su primer cancionero, Radiant Gems. El éxito de Songs of Prayer and Praise en la década de 1940 condujo a la publicación del Himnario de la Iglesia, que salió a la venta en 1951 con un precio original de 1.50 dólares cada uno.
El Himnario de la Iglesia fue impreso con letras en forma de notas y con tapa dura de color marrón o verde. El factor más destacado que contribuyó a su éxito inicial y a su continua popularidad fue su selección de canciones, las cuales representaban las preferencias y estilos musicales de los evangélicos del sur de Estados Unidos de mediados del siglo XX. Su impresión como himnario de tapa dura contribuyó a la perdurabilidad física del libro y la codificación de un conjunto de canciones que fueron aceptadas y consagradas se convirtieron el repertorio de adoración de la Iglesia de Dios.
La Iglesia de Dios creó la Compañía de Música e Imprenta de Tennessee (TMPC) en 1931 como una subsidiaria de la Casa Publicadora de la Iglesia de Dios. Su éxito inicial puede atribuirse a Otis McCoy, a partir de su primer cancionero, Radiant Gems. El éxito de Songs of Prayer and Praise en la década de 1940 condujo a la publicación del Himnario de la Iglesia, que salió a la venta en 1951 con un precio original de 1.50 dólares cada uno.
El Himnario de la Iglesia fue impreso con letras en forma de notas y con tapa dura de color marrón o verde. El factor más destacado que contribuyó a su éxito inicial y a su continua popularidad fue su selección de canciones, las cuales representaban las preferencias y estilos musicales de los evangélicos del sur de Estados Unidos de mediados del siglo XX. Su impresión como himnario de tapa dura contribuyó a la perdurabilidad física del libro y la codificación de un conjunto de canciones que fueron aceptadas y consagradas se convirtieron el repertorio de adoración de la Iglesia de Dios.
Donald T. LeRoy, D.M.A., is Campus Pastor of Pathway Church—Southaven (Mississippi) near Memphis Tennessee. Previously he served as worship pastor at multiple congregations and on the music faculty at Lee University.