Methodist Hymn This Is My Song – United Methodist Hymnal. 334, “Sweet, Sweet Spirit,” was inspired by popular gospel music songwriter and choir director Doris Akers, who asked for more prayer time for her choir. Photo by Stephen Kyle Adair at Glendale United Methodist Church in Nashville, Tenn.
A favorite United Methodist hymn, “Sweet, Sweet Spirit,” was born out of a choir director’s comment that his singers were not praying enough.
Methodist Hymn This Is My Song
One Sunday morning in 1962, Doris Mee Akers wouldn’t let the choir members go, feeling they should pray more before going to worship.
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“You’re not ready to go in,” he says, when discussing the origins of No. 334 “The United Methodist Hymnal.”
As usual, Akers, director of the Skywalker Choir in Los Angeles, prayed with the choir members before each performance, asking them to bless their singing.
This morning he asked his choir members to pray again. As they prayed fervently, the pastor waited for them before starting the service, but he hesitated to stop praying.
“Finally,” Akers recalled, “I had to say to the choir, ‘We have to go.’ , has a sweet soul.” “
Wesley’s Hymns & Methodist Sunday School Book / Bible Int / Fine Binding!
In this video from February 15, 2021, members of the choir at Algiers United Methodist Church in New Orleans sing “Sweet, Sweet Spirit” at the start of worship.
According to Akers, “Sweet Holy Spirit, Sweet Heavenly Dove” refers to Matthew 3; Inspired by 16-17. This is what the scriptures say about Jesus’ baptism: “And he saw the Spirit of God descending like a dove and alighting on him; and a voice from heaven said, ‘This is my beloved Son, in whom I am well pleased.’ (KJV)
1989 was an immediate onslaught, says Dr. Michael Horne, professor emeritus of university music at Southern Methodist University’s Perkins School of Theology.
“For many congregations, it has become a staple in the worship service,” he says. “Because it is easily remembered, this song is often played and sung, as parishioners clap and hug those gathered for worship.”
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Born in Missouri and raised in the African Methodist Episcopal Church, Akers has been writing and recording gospel music for 15 years, writing and publishing Sweet, Sweet Spirit. In 1948, he formed the Simmons-Akers Trio, which recorded for several labels, including Victor RCA. In 1957, he released his first solo album, Sing Praises to God. The following year, Akers co-wrote “Lord, Copy the Town” with her friend Mahalia Jackson, which sold over 1 million records.
In the late 1950s, Akers founded the Sky Pilot Choir, a multiracial choir that appeared on radio and television in addition to performing regularly in Los Angeles churches. The band has recorded several albums and gained a following. Joining Gaither’s label in the 1990s and appearing in the gospel videos “Old Friends, Turn On Your Radio” and “Precious Memories,” Akers continued to record and perform for six decades.
Named “Miss Gospel Music,” Akers has been honored multiple times for her contributions to the genre. He was named Gospel Composer of the Year in 1960 and 1961 by the Gospel Music Association. In 1992, the Smithsonian Institution honored Akers as “America’s Best Black Gospel Songwriter.” He was posthumously inducted into the Gospel Music Hall of Fame in 2001 and the Southern Gospel Music Hall of Fame in 2011.
On July 26, 1995, at age 72, in Minneapolis, he served as minister of music at Grace Temple Rescue Center. Fanny Crosby (1820-1915) was a writer of several. His hymns contain special stories. “Triumphant Assurance” is what Crosby later referred to as its compositional setting, but not in great detail. In his autobiography,
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In a successful song, the words and music must match not only the number of syllables, but also the theme and especially the intonation. Nine times out of ten, a song’s success is directly related to these qualities. So the melody tells its own story and the purpose of the poet is to translate that musical story into language. “What does this melody say to you?” It’s not often that a songwriter asks. If he doesn’t tell you anything, your words won’t match the music when you try to join them. “Triumphant Assurance” my friend Joseph F. Written to a tune by Knapp; He played it once or twice on the piano and then asked me what he was saying. I replied,
“Triumphal Assurances” was written in 1873. Music by Joseph F. Written by Knapp, I was familiar with it as early as 1868, and he also wrote notes to several hymns, including “Near the Cross” and “Open the Temple Gates.” The English Weekly gives the following information about the use of “God be with you” and “Certificate of Victory” by soldiers for passwords. When a member of the Soldiers’ Christian Association meets a brother, he says “494.” Be with you until we meet you. ” the number.
; The latter answers “6 away”, i.e. 500, i.e. “Fatihal Certificate” number. Concerning this custom the Secretary of the Society writes: “These hymns are used by our members as greetings and responses; And I don’t think any member of the Soldiers’ Christian Association would write without putting it in a letter or an envelope. “
(1903), p. 126, written by his friend Will Carlton, as Crosby speaks in the first person  (and thus not Fanny Crosby’s words, though with her permission):
Page:the Methodist Hymn Book Illustrated.djvu/222
This is what “Triumphant Assurance” did. My dear friend, Joseph F. Knapp, who is known as a writer and singer of the most beautiful music, composed it as a help and inspiration to those who know it, and it seems sweet to me. I asked that a long time ago. He asked me to write a hymn for it, and as I added the words and chords, I felt that the air and the hymn fit together. The hundreds of times I’ve heard it sung have confirmed this fact.
Fanny Crosby and Phoebe Palmer Knapp (1839-1908) published the song three times in 1873, John R. Sweeney.
, No. 1 (Philadelphia: Methodist Episcopal Book Room, 1873 | fig. 1), in three stanzas; On the back cover of the issue
(Chicago: Bigelow and Maine, 1887). In the first stanza “bought” became “bought” and in the second stanza “renpt burst” became “rising now”. Integration is different in some ways. This version of the song became the accepted standard format for hymns.
The United Methodist Hymnal 144. This Is My Father’s World
A lengthy textual and musical analysis of the hymn can be found in blogger David Russell Hamrick’s work posted on January 29, 2011. Below he hits the heart of the song:
Crosby may have had Hebrews 10:22 in mind: “Having our hearts sprinkled from an evil conscience, our bodies washed in pure water, let us be fully convinced of the faith with a true heart.” The last line of the stanza, the source of the assurance, perhaps John 3:5 and Jesus’ words to Nicodemus, expands on the fact that we must be born again “of water and the Spirit.” After we are baptized into Christ and born again through the regeneration of the Holy Spirit, “this purchased inheritance is sealed with the Spirit of promise until we have purchased it to the praise of His glory” (Eph. 1:13-14). …
Because of this reality – washed by the blood of Christ, born again by the Spirit, “bought with a price” (1 Corinthians 7:23), from slavery to sin, we become heirs of the rich inheritance that God has planned. – We have “full guarantee”. It is not desire; Our faith is based on God’s promises, “that we may believe and not be ashamed of his coming” (1 John 2:28). We have “the assurance of things hoped for, the faith of things not seen” (Hebrews 11:1). It’s not “hope,” I hope my car starts in the morning, or I hope my job continues. It is a hope for the future based on immutable truths based on the assurance of the present. The words are based on a Middle Irish poem traditionally attributed to Dallan Fogale.
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