Phss Session 10a: Introducing The Wesleys
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Both John and Charles Wesley considered their conversions to have taken place long after their call to ministry.
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True
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False
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Explore the distinct hymnody of Charles Wesley compared to Isaac Watts, understand the Wesley brothers' conversions and influences, and delve into Methodist musical styles of the 1700s. This quiz enhances knowledge of religious music history and its cultural impact.
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- 2.
Altogether, Charles Wesley wrote how many hymns? (choose one)
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Probably 41
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Nearly 1000
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Less than 5000
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About 6500
Correct Answer
A. About 6500Explanation
Charles Wesley wrote a vast number of hymns throughout his lifetime. The answer "About 6500" suggests that he wrote approximately 6500 hymns. This number is significantly higher than the other options provided, indicating that Charles Wesley was an incredibly prolific hymn writer. His extensive body of work has had a lasting impact on Christian worship and hymnody.Rate this question:
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- 3.
The Wesley brothers were quite impressed with what religious group, which later reflected in their hymnody? (choose one)
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Jehovah's Witnesses
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Moravian Cistern
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Anglican clergymen
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Moravian Brethren
Correct Answer
A. Moravian BrethrenExplanation
The correct answer is Moravian Brethren. The Wesley brothers, John and Charles Wesley, were members of the Anglican Church but were greatly influenced by the Moravian Brethren. They were impressed by the Moravians' deep spirituality and their emphasis on personal faith and religious experience. This influence is evident in their hymnody, as they incorporated many Moravian themes and ideas into their hymns.Rate this question:
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- 4.
Some differences between the hymns of Isaac Watts and Charles Wesley include the following: (choose as many as apply)
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Wesley used more variety of hymnic meter than did Watts
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Watts was associated with electrical power, while Wesley was a university in Indiana
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Watts was more declarative praise, while Wesley also employed broader subjects
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Watts was a Dissenter, while Wesley was an Anglican
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Watts was a Calvinist, and Wesley was Arminian
Correct Answer(s)
A. Wesley used more variety of hymnic meter than did Watts
A. Watts was more declarative praise, while Wesley also employed broader subjects
A. Watts was a Calvinist, and Wesley was ArminianExplanation
The answer is Wesley used more variety of hymnic meter than did Watts, Watts was more declarative praise, while Wesley also employed broader subjects, Watts was a Calvinist, and Wesley was Arminian. This is because the passage states that Wesley used more variety of hymnic meter than Watts, and that Watts was more focused on declarative praise while Wesley incorporated broader subjects. Additionally, it mentions that Watts was a Calvinist and Wesley was Arminian, indicating a difference in their theological beliefs.Rate this question:
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- 5.
Identify five of the instructions given by John Wesley for congregational singing. (choose five)
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Sing the tenor part, because it is more spritual
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Beware of singing as if half dead or half asleep
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Sing slowly and deliberately
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Sing modestly
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Sing all
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Do not run before or stay behind
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Sing them as they are printed
Correct Answer(s)
A. Beware of singing as if half dead or half asleep
A. Sing modestly
A. Sing all
A. Do not run before or stay behind
A. Sing them as they are printedExplanation
The correct answer includes five instructions given by John Wesley for congregational singing. These instructions are to beware of singing as if half dead or half asleep, to sing modestly, to sing all, to not run before or stay behind, and to sing them as they are printed.Rate this question:
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- 6.
What are some of the stylistic traits of Methodist tunes of the 1700s? (choose as many as apply)
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Verse and chorus employing the same chord loop throughout
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Long, wandering melodies, with few repeats
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Definitely tonal, but with secondary dominants along the way
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Usually employs a chorus in the relative major
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Melody in the soprano, sung without accompaniment
Correct Answer(s)
A. Long, wandering melodies, with few repeats
A. Definitely tonal, but with secondary dominants along the way
A. Melody in the soprano, sung without accompanimentExplanation
The stylistic traits of Methodist tunes in the 1700s included long, wandering melodies with few repeats. They were definitely tonal, but also incorporated secondary dominants along the way. The melody was typically sung in the soprano, without any accompaniment.Rate this question:
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Current Version
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Mar 20, 2023Quiz Edited by
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Oct 30, 2011Quiz Created by
Keneread
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