_Italian_—Ambrose, 4th century Gregory the Great, 6th century Palestrina, 1525-94 _French_—Louis Bourgeois, c. 1510-? _German_—Luther, 1483-1546; Nicolai, 1556-1608; Hassler, 1564-1612; Praetorius, 1571-1621; Crüger, 1598-1662; Bach, 1685-1750. _English_—Tallis, 1510-85; Gibbons, 1583-1625; Croft, 1678-1727; Gauntlett, 1805-76; Monk, 1823-99; Dykes, 1823-76; S. Wesley, 1810-76; Barnby, 1838-96; Stainer, 1840-1901; Sullivan, 1842-1900. _American_—L. Mason, 1792-1872; Bradbury, 1816-68; Hastings, 1784-1872; Stebbins, 1846-1945. The great composers, besides Bach, whose names are found in church hymnals are: Haydn, Beethoven, Handel, Mozart, Mendelssohn, Gounod, and Sibelius. The above is only a partial list of composers of good church music. Among their works is a corpus of fine hymn tunes far greater than has been utilized by the church so far. For years to come, compilers of hymn books will have a vast reservoir of excellent tunes, old yet new, to draw from. d. Sources of tunes. An examination of the origin of church tunes shows a variety of sources. Many tunes were especially written for the words to which they are set; others are adaptations from early medieval chants; still others, as for example, the “Passion Chorale” and “Londonderry Air”, were folk tunes originally used with secular words. Some of our best tunes are adaptations of melodies from larger musical works, as for example, “Hymn to Joy” (10) from Beethoven’s _Ninth Symphony_; “Finlandia” (54), from a tone poem by Sibelius; and “Seymour” (36), from Weber’s opera, _Oberon_. e. Tune names. Composers usually name their tunes in order to facilitate their identification. The names given them are selected quite arbitrarily. W. H. Havergal, prolific composer of church music, named his tunes after the rivers, mountains, valleys, etc., of Palestine, e.g. “Abana,” “Ahava,” “Ararat,” “Baca,” etc. Other tunes have been named for the composer, e.g., “Bradbury” (395); the name of a friend, e.g., “Rockingham” (105); name of a city or village, e.g., “Boylston” (214); a street, “Federal Street” (192); a cottage, “Hollingside” (159); an event in history, “Nicaea” (1); or the central idea in the words, “Pilot” (161). In Germany, the usual practice has been to name the tune after the first line of the hymn to which it was originally set. Some tunes, unfortunately, are known by more than one name, e.g., “St. Michel’s” (93) and “Jerusalem, Jerusalem” (125). In a few cases the same name is given to several tunes, e.g., “Wesley” (309 and 332). This is confusing and it is highly desirable that hymnbook editors strive toward uniformity of nomenclature. 19. John Wesley’s Rules for Singing.