View source for Hymn

==In other religions==
===Buddhism===
{{Further|Buddhist chant}}[[Sutra]] chanting is a religious action recommended for [[Shin Buddhism|Shin Buddhist]] followers to carry out in their daily lives. Temple service chanting may include: dedications to the Three Treasures ([[The Buddha|Buddha]], [[Dharma]], [[Sangha]]) common to all Buddhist traditions; selections from ''The Three Pure Land Sutras'', which record the teachings of the Buddha; compositions of Pure Land Buddhist teachers such as [[Nagarjuna]] and [[Shandao]].<ref>{{Cite web |title=Chanting |url=https://www.buddhistchurchesofamerica.org/chanting |access-date=2024-04-10 |website=BCA |language=en}}</ref>

[[Stotra]]s are [[Sanskrit]] hymns or eulogies sung in praise of the divine and the transcendent. Usually associated with the [[Hinduism|Hindu]] and [[Jainism|Jain]] traditions, stotras are melodic expressions of devotion and inspiration found in other Sanskrit religious movements as well.<ref name=":3">{{Cite web |title=Bodhisvara - Melodies of Awakening |url=http://www.bodhisvara.com/?cat=8 |access-date=2024-04-10 |website=Bodhisvara |language=en-US}}</ref>

In the [[Buddhism|Buddhist]] world, the practice of singing these hymns is still alive today in [[Nepal]]. Min Bahadur Shakya, former director of the Nagarjuna Institute of Exact Methods in Lalitpur, Nepal, writes:<ref name=":3" />
{{Blockquote|text=In prosperity or distress, the Nepalese people worship and pray to the Buddhas and Bodhisattvas for protection, good health, prosperity, and family welfare and also for liberation from cyclic existence. The stotras or hymns throw light on various aspects of Buddhist doctrines. The stotras are sung by sadhakas during their meditation or act of devotion. The contents of these strotras are of varied nature ranging from simple act of confession, qualities of Buddhas and Bodhisattvas, praises of deities of both mundane and supra-mundane [nature], iconographic data of various tantric deities and also explanation of Buddha’s teachings themselves in the form of verses. These stotras can be sung with melodious music and can imprint the devotees significantly even in this modern world through the multimedia device.|author=Min Bahadur Shakya}}

===Confucianism===
{{Further|Classic of Poetry}}

The earliest entries in the oldest extant collection of [[Chinese poetry]], the ''[[Classic of Poetry]]'' (''Shijing''), were initially [[lyrics]].<ref name="Ebrey">{{cite book |surname=Ebrey |given=Patricia |title=Chinese Civilisation: A Sourcebook |edition=2nd |place=New York |publisher=The Free Press |year=1993 |isbn=978-0-02-908752-7 |url=https://archive.org/details/chinesecivilizat00patr/page/11 |pages=[https://archive.org/details/chinesecivilizat00patr/page/11 11–13]}}</ref> The ''Shijing'', with its collection of poems and folk songs, was heavily valued by the philosopher [[Confucius]] and is considered to be one of the official [[Four Books and Five Classics|Confucian classics]]. His remarks on the subject have become an invaluable source in [[Music theory#China|ancient music theory]].<ref>{{cite journal |surname=Cai |given=Zong-qi |title=In Quest of Harmony: Plato and Confucius on Poetry |journal=Philosophy East and West |date=July 1999 |volume=49 |issue=3 |pages=317–345 |doi=10.2307/1399898 |jstor=1399898}}</ref>

===Islam===
{{Further|Nasheed|Sufi music|Qawwali}}During the time of the Prophet Mohammed, [[Islamic music]] was originally defined by what it didn't contain: no strings, brass, or wind instruments and no female vocals. The only instrument initially allowed was minimal percussion by an Arabic drum called the ''[[daf]]''.<ref>{{Cite book |last=Hewer |first=Chris |url=https://books.google.com/books?id=nGWmDwAAQBAJ |title=Understanding Islam: The First Ten Steps |date=2014-07-28 |publisher=SCM Press |isbn=978-0-334-05233-3 |pages=121 |language=en}}</ref> This minimal form remains widely practiced in the Gulf and some other parts of the [[Arab world]].<ref name=":4">{{Cite web |last=Saeed |first=Saeed |date=2012-07-31 |title=Music of the Arab World: The sound of Islam |url=https://www.thenationalnews.com/arts-culture/music/music-of-the-arab-world-the-sound-of-islam-1.403303 |access-date=2024-04-10 |website=The National |language=en}}</ref>

However, in places such as Turkey and Southeast Asia, several new styles of spiritual songs have developed. In Turkey, [[Sufism|Sufi]] adherents incorporate music into worship. The most popular are services undertaken by Mevlevi Sufis, which include chanting and the [[Mevlevi Order|whirling dervishes]].<ref>{{cite web |title=The Mevlevi Sema Ceremony |url=http://www.unesco.org/culture/intangible-heritage/39eur_uk.htm |url-status=dead |archive-url=https://web.archive.org/web/20140426232331/http://www.unesco.org/culture/intangible-heritage/39eur_uk.htm |archive-date=April 26, 2014 |access-date= |publisher=UNESCO}}</ref>

In Pakistan and Southeast Asia, the most recognized form of devotional music is ''[[qawwali]]''.<ref>{{Cite web |title='Aaj rang hai' – Qawwali revisited |url=http://twocircles.net/2013mar07/‘aaj_rang_hai’_qawwali_revisited.html |url-status=dead |archive-url=https://web.archive.org/web/20180818214847/http://twocircles.net/2013mar07/%E2%80%98aaj_rang_hai%E2%80%99_qawwali_revisited.html |archive-date=2018-08-18}}</ref> Performed by up to nine men, a ''qawwali'' group would often use instruments such as the [[Pump organ|harmonium]] (a type of keyboard) and percussion instruments including a [[tabla]] and [[dholak]].<ref>{{cite book |author=Kamal Salhi |url=https://books.google.com/books?id=Dc5iAgAAQBAJ |title=Music, Culture and Identity in the Muslim World: Performance, Politics and Piety |publisher=Routledge |year=2013 |isbn=978-1-317-96310-3 |pages=183–184}}</ref> The songs often run from 15 to 30 minutes and include instrumental preludes, repeated refrains and vocal improvisation. In recent times, [[nasheed]] artists from the Gulf have found innovative ways to overcome the no-instrument rule.<ref name=":4" />

Albums by Sharjah's [[Ahmed Bukhatir]] and Kuwait's [[Mishari bin Rashid Alafasy|Mishary Rashid Al Afasy]] use studio trickery and manipulate backing vocals to sound like a synth piano or string section. In the West, groups such as America's [[Native Deen]] and Australia's The Brothahood use hip-hop music to get their spiritual message across to a new generation of young Muslims.<ref>{{Cite web |title=Native Deen's Muslim Rap |url=http://infousa.state.gov/education/overview/muslimlife/rap.htm |url-status=dead |archive-url=https://web.archive.org/web/20100328045003/http://infousa.state.gov/education/overview/muslimlife/rap.htm |archive-date=2010-03-28}}</ref> The nasheeds in English by South Africa's Zain Bhikha secured him a large following in Europe and the Middle East.<ref name=":4" />

===Jainism===
{{Further|Bhaktamara Stotra}}Known as ''stavan'' or, in [[Hindi]], ''bhajan'', [[Jainism|Jain]] hymns are composed and performed to praise the Jinas. Written in every language Jains have used, the predominant pada form reflects Jain involvement in Indian poetics and in the ''[[bhakti]]'' devotional movement more commonly associated with [[Hinduism]].<ref>{{Cite web |title=Songs of devotion |url=https://jainpedia.org/themes/practices/songs-of-devotion/ |access-date=2024-04-10 |website=Jainpedia |language=en-US}}</ref>

Musically, Jain hymns can be grouped into the folk genres of devotional music in western India, such as Gujarāti rās-garbā and [[Rajasthani languages|Rājasthāni]] folk music.

There are six obligatory acts that are expected to be performed by Jains sequentially as a single act twice daily. The second one of these is showing reverence to the [[Ford-Makers|ford-makers]], which is done by reciting a twenty-four-verse hymn of praise to the [[Tirthankara]]s.<ref>{{Cite book |last1=Robinson |first1=Thomas Arthur |url=https://books.google.com/books?id=20DBvovDC0QC&q=%22jainism%22+%22hymn%22 |title=World Religions |last2=Rodrigues |first2=Hillary |date=2006 |publisher=Hymns Ancient and Modern Ltd |isbn=978-0-334-04014-9 |pages=228 |language=en}}</ref>

One of the most popular devotional hymns of the Jains is the ''[[Bhaktāmara Stotra|Bhaktāmara-stotra]]'' – ''Devoted Gods'' hymn. Both main sects of [[Sthanakvasi|Śvetāmbaras]] and [[Digambara]]s accept it, counting 44 and 48 stanzas respectively. It is dedicated to the first Jina, Ṛṣabhanātha or Lord Ṛṣabha, frequently known as [[Rishabhanatha|Ādinātha]], meaning ‘First Lord’. The title comes from the first verse, which says that ‘his feet enhance the lustre of the jewels set in the crowns lowered by the devoted gods’.<ref>{{Cite web |title=Bhaktāmara-stotra |url=https://jainpedia.org/themes/principles/sacred-writings/highlights-of-jainpedia/bhaktamara-stotra/ |website=Jainpedia}}</ref>

===Judaism===
{{Further|Piyyut|Psalms}}The [[Hebrew language|Hebrew]] word ''[[Zemirot]]'' means literally 'songs' or 'hymns' but is used to refer to two specific repertories: The first, according to the Sephardic tradition, refers to the preliminary section of psalms and biblical verses recited during the ''[[Shacharit]]'' (morning) prayers: the [[Ashkenazi Jews|Ashkenazic]] terminology refers to these Psalms as ''Psukeydezimra''. The second repertory is well defined in Neil Levin's Overview of his ''Z'mirot Anthology.''<ref>{{Cite web |title=Zemirot |url=https://jewish-music.huji.ac.il/node/21679 |access-date=2024-04-10 |website=jewish-music.huji.ac.il}}</ref>
{{Blockquote|text=In Ashkenazic tradition the term refers to ''z'mirot shel Shabbat'' (Sabbath hymns) translated variously as table songs, domestic songs and home songs. These are a specific set of religious poems in Hebrew or Aramaic written mostly between the 10th and 17th centuries, which are sung during and directly after Sabbath meals. The musical versions are numerous and heterogeneous reflecting a wealth of different styles and geographic origins, and comprising an ever expanding body of folk material.|source=Neil Levin<ref>Levin, Neil (1997). Z'mirot Anthology. Hal Leonard Corp. ISBN 0933676050.</ref>}}
Over many centuries the Jews of Spain and Portugal–the original [[Sephardic Jews|Sephardim]]– developed their own form of religious worship. Their services were enhanced by the addition of poetry for special occasions such as the major festivals (''[[Three Pilgrimage Festivals|Shalosh r’galim]]'') and the ''[[High Holy Days|Yamim nora’im]]'' (High Holidays). Most of these poetic insertions are rhymed, metrical hymns (''[[piyyut]]im'') and were the products of great literary figures during the [[Golden age of Jews in Spain|Golden Age of the Jews]] in Spain (c. 950–1150). Among these were Solomon ibn Gabriol, Judah Halevi and the two Ibn Ezras—Abraham and Moshe.<ref>{{Cite journal |last=Kanter |first=Maxine R. |title=Non-Ashkenazic traditions - Leitmotifs in Sephardic High Holiday Liturgy |url=https://www.cantors.org/wp-content/uploads/2016/10/JSM-2013.pdf |journal=Journal of Synagogue Music |volume=38 |pages=34}}</ref>

One of the main features of devotional music and hymns in Judaism, especially when utilized in synagogue ritual on the [[Sabbath]] and other holy days, is that it is almost entirely vocal. Though today, accompanying instruments such as the organ might be utilized in worship, the emphasis on congregational song and the art of the [[Hazzan]] has always been, and still is, paramount.<ref name=":5">{{Cite web |last=Denburg |first=Moshe |year=1997 |title=An Overview of Jewish Music |url=https://www.jewishvirtuallibrary.org/an-overview-of-jewish-music |access-date=2024-04-10 |website=www.jewishvirtuallibrary.org}}</ref>

The one salient exception to this is an instrument called the [[Shofar]], a ram's horn which is sounded on the High Holidays (the [[Rosh Hashanah|Jewish New Year]] and [[Yom Kippur|Day of Atonement]] - Rosh Hashana and Yom Kippur, respectively), as a special call to prayer and [[Repentance in Judaism|repentance]].<ref name=":5" />

===Shinto===
{{Further|Kojiki|Engishiki|Man'yōshū}}According to Japanese mythology, Shinto music stems from the time of the gods when there was no earth and sea. In [[Shinto]]ism, sacral music is called ''Mi-kagura''. The word ''kagura'' means "the gods' delight". The prefix "''Mi''" raises the value of the subject intensely. It should be translated "the sublime greatest of great gods". In praxis there are two kinds of ''kagura'', ''Mi-kagura'' and rural ''kagura''. ''Mi-kagura'' is strictly reserved and dedicated to the Imperial house and the highest nobility and clergy; rural ''kagura'' is a most colourful and vivid presentation of the popular feats of supramortal and mortal heroes.<ref>{{Cite journal |last=Harich-Schneider |first=Eta |date=1983 |title=Dances and Songs of the Japanese Shintō Cult |url=https://www.jstor.org/stable/43560874 |journal=The World of Music |volume=25 |issue=1 |pages=24 |jstor=43560874 |issn=0043-8774}}</ref>

===Zoroastrianism===
{{Further|Gatha (Zoroaster)}}The sacred songs attributed to Zoroaster (Zarathustra), the poet-priest and founder of Zoroastrianism, are called [[Gatha (Zoroaster)|Gathas]]. The Gathas, consist of seventeen hymns composed by the great poet-prophet [[Zoroaster|Zarathushtra]] around 1200 BC. They are arranged into five groups based on their meter:<ref name=":6">{{Cite web |title=The Gathas ("Hymns") of Zarathushtra |url=http://www.avesta.org/gathas.htm |access-date=2024-04-10 |website=www.avesta.org}}</ref>

* Ahunavaiti Gatha (Y28 - Y34)
* Ushtavaiti Gatha (Y43 - Y46)
* Spentamainyush Gatha (Y47 - Y50)
* Vohukhshathra Gatha (Y51)
* Vahishtoishti Gatha (Y53)

The Gathas are also filled with word plays and deliberate ambiguities, and they were likely intended to be used by initiates as meditative instruments to enlightenment.<ref name=":6" /> Only occasionally do the Gathas give an exact and clear picture of Zoroaster's actual teachings, but in general they reflect them in a modified and elaborated form, many times marked by complexity and ornateness of style, the prophet demonstrating his poetical skill in order to stimulate Ahura Mazdā to fulfil his requests or to answer his questions.<ref>{{Cite web |last=Humbach |first=Helmut |title=Gathas |url=https://iranicaonline.org/ |access-date=2024-04-10 |website=iranicaonline.org |language=en-US}}</ref>