I øjeblikket registreres samlingen, så arkivalierne fremover bliver søgbare via Rigsarkivets søgebase.Registreringen forventes afsluttet i løbet af 2017.They moved in quicker tempo and employed sentimental harmonies and bouncing rhythms to attract young minds and hearts and "prepare" them to receive the spoken message. Most of the songs were of the general caliber of the first volume.
A third one in English appeared in the same year: Lutheran Hymnal for the Sunday School, edited by D. These books represented somewhat belated efforts in a field which by this time had been well traversed by a score of clergymen  who had become part-time editors and publishers. Harpen contained no familiar Lutheran hymns, but did include three well-known Christmas tunes "Glade jul" (Silent Night),  "Deilig er den himmel blaa" (Bright and Glorious Is the Sky), and "Det kimer nu til julefest" (The Happy Christmas Comes Once More) plus the English tune, "Martyrdom." There was almost no documentation of musical sources.It is their work which this article proposes to survey. The first volume was received so enthusiastically that two more printings were issued the same year.In the last quarter of the nineteenth century the composition of the Norwegian-American Lutheran Church presented a confusing picture. Hoyme and Lund later served neighboring parishes in Eau Claire and Menomonie, Wisconsin.Indeed, it is incorrect to speak of a Lutheran church. It was then that they jointly compiled and published Harpen. Brøhaugh, published Vægterrøsten, immigrated as a child and was educated in this country.Falk Gjertsen and Jonas Engberg, Firstemmige melodier til hjemlandssange (Chicago, 1879); A. Volume 4 was directed more specifically toward the choir than were any of the others. There were 38 in all and among them was Dimitri Bortnianskys "Cherubic Hymn." His music stood in sharp contrast to that in the rest of the volume. It has a monotonous quality, resulting from the fact that it is shot through with melodic, harmonic, and rhythmic clichés.
Haagensen, Melodier til pilegrims sangeren (Chicago, 1881); B. Harmonies remain static, while melodies repeat rhythmic patterns.
In addition, a few congregations still used Guldbergs Salmebog. The editors must have taken the songs exactly as they found them.
These books, although generally satisfying to the older people, failed to meet the needs of the young, who thought the Lutheran hymns stodgy and uninteresting and who, furthermore, were becoming bilingual and wanted to sing hymns in English as well as in Norwegian. All of the volumes of Harpen were published in Norwegian.
But toward the end of the nineteenth century there was an insistent demand for a new type of expression. Most chorales are characterized by a rather simple, straightforward, unadorned type of melodic movement, which distinguishes them from the lighter, more lyrical hymn tunes of the nineteenth century.
It sprang from religious revivals, which emphasized individual experience as essential to Christian faith. As the Norwegian language has no equivalent to the English word "hymn," all Norwegian hymn tunes come under the term koral.
These academies and seminaries were training schools for leaders of the middle-of-the-road Norwegian Lutheran bodies.