<Tr> <Td> </Td> <Td> Battle Hymn of the Republic The Battle Hymn of the Republic, performed by Frank C. Stanley, Elise Stevenson, and a mixed quartet in 1908 . </Td> </Tr> <Tr> <Td_colspan="2"> Problems playing this file? See media help . </Td> </Tr> <P> Wesley's contribution, along with the Second Great Awakening in America led to a new style called gospel, and a new explosion of sacred music writing with Fanny Crosby, Lina Sandell, Philip Bliss, Ira D. Sankey, and others who produced testimonial music for revivals, camp meetings, and evangelistic crusades . The tune style or form is technically designated "gospel songs" as distinct from hymns . Gospel songs generally include a refrain (or chorus) and usually (though not always) a faster tempo than the hymns . As examples of the distinction, "Amazing Grace" is a hymn (no refrain), but "How Great Thou Art" is a gospel song . During the 19th century, the gospel - song genre spread rapidly in Protestantism and to a lesser but still definite extent, in Roman Catholicism; the gospel - song genre is unknown in the worship per se by Eastern Orthodox churches, which rely exclusively on traditional chants (a type of hymn). </P> <P> The Methodist Revival of the 18th century created an explosion of hymn - writing in Welsh, which continued into the first half of the 19th century . The most prominent names among Welsh hymn - writers are William Williams Pantycelyn and Ann Griffiths . The second half of the 19th century witnessed an explosion of hymn tune composition and choir singing in Wales . </P>

Who created the congregational song style called lutheran chorale