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The congregations of the Reformed Church District of Királyhágómellék and Transylvania replaced the older hymnbooks twenty years ago. The replacement of 1921 hymnbook, previously used in the Partium region, and of the 1923 hymnbook used in Transylvania, opened a new chapter in the church singing practice. When comparing the origin and style layer of the songs in the two hymnbooks, the difference is striking, especially with respect to the 19th century melodies and the amount of 18–19th century ad notam songs in the 1921 hymnbook. From a structural point of view, the Hungarian Reformed Hymnbook focuses mostly on the hymns of the Reformation era and the German choral melodies, quantitatively closely followed by the Anglo-Saxon and Romantic hymns. The other valuable medieval, baroque and 20th century hymns are present in a merely symbolic proportion. During a hymnbook revision, it is not enough to drop rarely used or undervalued hymns. Rather, hymns with weakened influence need to be replaced. This is how we should approach our new hymnbook published nearly a quarter of a century ago. Its substantially new material should be regarded as a “profit” that needs to be discovered repeatedly and adopted in our worship services.

For centuries, our hymnbooks bring to the fore not only the issue of musical literacy but also tradition. The Reformed church singing in Transylvania and the Partium was determined by traditions rather than by the sheet music itself. From the beginning of the 19th century the Transylvanian hymnbooks were created under the influence of the spirit of the time. A typical example of this is the hymnbook edited under the influence of theological rationalism in 1837. The hymnbook, edited by Seprődi János in 1908, only partially corrected the melody deterioration while the edition of 1923 further preserved the sorting of cut and leveled melodies, which lacked psalms and old Hungarian songs. If we compare the 1837 hymnbook with the one published in 1921 in Debrecen, which also provides balanced melodies, we can see that melodies enriched with melisma remain in practice in Transylvania and this tradition is still preserved in many places to this day.

The history of men’s church choir in the Reformed Church of Cehu Silvaniei (Szilágycseh) dates back to more than a hundred years. Since its inception, it has taken a well-organised form, which like the presbyteries had its own management and financial fund. The men’s choir plays an exemplary role for singing culture in maintaining continuity, maintaining a repertoire of vocals preserved and passed on for decades, and in enhancing the quality of church and funeral services.

We are always seeking for the sense of the life, for ourselves and for the place in our family and community. Religion shows a new way to us, according to Jesus Christ’s principles. The son of God not only created a religion, but gave us an example how to live, and sacrifice himself for us. Sándor Karácsony reckons religion as a spiritual behavior, the base of our social contacts. We have to see into our lives and character according to the message of Jesus Christ. The right and appropriate personality can be evolved by individual training.

The views of Sándor Karácsony about religious education can be clearly discerned from his writings. The main task of reformed pedagogy is to activate continuously the divine notions in this continuously changing world. Protestant teachers must accomplish their daily work according to the Gospel of Christ. The Hungarian Reformed Church was a so-called “church of schools” for hundreds of years. This means that even between WWI and WWII it owned more schools than churches. The number of Reformed schools is significant even today. Sándor Karácsony claims that only Reformed people and communities are able to maintain Reformed schools by people who “are ready to serve and sacrifice themselves” for this cause (Karácsony, Sándor: A magyarok Istene. Széphalom Könyvműhely, Budapest 2004, 172).