OPENING OF NEW PIPE ORGAN, 
 
 FIRST PRESBYTERIAN CHURCH, 
 
 AUSTIN, TEXAS, 
 BY 
 
 CLARENCE EDDY, 
 
 MARCH 18TH, 1900. 
 
 SERMON PREACHED BY 
 
 EDWARD B. WRIGHT, PASTOR. 
 
 PUBLISHED BY REQUEST OF THE CHOIR, 
 
 COMPLIMENTS OF 
 
 ORGAN FUND COMMITTEE, 
 
 WILLIAM G. BELL AND CHAS. L. CONDIT. 
 
SPECIFICATIONS OF TWO MANUEL PIPE ORGAN 
 
 BUILT BY M. P. MOLLER. HAGERSTOWN, MD.. 
 FOR FIRST PRESBYTERIAN CHURCH — AUSTIN, TEXAS. 
 
 The Casf is of Quartered Oak. 
 
 Front Pipes: (Speaking) richly ornamented in gold and colors. 
 
 Pedals: Compass, C C C to F, 30 notes. 
 
 GREAT ORGAN. 
 
 1. 16 foot Bourdon wood, 61 pipes. 
 
 2. S foot Open Diapason metal, 61 pipes. 
 
 3. 8 foot Duleiana metal. 01 pipes. 
 
 4. 8 foot Doppel Floete wood. 61 pipes. 
 
 5. 4 foot Principal metal. 61 pipes. 
 
 6. 4 foot Flute D' Amour wood, 61 pipes. 
 
 7. 2f foot Twelfth metal, ill pipe-,. 
 
 8. 2 foot Fifteenth .metal, 61 pipes. 
 
 9. 8 foot Trumpet metal, 61 pipes. 
 
 SWELL ORGAN. 
 
 10. 8 foot Open Diapason wood and metal, (il pipes. 
 
 11. 8 foot Viola metal, 61 pipes. 
 
 12. 8 foot Stopped Diapason wood, 61 pipes. 
 
 13. 4 foot Flute liarnioiiigue metal, 61 pipes. 
 
 14. 4 foot Violina metal. 61 pipes. 
 
 15. 2 foot Flautinia metal, 61 pipes. 
 
 ](j. :: ranks Mixture metal, 183 pipes. 
 
 17. 8 foot Oboe 
 
 18. 8 foot Basson reeds, 61 pipes. 
 
 19. S foot Aeidiixi metal, 61 pipes 
 
 PEDAL ORGAN. 
 
 20. 16 foot Bourdon wood, 30 pipes. 
 
 21. 16 fool Piute wood, 30 pipes. 
 
 1 6 toot Open Diapason | wood. 30 pipes. 
 
 MECHANICAL REGISTERS. 
 
 22. Swell to Great Coupler. 
 
 23. Great to Pedal Coupler. 
 
 24. Swell to Pedal ( bupler. 
 2.3. Tremol >. 
 
 26. Bellows Signal. 
 
 Swell bo I r-real < ictaves. 
 Wind [ndicatou 
 
 PEDAL MOVEMENTS. 
 
 1. Porte Combination Great Organ. 
 
 2. Piano Combination Greal Organ, double acting. 
 
 3. Porte Combination Swell Organ,. 
 
 4. Piano Combination Swell Organ, double acting. 
 
 5. Balanced Swell Pedal. 
 
 SIMM WW . 
 
 Goreal Organ 9 stops 549 pipes. 
 
 Swell Organ 10 stops 671 pipes. 
 
 Pedal I i. mm 2 stops 90 pipes. 
 
 Mechanical Register 6 stops 
 
 Pedal Movements 5 stops 61 pipes. 
 
 Total 31 stops 1371 pipes. 
 
 II,,. organ puroha ed bo delel i the Piftieth Anniversary of bhe Church, 
 
'RELATION OF MUSIC TO LIFE AND WORSHIP." 
 
 PSA] m 92:1-4. 
 
 It is a good thing to give thanks unto the Lord. 
 and to sing praises unto thy name, Most High: 
 
 To shew forth thy loving kindness in the morn- 
 ing, and thy faithfulness every night. 
 
 Upon an instrument of ten strings, and upon 
 the psaltery; upon (lie harp with a solemn sound. 
 
 For thou. Lord, hast made me glad through 
 thy work: I will triumph in the works of thy 
 'hands. 
 
 It is our desire on this Sabbath day, ithe first Sabbath our new organ is used 
 fur divine worship, to preach on "The Relations of Music to Worship." The 
 Book of Psalms expresses the emotions of God's people everywhere and always. 
 Consequently, there is no book in the New Testament corresponding to the Psalms, 
 because none is needed. 
 
 The Directory for Worship of the Presbyterian Church is quite clear concern- 
 ing the duty of Christians as to the service of song, viz.: 
 
 "I. It is the duty of Christians to praise God, by singing psalms, or hymns, 
 publicly in the church, as also privately in the family. 
 
 "II. In singing the praises of God, ,we are to sing with the spirit, and with 
 the understanding also; making melody in our hearts unto the Lord. It is also 
 proper that we cultivate some knowledge of the rules of music; that we may 
 e God in a becoming manner with our voices as well as with our hearts. 
 
 "III. The whole congregation should be furnished with books, and ought to 
 join in this pant of the worship. 
 
 "IV. The proportion of the time of public worship to be spent in singing is left 
 
■ to the prudence of every minister; but it is recommended that mo-re time be 
 allowed for this excellent part of divine service than has been usual in most of 
 our churches." 
 
 We wish we had the power to speak of the relations of music to worship as 
 this subject should be treated, for it is exceedingly important. There are the 
 best of reasons, psychologically and physiologically, why music has a powerful 
 influence over us. The simplest and best reason is, "God ima.de us so." As 
 Brainard says of music : 
 
 "God is its author and not man, 
 He laid the keynote of all harmonies, 
 He planned all perfect combinations, 
 And he made us so that we could hear and understand." 
 
 And Longfellow : 
 
 "'Yea, music is the prophet's art, 
 Among the gifts that God hath sent, 
 One of the most magnificent." 
 
 God so created us that music softens the asperities of our nature, calms our 
 nervous system when too highly excited, disposes us to gentleness and to kinder 
 views of our fellovvmen. and to nobler and more exalted views of God. The old 
 poem is true that speaks of its influence over the savage breast, Our mission- 
 aries tell us how a musical instrument, a piano or organ, by its attraction, 
 brings many wild men under the influence of gospel truth. In mythology you 
 have read how Orpheus, with his melodious voice and seven-stringed lyre, drew 
 after him rocks and 'trees, tamed the wildest animals, and stilled whirlwinds and 
 tempests : thus beautifully symbolizing .the power of music. Music might be 
 defined as "That art which affects the soul by tones." To say that music, espe- 
 cially of that kind called sacred, tends toward a devotional frame of mind, and 
 is in every way fitted to be an expression of the soul's desires to God, and to 
 prepare us to worship him more acceptably in all the services of His house, would 
 only be to say of music what the Bible recognizes as true, and what the expe- 
 rience of every devout heart finds for itself true. As Addison has it in ihis 
 Song for St. Cecilia's Day: 
 
 "Music religious heat inspires, 
 
 It wakes the soul and lifts it 'high, 
 And wings it with sublime desires, 
 And fits it to bespeak the Diety." 
 
 Hooker says that church music was designed that the sweetness of melody 
 might make some entrance for divine things on grosser minds, not reached by 
 word>. The incorrectness of that statement is that lie did not say "all minds," 
 i'Mcad of "grosser minds." I read a most touching account of the great singer, 
 Miss Clara Louise Kellogg, visiting a lunatic asylum where the most violent 
 became subdued, and many sobbed like little children ai the sweet strains of song. 
 
It was perihaps fortunate for me that I was brought up in a part of the coun- 
 try where great attention was paid to churoh music. My father was very devoted 
 to music (and his father before him), and. though he left little property when 
 lie died, yet on his death-bed he told my mother to give the boys the advantages 
 of a musical training, which she tried to carry out a- besri -lie could. The young 
 men i:t our town played in the church on many kinds of instruments — violins 
 and violincellos, basses and double basses, cornets, clarinets, flutes, etc. — even 
 before we had an organ. No one told them that it was wrong or improper. 
 They thought they read the Psalms and other scriptures intelligently, which 
 called on men to praise the Lord with all manner of musical instrument-; nor 
 have I yet found out that they were in error. Great was my surprise to learn 
 afterwards that there were people (and people who also read their Bibles) who 
 thought it was wrong to use instruments in church worship. 
 
 All who believe at all in the use of instruments in worship of course testify 
 unanimously that the pipe organ is the grandest in-i i iimem of all. The Century 
 Dictionary says of it: "'The largest, the most complicated and the noblest of 
 musical instruments." In a learned article in the "Sunday School Times," by 
 Dudley Buck, Doctor of Music, on "Church Singing, How it Should be Led," he 
 says: "I am free 'to say that my first thought was, how can any one doubt, that 
 ■the organ is the ideal instrument in its adaptation to the leading of church 
 singing?" While asserting that 'the organ, though emphatically remaining the 
 "king of instruments" and showing that the organ may not under all circum- 
 stances and in certain method- of its use, be the ideal instrument, he says: 
 "It is in the foundation stores (diapasons, etc.) that we find the organza unique 
 tone color, often distinctively called 'organ tone.' as being something all its own, 
 and in no sense imitative. It i- this which makes the instrument, despite sundry 
 limitations, superlatively the best for church use, not to speak of its power of 
 indefinitely prolonging a tone in a manner that not even the stringed instruments 
 po-.-ess. 
 
 "It is also this quality which should predominate in any well-balanced organ, 
 and, in case of an instrument built for a church where really hearty congrega- 
 tional singing prevails, this solidity should especially assert it -elf. Such an 
 instrument should also possess a strong pedal-bass, more powerful and pervading 
 than is found in the average so-called well-appointed instrument, even when pre- 
 sumably built for the express purpose of 'leading' congregational singing. Upon 
 such a pedal sub-foundation all necessary brilliancy can lie readily built up. 
 The reason why such special provision for the 'sub-bass' should be made, lies in 
 the fact that a congregation is better 'led,' held together, and harmoniously con- 
 ducted, by the progressive low notes of the instrument than by the higher, not 
 to speak of the shriller ones. * * * 
 
 "In conclusion, and to put it as concisely as possible, I regard the organ plus 
 an effective chorus choir as one joint instrument, — in detail doubtless complex, 
 but serving united in the one result, 'ad majorem gloriam Dei!' " 
 
 And that expression, "For the Greater Glory of God," as a result of the use 
 
— 0— 
 
 of the pipe organ, leads me to say that if worship, indeed, be the "heart's adora- 
 tion of God expressed in appropriate form," then — 
 
 FIRST. The -eiviie of song ami instrument i- for the glory of God. If we 
 were created for hi- glory, if the chief end of man i- ti> glorify God ami to enjoy 
 him forever, we should value ami cultivate anything ami everything which glori- 
 fies < i od : ami the grandest purpose of worship i- to glorify God. Worship is 
 mil primarilj for its beneficial effect on us (helpful a- that i- 1 . hut it is the 
 heart's adoration of God expressed in appropriate forms for God's own glory. 
 The scriptures ami God's providential dealings with hi- church -how that. God 
 has consecrated music to be fur hi- especial glory. To show this, let me give 
 you something of the history of music a- related to worship in the different 
 periods of the world's history. 
 
 (1) Before Christ's coming. We read in the fourth chapter of Gene-i- of 
 Tubal, who lived nearlj two thousand years before Abraham, that "he was the 
 father of all such a- handle the harp ami the organ.'' We do not claim this to 
 have been the pipe organ of today, but it was it- progenitor, and the statement 
 shows not only that music was cultivated and valued at that early day. hut 
 implies a previous taste for music and song. We can well believe that some 
 interest in music was maintained all along, though we read little about it in 
 the record until the Israelite- lefii Egypt. There is a magnificent ace. unit of 
 the 'musical .celebration of the deliverance through the lied Sea, and we read. 
 "Then -aug Moses and the children of Israel this song unto the Lord, saying, 'I 
 will sing untn the Lord, for He hath triumphed gloriously. The horse and his 
 ridei hath He thrown into the sea. The Lord is my strength and my song, and 
 lb i. become my salvation,' etc. And Miriam and all the Hebrew women went 
 out with musical instruments and took up the refrain. "Sing ye to the Lord, for 
 He hath triumphed gloriously. The horse and his rider hath He thrown into the 
 sea." So -ignilicant and emblematical was that deliverance of the greater de- 
 liverance of God's redeemed from the bondage of sin, that in the world of bliss 
 the glorified children of God are said to sing the "Song of Moses and the Lamb." 
 In the days of Samuel the Prophet music perhaps began to he the chief element 
 in public worship, and under King David if was magnificent. There were 4000 
 -killed musicians for the public services; Asaph had the care of 'he cymbals and 
 instruments od percussion; Heman the wind instruments, ami .leduthun the 
 stringed instruments. (The Levites seem to have been the Leaders ami the skilled 
 musicians, hut the whole congregation, we can believe, united in the song- of 
 praise. Grander yel was the musical clement of worship in Solomon'- day: 
 
 Also the Levites which were the singers, all of 
 them of \-aph. of Heman. of .leduthun. with their 
 SOBS and their brethren, being arrayed ill white 
 
 linen, having cymbals and psalteries ami harp-, 
 itood il the ea-l end of the altar, and with them 
 a hundred and twenty pric-l- -minding with trum- 
 pets: 
 
It came even to pass, as the trumpeters and 
 singers were as one, to make one sound to be 
 heard in praising and thanking the Lord; and 
 when they lifted up their voice with the trumpets 
 ml cymbals und instruments of music, and 
 ] . . .1 i-ed the Loud, saying, For he is good; for his 
 mere \ enduretk for ever: that then the house was 
 filled with a cloud, even the house of the Lord; 
 
 So that the priests could not. stand to minis- 
 ter by reason of the cloud: for the glory of the 
 
 Lord had filled the house of God. 
 
 —2 Chron., 5:12-it. 
 
 God thus testifying hi- approbation and pleasure in their worship. The 
 Psalms called "Songs of Degree-" are supposed to be so named because the chil- 
 dren of Israel sang them in concert a- they went up in companies to the annual 
 feast at Jerusalem. The young women took prominent part, for I read, "The 
 singers went before, the player- on instruments followed after; among them were 
 the damsels playing with timbrels." Upon the restoration of the rites of reli- 
 gion by good King Hezekiah. after the reign of several wicked kings, we read: 
 And he set the Levites in the house of the 
 Lord with cymbals, with psalteries, and with 
 harps, according to the commandment of David, 
 and of Gad the king's seer, and Nathan the 
 prophet: for so was the commandment of the 
 Lord by his prophets. 
 
 And the Levites stood with the instruments of 
 David, and the priests with the trumpets. 
 
 And Hezekiah commanded to offer the burnt 
 offering upon the altar. And when the burnt offer- 
 ing began, the song of the Lord began also with 
 the trumpets, and with the instruments ordained 
 bj David king of Israel. 
 
 And all the congregation worshiped, and the 
 singers sang, and the trumpeters sounded : and all 
 this continued until the burnt offering was fin- 
 ished. 
 
 —2 Ohron., 29:25-28. 
 
 Showing rbhat a revival of music came with and was part of a revival of reli- 
 gion. In the private as well as the outward religious life of the Hebrews, music 
 had a prominent place. When they 'were carried captive to Babylon, they hanged 
 their harps on the willows and sat down and wept by the rivers of Babylon, and 
 when their victorious enemies desired them to sing and play for their amusement, 
 saying, "Sing us one of the songs of Zion." they answered them, "How shall we 
 sing the Lord's song in a strange land?' 1 
 
—8— 
 
 After the return from captivity, under Ezra and Nehemiah, we read again of 
 the dedication of the rebuilded temple with singing and instrumental music: 
 
 And when the builders laid the foundation of 
 the temple of the Lord, they set the priests in 
 their apparel with trumpets, and the Levites the 
 sons of Asaph with cymbals, to praise the Lord, 
 after the ordinance of David king of Israel. 
 
 And they sang together by course in praising 
 and giving thanks unto the Lord; because he is 
 good, for <his mercy endureth for ever toward Is- 
 rael. And all the people shouted with a great 
 shout, when they praised the Lord, because the 
 foundation of the house of the Lord was laid. 
 
 —Ezra, 3:10-11. 
 
 And at the dedication of the wall of Jerusalem 
 they sought the Levites out of all their places, to 
 bring them to Jerusalem, to keep the dedication 
 with gladness, both with thanksgivings, and with 
 singing, with cymbals, psalteries, and with harps. 
 
 And the sons of the singers gathered themselves 
 together, both out of the plain country round 
 about Jerusalem, and from the villages. 
 
 — Neh.. 12:27-28. 
 
 Undoubtedly the service of song and instrument continued in the temple wor- 
 ship until the coming od the Messiah. And now. as we next consider 
 
 (2) Music in the Christian dispensation, from Ohrist to our day, we lay 
 strong emphasis on the fact that Ohrist did not disturb many things. He simply 
 left 'them as he found them. He knew his countrymen were a nation of singers 
 and lovers of music, and not a word nor a hint do we hear from him that music 
 in the worship of God was to be abandoned or curtailed in the slightest degree 
 in the new era he came to usher in. We know by 'the Epistles that many old 
 forms and ceremonies passed away because he had come whom I hey prefigured; 
 and the atonement they set forth had been .rendered. I think that not enough 
 has been made of the fact that, as far as the New Testament goes, it confirms, 
 riot annuls, Old Testament teaching as to music. The night Christ was born, 
 how grand and comprehensive the "Gloria in Excelsis"' of the angelic choir! How 
 touching the "Magnificat" of Mary the mother of our Lord! How pathetic the 
 "Nunc dimittis" of the aged Simeon as foe took tin- infant Jesus in his arms! 
 
 We would have inferred that Christ himself was a singer, but I am glad we 
 are not left to inference. After eating the passover with his disciples, he insti- 
 tuted the Lord's Supper, and we .read, '•When they had sung an foymn they went 
 out into the Mount of Olives.'' Ohrist was going to the agony of Gethsemane and 
 the cross, nut yd hi' gave thanks and sang an hymn, lie was doubtless strength- 
 
— 9— 
 
 ened for his trial by singing this hymn. Probably all sang, for such was the 
 custom of the Jewish church. No two or three of the disciples did the singing 
 for the rest. It may not have been very artistic (I wonder how Peter's voice 
 sounded), but it came from the heart, and they all sang in earnest. 
 
 In the early Christian church, ringing had a very prominent place, as we gather 
 from the epistles and church history. In addition to the Psalms of the Old 
 Testament. Christian psalms, hymns, spiritual songs, doxologies, benedictions, 
 etc., were composed and set to music. Modern scholarship finds traces of rhythm 
 and poetry in several places in the New Testament, which had been considered 
 only prose; and these are regarded as parts of hymns that were sung. Pliny, 
 in his celebrated letter to the Roman Emperor about the early Christians, speaks 
 of their singing responsively a hymn to Christ as te> God. We have positive 
 commands from God as to singing: 
 
 Speaking to yourselves in psalms and hymns 
 
 and spiritual songs, singing and making melody in 
 
 your heart to the Lord. 
 
 — Kph.. 5:19. 
 
 Let the word of Christ dwell in you richly in 
 - all wisdom; teaching and admonishing one another 
 in psalms and hymns and spiritual songs, sing- 
 ing with grace in your hearts to the Lord. 
 
 i ,los., 3:16. 
 
 An early writer, about the close of the second century, says: "How many 
 psalms and odes of the Christians are there not which have been written from 
 the beginning by believer-, and which in their theology praise Christ as the 
 logos of God?'' Augustine (A. D. 390). the very father of the theology dear to 
 the Presbyterian church, a true Calvinist long before Calvin, says: "How did 
 I weep in thy hymns and canticle-, touched to the quick by the voice of thy 
 sweet attuned church. The voices flowed into my ears, and the truth distilled 
 into my heart: whence the affection of my devotion overflowed, and tears ran 
 down, and happy was I therein, the brethren zealously joining with harmony of 
 voice and hearts." (How is that for the great theologian of fifteen hundred 
 ns ago?) Chrysostom declared that the early Christians <ung at prayers in 
 the morning, at their work, and very usually at their meal*. Jerome, writing 
 in Maroellus, says. "You could not go into the fields but you might hear the 
 plowman at his hallelujahs, the mower at his hymn-, and the vine dresser sing- 
 ing David'- Psalms." In fact. Christian song was a notable feature of primitive 
 Christianity; and so when we sigh to have "primitive piety revived," that 
 means, among other things, more attention to music. The Te Deum dates back 
 to the fourth century, and is a-cribed to Ambrose. Augustine, or Hilary (probably 
 St. Ambrose composed it) . All down the centuries the love and devotion of Chris- 
 tian hearts- have found their expression in beautiful hymns, which, set to music, 
 have been sung in churches. Some very favorite hymns in use today have come 
 
—10— 
 
 down from a very early age, viz: "Fairest Lmd Jesus," "For Thee, Dear. Dear 
 Country," "Jesus, bhe Very Thought of Thee.'" "0 Saored Head now Wounded." 
 "All Glory, Laud, and Honor, to Thee, Redeemer King," " Jerusalem, bhe Gol- 
 den." "Safe Home. Safe Home, in Pont," "0 Mother Dear. Jerusalem," "Jerusalem, 
 S\\ Happy Ilium.' compositions by Ohrysostom, ami Ambrose, and Thomas Aqui- 
 nas, the two Bernard-. Gregorj tit.- Great, Augustine, Hilary, and many others 
 of the fathers of the church. All this shows whal intense interest the best men 
 who ever lived have taken in music, and how important a part of worship they 
 thought sacred song to be. 
 
 tt i- a little hard to trace the history of instrumental music in worship, but 
 ems i • have naturally held it- own from a very early age. One author s ; iy- : 
 "Instruments of this genera 1 ! olass (pipe organs) seem to have been used in 
 Europe from bhe first Christian centuries. The original impetus bo the steady 
 progress of improvement is due to the fact that bhe pipe organ has been recog- 
 nized even since the fourth or fifth centuries a- pre-eminently the church musical 
 instrument." With -the Reformation came very great interest in church worship. 
 What a debt of gratitude the church of todaj owes bo Mai tin Luther for his 
 intense love and culture of music. How would he have pulled through with 
 devils and men in legion- arrayed against him hut for music? How he turned 
 all Germany into a land of song and instrumental harmony, and the great 
 church to which his name is attached perhaps -till maintains the precedence 
 for interest in music. Soon came in the great composers, Handel, Haydn, 
 Beethoven, Mozart, Mendelssohn, etc. How grand their interpretations of God's 
 word! If any of you heard such a chorus as the "Hallelujah Chorus" from 
 Handel's "Messiah" sung by vast number- (nearly 20.000. -inger- and players) 
 at the Boston Peace Jubilee, you have hid an anticipation of the symphonies of 
 heaven itself. Haydn, upon being asked why his church music was always so 
 cheerful, replied: "I cannot make it otherwise. I write according to the 
 
 tl ghts I feel. When 1 think upon God my heart i- so full of joy that the 
 
 notes dance and leap, as it. were, from my pen. and -ince God has given me a 
 cheerful heart, it will be pardoned me that I serve him with a cheerful spirit." 
 
 We h.ol it in mind to speak somewhat of the poet- and musician- of the seven- 
 teenbh, eighteenth ami nineteenth centuries, bul we forbear. Often the very cir- 
 cumstances of i he composition of a favorite hymn make it all the more effective, 
 if known. 
 
 President Edwards in -peaking of the ureal revival in New England in the 
 lasit century, says that one of its fruits there wa- a di-po-ition to abound in the 
 duty of singing, and he goes so tar as to say: "As it i- the command of God 
 
 that all should sing, so nil -I Id make conscience of learning to sing, as it is 
 
 a thing that cannot be decently performed at all without learning; those there- 
 ton- i where there i- no natural inability! who neglect to learn to sing, live 
 in sin, a- they neglect what i- necessary in ordei to bheir attending one of the 
 oordinances of God's worship" — (How i- that lor the stern Jonathan Edwards, 
 who wrote (he sermon "Sinner- in the hand- of an angry God"?) Indeed, a 
 
—11— 
 
 revival of interest in music always accompanies and is pad of a revival of 
 religion, Whail does our country and the world at Large owe to Mr. Moody and 
 the poets and musicians he awoke to compose gospel hymns! With his quick, 
 comprehensive grasp of the situation (a very commander-in-chief) he saw what 
 God's cause would lose without music and lie seized upon it a< .1 chief help. Yet, 
 Mr. Moody (might have been classed as one whom President Edwards speaks of 
 as having "natural inability" — for if you ever sal next to Mr. Moody and heard 
 him try to sing, your nerves would have been rasped by his discords. He couldn't 
 sing, but tin- music was way down in his soul and he loved it extravagantly. 
 
 It seems as if we have said enough after reviewing the place and power the 
 service of song has bad Ln worship, to -how that very much care and a 1 tent ion 
 should be given it. and that it is truly for the glory of God, but, if you still 
 doubt it. next. 
 
 (3)' Look forward and see the place song and music have iii the employment 
 of tfhe Redeemed in glor\ : 
 
 And they sung a new song, -axing. Thou ait 
 
 worth] to take the book, and I 1 open the seals 
 
 ithereof: for thou wasl slain, and hasl redeemed 
 
 , us to God by tUiy bl 1 oui oi every kindred. 
 
 and -tongue, and people, and nation. 
 
 —Rev.. 5:9. 
 
 And I heard a voice from heaven, as the voice 
 of many waters, and as the voice of a great thun- 
 der: and [ heard the voice of harper- harping 
 with their harp- : 
 
 Am! they sung a- it were ,1 new song before the 
 throne. 
 
 —Rev.. 14:2-3 
 
 Having the harps of God they sing the song of 
 Mioses, the servant of God, and the song of the 
 [jamb, saying, Great and marvelous are thy work-. 
 Lord God Almighty: just and true an tin ways, 
 1 lion King of saints. 
 
 —Rev., 15:3. 
 
 And 1 heard as it were the voice of a great 
 multitude, and as the voice of many water-, and 
 as the voice of mighty thunderings, saying, Alle- 
 luia: for the Lord God omnipotent reigneth. 
 
 —Rev.. 19:6. 
 
 Ah! they are not afraid of instrumental music there — the voice and instruments 
 go together. The Psalmist tells 11- "As well the singe.- a- the players on 
 instruments -hall be there.'' In this connection let me say that Lowell Mason, 
 the great leader of music, -aid he never knew of a person who belonged to a 
 
— 12— 
 
 choir but sooner or later became a Christian. To many, one of 'tJhe chief antici- 
 pations of heaven is its music. You would hardly expect such a stern Puritan 
 as John Milton to write as follows: (Yet he did, you see how the organ helped 
 him.) 
 
 ''There let the pealing organ blow 
 
 To tJhe full-voiced choir below. 
 
 In service high and anthems clear. 
 
 As may with sweetness through mine ear 
 
 Dissolve me into eostacies, 
 
 And bring all heaven before mine eyes." 
 
 If music had such a place in the old dispensation and is to have in the world 
 to come, it takes a bold man to say that music has no place and is no help in 
 bhis Christian dispensation. I know the danger that men may tic in love wibh 
 music as one of the fine arts, while the heart is not right with God. There 
 was a lime wnen men whom we honor today, entered the cathedrals and leveled 
 organs to the ground, and pulled down pictures and broke into thousands of 
 pieces fine stained glass window-, and melted silver statues of the Apostles into 
 coins, and sent tfhem about doing good, like their master, (to quote from Oliver 
 Cromwell,) and why? Because all these were made to minister to mere ritualism 
 and formalism and superstition. Our ancestry were afraid of fine art. of music 
 and painting and sculpture. Stern times demanded stern men. If such times 
 ever come back, may God again raise up stiff-backed Puritans and Covenanters 
 and Huguenots to do the same work over again, and may there be some new 
 Jennie Geddes to pitch a footstool at the preacher's head, if he dares bring in 
 ritualism in the place of right worship. But this need not be. Man's aesthetic 
 nature need not be perverted. In the golden age, and in the most consecrated 
 smils. music and art will help, and not hinder. Men will be more in love with 
 truth than with beauty, yet both may go together. All the heart thrilling 
 music and impressive ceremonies of the grandest cathedrals never of themselves 
 lifted a soul to heaven. Unless tlhe heart goes out to God in penitence and faitli 
 and love, all these may be nothing better than the drums and clanging cymbals 
 of old Moloch's worship. Men may weep under the influence of line music and 
 feel solemn in the dim. religion- light of some gorgeous temple, but mile-- their 
 hearts are right with Cod: and they are reconciled to Ilim by t.he blood of the 
 Crucified One, //km- mere aesthetic worship will be in vain. Mm'- heart must 
 be moved by the obedience of faith. Yet in every age those who have loved God 
 have found it helpful to praise Him in song, and have thus been encouraged 
 in Christian lite, and better prepared for God's service on earth and in heaven. 
 Let me speak a little of this, viz.: 
 
 SECOND. The service of song, the sacrifice of praise i- for our own growth 
 in grace and effective obedience to God. We have spoken of its being for His 
 glory, now wfhat dors it do for u-': Remember that our emotions, convictions 
 and experiences are quickened bj music. \ boy learns dhat early in life, lb 
 enjoys himself more and can do work better when he whi-tle-. lie can even 
 
—13— 
 
 gather couraffe to go through a graveyard on a dark night if he whistles loud 
 enough — for one thing, 
 
 (1) Music enhances our enjoyment of the service of Christ. Xo wonder we 
 read in James* epistle: "Is any merry among you, let 'him sing psalms." Peo- 
 ple think and say, "I do not feel like worship. 1 do not feel like Christian work." 
 Well, sing, in order to feel, is God's appointed method to help us over the hard 
 place-. 
 
 There is nothing better for this than a rousing hymn of praise. Paul and Silas 
 did not probably feel much like praising Cod and thanking Him for His mercies, 
 but they sang, and relief came. The old dungeon was melodious with praise 
 and the prisoners heard them and God honored sudh faith by the results that 
 followed. The advice one hymn gives us is: 
 
 "Sing till we feel our heart-. 
 Ascending with our tongue. 
 Sing till our love of sin departs 
 And grace inspires our song." 
 
 As one says: "Religious music is the language of religious emotion. Through 
 it we express the unspeakable desire of our hearts." Our emotions must have 
 utterance to lead to practical results. You have not read the Psalms in vain 
 if you have noticed that while often, they begin, "E profundi®, Out of the depths 
 have -I cried unto Thee, God," yet there is a gradually ascending scale, and 
 the Psalm ends in the heights of triumphant, faith. 
 
 (2) Music, too, makes trials less severe. All civilized governments keep up 
 ait large expense, military bands in their armie-. Soldier- can march and fight 
 and die, if need be, better when there i- music around. They can bear cold and 
 heat, wet and hunger, fatigue, wounds and sickness easier if martial music comes 
 bo ileii ears. We -poke of Paul and Silas at Philippi with back- lacerated 
 from the acouTgings in most constrained and painful position. Yet racked as 
 i'i. \ were with their agony, at midnight they sang praises to him who gives 
 "songs in the night," and great was their reward. Hear Martin Luther. Says 
 he: "Music is one of the fairest, most glorious gifts of God, to which Satan 
 i- a bitter enemy, for it removes from the heart the weight of sorrows and the 
 fascination of evil thoughts. Music is a kind and gentle sort of discipline; it 
 refines the passions and improves the understanding." Another says: "Of all 
 the arts, great Music is the art to raise the soul above all earthly sorrows. An- 
 other: 
 
 "Full oft the longing soul goes out 
 On wings of song it's good to find. 
 And flying far o'er flood and doubt 
 Its ark of bondage leaves behind." 
 
— 14— 
 
 Or. as Longfellow bells as: 
 
 "Such -lings have power to quiet 
 I de restless pulse of cave, 
 \n.l come like the benediction 
 That follow- after prayer." 
 
 (3) Music makes temptation less dangerous. I believe Satan gives up and 
 does not think it worth his while to waste much of his time on the man who 
 sings fervently. Per contra, as Shakespeare has it: 
 
 "The man thad has no music in himself, 
 And is not, moved bj concord of sweet sounds, 
 [ s tit for treasons, strategems and spoils." 
 
 ( 4) Win, the service of song enhances our zeal in following Christ. No 
 wonder tyrannical royalty feared the "Marseillaise," and well 11 might. Victory 
 has been won out oi Left i fctself by a nation's airs played with enthusiasm. 
 and heroism has accomplished wonderful result- tired by the music of tihe t;,i 
 land 4 Christian soldier's music uplifts his heart to loyal service for the , ea 
 Captain of his salvation. The psalmist says: "Thy statutes have been my 
 
 song, in the house of my pilgrimage."' The ideal Christian life i- a 1, I song 
 
 ,,„,„,. than a mournful walking before the Lord of hosts. In Uh, Old Testan 
 worship "when the burnt offering began (which symbolized the consecration 
 of Jll;lll bo his Cod), the song of the Lord began also with the trump,-!- and th, 
 instruments," all of wfhioh shows thai even self-sacrifice for Chrisi - aake can 
 l„. a oaabter of triumph and zesl and buoyancy and exhilaration. God does 
 ask for nor desire constrained service. Everj ' hristian oughl I , have , arhol 
 orchestra of trumpets and cornets and harp-, a veritable pipe organ oi all instru- 
 ments in hi- soul, and. "Psalms and hymns and spiritual songs, and a making 
 of melody in the heart unto the Lord." "Lei those refuse to sing who never knew 
 our Cod." "Infidelity has no hymns." 
 
 Til I HI) The .service of praise is bo influence the world lor good. '1 he evil 
 „„, knows -.ell the power of musk, and ha- shrewdlj used 11 bo Lure men bo 
 struotion and -hall nut Christ's church and bbe individual Christian use 
 help me up and h, -en, their salvation? t'hu.ch musk should he such a- to 
 attrod the people bo bhe house oi God. Lei Saban have a- libtle good music as 
 
 possible, ami bo do ithis it. i- necessary for Chrisi d h I i pre-empt It. In 
 
 the battle of life, in the crowd of can- and woes and toils, men are I i 
 into Christian's faces and bo bhe church of Chrisi bo see if we have sometl 
 
 worth .he, having. If we pub cheer and song into our lives, .1 bin 
 
 sing earnest bhe Sabbath irradiate our lives during the week, we mill 
 
 impress men for good. The world is full of rich men tired of the pursuii and 
 
 worrj Oi wealth; of learned men weary with the limitation- of t.hen kno 
 
 ,,,- ,,!,., „,e jeekers hungry for something of pleasure they now know nothing of; 
 
 of , folks worn b 3 the bitterness of poverty; o1 sufferers groaning in the,, 
 
 ag , „, oi boilei heartsick because of unrequited toil: of sinners with awakened 
 
—15— 
 
 consciences, finding that the sbing of life, even before death draws nigh, is sin, 
 for, at tames men do realize thai tiny must stand before God's judgment bar 
 and give an account of the deeds done in the body. Will not we Christians show 
 all such, not only by cheerful songs in God's house mi the Sabbat* day. but by 
 a cheerful life of song all the week that the service of our Lord Jesus i< a blessed 
 life and has in anticipation tlhe joys of eternity, for ■•in Thy presence there is a 
 fullness of joy. at Thy right 'hand there are pleasures forever more. 
 
 ****** 
 Our new Iong-ihoped-for organ ha- come. We use it today for its lir-t Sabbath 
 
 service in God's house. To procure it. son f you have given of your means 
 
 with true, self-sacrificing spirit. Some < T you have toiled heartily to secure our 
 possession of it, and will continue - i to give m I labor until it i- fully paid for. 
 And now what? How foolish and -infill to make it a matter of vain glory, pride 
 and boasting. Vol that! Shall its presence and voire be foi the glory of God 
 and oui growth in grace, and for a type of intelligent and spiritual worship? 
 God gi a ni it ! Bul all this means some exei i i md effort on our part. We will 
 continue to use the old songs, for main can say: 
 
 "Old turn - are pre :i lis to ne as old paths 
 In which I wandered i ppj boj . 
 
 , In truth, bhese a od, 
 
 \\ ell worn, familiar up bo G id." 
 
 But many want new hymns and tune- with the old. Thai is well. 
 
 Try to learn them and sing them, and if one positively cannoit, by any pro- 
 sing a iih the voice, at least always have a hymn-b i tnd read the hymn, 
 
 and take in its truth and worship, "making melody in your heart."' The value of 
 the "hymns oi the ages" us me eh -> tig instruction is something very helpful. 
 It is a good thing while people are waiting for -ci , cad the hymns. 
 
 Will th ii help or hinder congregational singing? That i- for you to 
 
 de. It ou<jltt to help. That i- what it. 1- for, but that depends on you. 
 Congregational singing we must, aim ail and secure. We arc bound bo have it. 
 It i- helpful to be led bj a choir, and a congregation owes a debt of gratitude to 
 a faithful choir - often unappreciated. There are physical reasons wiry 
 
 the organ should help. If our voices are weak, it sustains them; if they are 
 1 1 ordant, it helps keep our neighbors from noticing it very much. Let all sing. 
 
 A- i'm- r-.i!iin-i hi- it: "Let the peo] i-c Thee. Lord, let all the people 
 
 praise Thee." The music is not a secular concert for your delectation. Even 
 when the anthem- and solos and quartettes are sung enter into the spirit of 
 them. i It is one of the virtues of our choir that they try to enunciate so that 
 the people can understand the words.) In the hymns sing with the spirit and 
 with the understanding also. 
 
 It i- better I i make discords than not to try to sing. We will sing in heaven. 
 let us try to he iii preparation and training for that better service of sonc. 1 
 supp :-•• there ir< no discords in the harmonic-; and symphonies of those voices and 
 
—16— 
 
 instruments. May the centre and focus of ea-nth's adoration be the praises of Him 
 who died on Calvary's cross to redeem us! May this organ be for the greater 
 glory of God and for the strengthening of His church in nobler worship! May 
 its melody comfort our sorrow and strengthen our joy. resounding continually 
 with the praises of Him who loved us and gave Himself for us, and preparing us 
 to join in that ever new song: 
 
 "Thou art worthy, for Thou wast slain and hash 
 redeemed us to God by Thy blood. Worbhy is the 
 Lamb that was slain, to receive power and riches 
 and wisdom and strength and honor and glory 
 and olessmg. .-unen.