V SACRED PRAISE: AN EARNEST APPEAL CHRISTIAN WORSHIPERS, BEHALF OF A NEGLECTED DUTY. BY/ THOMAS HASTINGS, AUTHOB OF TASIOUB MUBIOAI. AUD ]nS0EU.AinEOUS PUBLICATIONS. " Let every thing that hath breath, praise the Lord." Psalm cL & NEW YORK: A. S. BARNES & COMPANY. No. 51 & 63 JOHN STREET. 1856. Enterui] according to Act of Congi-ess, in the yciii- 1S.56, BY A. S. MJ 'INES & CO In the Clerk's Office of the District Court of ibu boulhurn Uistiict of New York. STEREOTYrHD BY THOM^ B. SMITH, tU & 84 BeekmuD Street. GEORUE WOOD, 51 Jobu street. The subject presented in this little vol- ume is not a trivial one. It embraces ques- tions which are worthy of the most serious consideration. These have for many years, claimed the earnest attention of the writer, under circumstances peculiarly favorable for a fuU and thorough investigation. He has given his best thoughts to the subject, and the following pages wiU show the result. Cant eitts. CHAPTER I. INTRODUCTION. Praise, as presented in tlie Bible — As seen in onr worshiping assem- blies — It has suffered a great declension — Differences in taste, deficiencies in piety, &c., do not account for the change — A deep- er canse — Wrong notions of mere musical efficiency — Originally the singers were personal worsliipers 18 CHAPTER ri. IMPORTANT PEELIMINABIES. A remedy must be sought — 'No deficiency in natural gifts — All have talent — Theory eicplained — Different degi-ees of talent — Music for the Church necessarily simple — All who can speak might be taught to sing — Special difficulties — Processes of training — Ex- amples in point — Decayed voices — May generally be restored 28 CHAPTER III. THE MAIN QUESTION — WHAT IS TO BE DONE? The enterprise a practical one — Several things necessary to its ac- complishment , , 41 Section I. — ^The subject requires prayerful consideration — It is wor- thy of it 41 Skction II. — The undertaking requires Christian laborers — Reasons — Efforts must be earnest and appropriate 43 viii Contents. SsonON III. — Christians of influence and intelligence must become active — Eeasons — No apology for neglect 48 CHAPTER IV. Efforts to be based upon the teachings of Scripture — Teachings of art not undervalued — Must not conflict with the Bible 68 Section I. — The praises of God are to be mng — Other methods not to be substituted — Objections answered 54 Seotion II. — What is the acHon of singing ? — Not simply musical — Language must be illustrated and enforced — Objections — Music , itself a language — Claims of verbal utterance not to be set aside . 56 Section III. — Personated devotion— Generally prevalent — Oppos- ed to Apostolic precedent — Should not be tolerated — Eeasons 60 CHAPTER V. WHAT IS TO BE DONE IN SCHOOLS, IN EEHEARSAIS, AUD IN FAMILIES? Seotton I. — Ad/uU Schools — These must have a specific character — Reasons — Mental associations — Spiritual influences — These must be promoted and cherished — -Ordinary religious prepara- tions not suflicient — Why — Objections answered — Elemental knowledge 68 Section II. — Children must bo instructed — Musical exorcises give them pleasure — Physical, social, and religious advantages — Easily trained — Bearings upon the subject before us 72 Section III. — Devotional singing in families — Its Importance — Neglect — Abuses — Characteristics and advantages — Influence upon congregational singing— Parlor music — Its influence often prejudicial — Not adapted to the object before us 78 CHAPTER VI. WHAT IS REQUIRED IN THE SELECTION OP TUNES. Prevalent canses of dissatisfaction — Old tunes?)'!, now — Taste neces- sarily progressive — Congregations and clioirs should como to an understanding, and be governed by a Christian spirit 79 Contents. ix CHAPTER VII. PAGE Methods of contacting o.xerdses in praise — Congregational singing not the only primitive method — An artistic qaartette, devotion- al or lestlietie ? — .V volunteer choir rightly selected and conduct- ed—Its superior advantages — Voices of the congregation should unite with it to a greater extent — Abuses many and flagrant — Must be done away 84 CHAPTER VIII. nfFLTJENCE AND CO-OPERATION OF PASTORS. This is indispensable to success — Many considerations show this — The aid usually withholden — Reasons examined — Objections ob- viated — Mmical talent not here indispensable — Without its ad- vantages, he can consult the Scriptures, and bring forth their various teachings — ^These as important to praise as to prayer — Not right to neglect them — Old Testament precepts, examples and inferences considered — The New Testament no less decided in its teachings — Precepts — Examples — Inferences — ^No want of materials for the pastor's use — The subject should bo liept before the people — Suggestions as to modes of presentation — Seculariz- ing notions, habits, and influences to be counteracted — The pres- ent a favorable time — Concerts and conventions will not do the pastor's work — He must act, or other efforts will fail 91 CHAPTER IX. PRACTICAL DIFFICULTIES. How these are to be obviated — Those of the least magnitude oc- cur in various fields — Among heathen converts — ^Among the slave population — -In new settlements — In settlements more densely populated — Among jealousies and contentions — "When the leading talent is out of the Churcli. 112 CHAPTER X. THE SUBJECT CONTINUED. Section I. — Greater difficulties — Strong prejudices against innova- tion — Oriirin of these — Not to be wantonly violated — May be gradually nnderinined — Certain methods successful 120 I* X C U N T E N T S . PAGK Section II. — ^Difficulties where there has heen much training upon elements of notation — No Instructions of an aesthetic or devo- tional character — ^The latter to be supplied — Hints regarding the process 123 Section ill. — Diiiiculties whore aesthetic considerations have un- due influence — Characteristics — Self-ignorance— The proper test — The remedy. 127 Section IV. — Difficulties occasioned by strong combinations of secular interests with the music of the Church — The spiHt of praise not thus promoted — Eemedy — Teachings of the Scriptures — Pastoral aid Indispensable 132 CHAPTER XI. CONCLUSION. The subject Is momentous — ^Must be thoroughly taken in hand — Neglect Inexcusable — ^The cause demands speedy action — Who should be most forward and zealous in the undertaking? 140 APPENDIX. I. — Declension in Church Music 147 II.— Hymn Tunes 158 III. — Hymnology 161 IV. — Influence of Oratorios and Concerts upon Church Music 171 V. — Miscellaneous ExtractB 184 A Serious Difficulty 184 Musical Instruction 189 "Want of Teachers 195 Spiritual Preparation 196 Eight use of Words in Singing 199 Irrevelant Mental Associations 201 Ill-ordered Rhapsody of the Masters 206 Discrimination in Psalmody 209 Singing in Family Worship 210 SACRED PRAISE. SACRED PRAISE. CHAPTER I. INTRODUCTION. Praise, as presented in the Bible — As seen in our worshiping assem- blies — It has suffered a great declension — Differences in taste, defi- ciencies in piety, &c., do not account for the change— A deeper cause — ^Wrong notions of mere musical efliciency — Originally the singers were personal worshipers. Praise, as contemplated in the sa«red Scrip- tures, is hallowed and delightful. It is as the voice of angels echoing amid the wastes of a fallen world. How pure, and hoAV exalted is the lan- guage it employs ! How multiplied, and how ur- gent are the exhortations of Scripture concerning it ! No mention is made of a privileged few to the exclusion of the less favored many; while yet the importance of skill is fully maintained. The in- spired precepts concerning praise, too, have great depth of meaning. Nor less i-emarkable are the 2 14 Sacred Praise . Character of Praise. Scripture examples of praise. The singers of old were not dull or heartless. They were not sentimentalists engaged in amusement or in osten- tation. They were devout, personal woi-shipers, speaking earnestly, conscious of the presence of omniscience. An employment so delightful was not confined to public occasions. It appeared in families. The sweet singer of Israel had his evening and his morning songs, and his songs in the night ; and the maintenance of them, we may presume, was no less profitable than delightful. Such is the character of praise as seen in the pages of inspiration. But how different does it appear in the Christian assemblies of modern days ! Its beauty is tarnished. Its power is gone. Its form remains, but its spirit, in the multitude of cases, has departed. Go into the thousand churches of different denominations, and what do we see ? For the most part, one of two extremes — either slothful indifference or active misdu-ection. Either the singing is rude and tasteless, or it is sustained chiefly on aesthetic principles to the detriment of devotion. There are occasional instance* of a more favored nature ; but these are comparatively Sacred Praise. 15 Abases. few. Generally speaking, the language of praise becomes powerless through inarticulate and irrev- erent utterance, and the singing is destitute of true meaning and expression. Exhortations to the duty of px'aise are extensively withhoklen or disregarded. Few of our leading minds seem willing to investigate the subject ; and the num- bers are less who exert their personal influence in its behalf And where shall we find examples of praise which will bear comparison with those re- corded in the Scriptures ? Shall we look for them where skill has never been acquired ? Shall we find them in hired or volunteer choirs — or in re- hearsals, or concerts, or oratorios? Multitudes, who are here the most active, make no pretensions to piety, and would be displeased at the mere suspicion of personal solicitude on the subject of religion. To refer to such details is exceedingly painful. We wish there was no necessity for doing so. But abuses will not be lessened by silence, or cured by neglect. They must be examined. We must search for the cause, and endeavor to apply the proper remedy. The search will not be diffi- 16 Sacred Praise. Abuses. cult : and the application of the remedy will re- quire no unreasonable amount of effort, if only it be from the right sources, in the right spirit, and in the right direction. In regard to these abuses, it has been usual to refer to deficiencies in taste, to the indifference of congregations, and to the intractability of singers, as sufficient to render hopeless all efforts toward substantial improvement. But, why these defi- ciencies, and this indifference, and this inti'actabil- ity? Are they necessarily incident to praise? Reason, history, and the Scriptures forbid such a conclusion. Some writers suppose that music necessarily has its strongest influence upon semi-barbarous communities,* and would lead us thence to infer that the cause of abuses is to be found m the in- fluence of civilization. Wonderful discovery! So then, in consequence of the general improve- ment in society, in literature, and the arts, praise, as a sacred institution, is hereafter to become a dead letter ! Others look upon the low state of practical * See Burney's History of Music. Sacked Praise. 17 Its fiature. piety as furnishing the solution of the difBcultj. They tell us we shall never see the spirit of praise revived till the days of the millennium. But if this solution is the true one, how does it occur that at present the greatest neglecters of the subject are among the more spuitual mem- bers of a Church ? All these views of the subject are too limited and superficial. A deeper view is that which re- fers to the wide prevalence of wrong notions of musical efficiency. Exercises in praise, as we shall have occasion to show, ought so to unite the pleasures of song with the fervors of devotion as to give to the worshipers an increased interest in the sentiments of the words which are sung. This will be seen at once from the early history of the art, from the importance of the language we employ, and from the intelligent nature of our holy religion. It is evident, too, as we shall see, that real praise is an employment most solemn and spiritual, involving the same respons- ibilities which prevail in prayer. The singers are, as personal worshipers, to adopt the language which is before them as their own : and tlie lis- 2« 18 Sacred Praise. Its Nature, teners are to yield to it, either audibly or inaudi- blj. their entire and devout concurrence. As this is in substance the Bible definition of praise, we shall adhere to it in the succeeding pages. Throughout the whole period of Scripture his- tory, this was the prevailing idea of praise ; and in perfect accordance with it are the teachings of the Apostle Paul to the primitive churches. But, unhappily, in modern times, the idea has been set aside. Music has at length become a "heavenly" art. It attracts toward itself that measure of attention, which, in religious worship, is due to better things. Some evidence of this attraction, indeed, occurs as far back as in the time of the ancient fiithers. One of the latter — Augustine — complains in his celebrated " Con- fession," that the sweetness of the music, while it wrought powerfully upon his sensibilities, would often give a wrong turn to his meditations. Another, less scrupulous in this respect, and at a later period in ecclesiastical history, compares the music to paintings, of which the sacred words were as pleasant l)or(lers. This, in musical prac- tice even now, seems to be the popular idea. Sacred Praise. 19 Confiicting Notions. The tune and the manner of performing it absorb attention, while the words, full of meaning and spirituality, seem often to be used as a mere ex- cuse for singing. Many go so far as to regard verbal utterance unnecessary. And there are not wanting men in the profession, who consider "good music," however obtained, as an eflficient instrument of religious edification. Others, how- ever, driven by a natural reaction to the opposite extreme, would be for discarding every hannonic and melodic attraction. Nothing, in their view, but the plainest chants and the simplest chorals can be called appropriate. Others again, who have given no serious attention to the subject, seem wholly uninterested. Since their own de- votions are seldom aided by the music, they are content to leave it in the hands of. a committee among the secularities of the congregation. Yet all parties admit that "music" must be sus- tained as a " necessary imrt of public worship ;" thus in every practical arrangement, making that which ought to be of secondary interest the thing chiefly contemplated. The prevailing notions of talent, of style, and 20 Sacred Praise. Conflicting Notions. of personal obligation, are just such as would naturally arise fi'om these conflicting misconcep- tions of musical eflSciency. The possession of talent, for instance, involves obligation. But ex- cellence of skill, in the view of many, is placed so high above their reach as to furnish an availa- ble excuse for neglect. Others, regarding clioir performances in the light of Sabbath concerts, are found to shrink from such conspicuity. Others again are unwilling to engsige in performances which do not form an occasion for amusement or display ; while many, despising such pretensions, are found, in the use of privilege, to give most unmusical utterances in the congregation, regard- less of the tase or the comfort of their fellow- worshipers. IMembers of choirs too, are often in difficulty because their wants are not sufficiently cared for, their talents duly appreciated, or serv- ices properly rewarded. And to crown all, the pastor who must act prudently, unacquainted as he probably is with music, imagines that he can declare faithfully the whole council of God with- out dwelling on tlic duty of praise. He s cs the prevailing abuses, and is sometimes deeply Sacred Praise. 21 Cause of Decline. grieved. But he is no artist. What has lie to do with such matters? These conflicting notions about musical efii- ciency, however, agree in one thing. They are all at variance with the obvious teaching of the Bible ; and since they are so, and are of such long standing, and are connected with tendencies which are so widely disastrous, it is evident that we need look no further for the cause of decline and barrenness in public praise. In our teach- ings, arrangements, and appliances, we neglect to cultivate the spirit of praise, while we make that which was originally designed as an auxil- iary concomitant, almost the sole object of atten- tion and regard. What better results could have been expected from such a fundamental error in practical religion ? Any similar mistake, in re- gard to preaching, exhortation, or prayer, would have proved equally disastrous to the spirituality of those exercises. Let mere elocution, for in- stance, become here the great object of interest, and we should soon see a lively illustration of the evils which arise from the practical errors we are describing. The Master of Assemblies ever 22 Sacred Praise. Cause of Decline. blesses the right observance of His own institu- tions. But when these are habitually abused and perverted, what wonder is it that the blasting and the mildew are upon us? The wonder is that such a fundamental error has not been visited with still greater evils. CHAPTER II. IMPORTANT PRELIMINARIES. A remedy must be sought — No deficiency in natural gifts — ^All have talent — Theory explained — Different degrees of talent — Music for the Church necessarily simple — All who can speak might be taught to sing — ^Special difficulties— Processes of training — Examples in point — Decayed voices — May generally be restored. To discover a cause of difi&culty is often an easier matter than to prescribe an adequate rem- edy. How, in the presence of long established habits and prejudices in favor of error, shall this be done ? This is now the chief question before us, and one which will necessarily occupy most of the succeeding pages. One thing is certain — the subject must be taken up in earnest. A few fiiint wishes, or a few isolated efforts, or fitful exer- tions will be of no avail. The work which is to be done requires well-concerted, vigorous, and persevering effort. Here, however, we shall be met with the standing plea of a general deficiency in musical 24 Sacred Praise. Theory of Talent gifts. Many who delight in the worship of the sanctuary do not believe it possible for them to learn to sing ; and the numbers are still greater who imagine the task too difBcult for their lim- ited opportunities of instruction and practice. Tell them that all might learn to sing, and you are but heralding one of the ultraisms of the day. They deny it. They "know" it is not true. It is " contrary to observation and experi- ence." What is it to them that the whole Prussian population for the last fifty years have actually been taught to sing ? What if teachers on this side the Atlantic have long practiced upon this principle with success? These people will not concern themselves with the demonstra^ tion. Their mind is made up. They have tried the experiment in their own way, and to their entire conviction of inability. The influence of this impression is disastrous. It undermines responsibility, discourages im- provement, excuses neglect, and leads to almost every species of abuse. Singing must, of course, be maintained in the congregation; and if the multitude are really incapable of learning to Sacred Praise. 25 Theory of Talent. sing, then the few who have talent, be thej saints or sinners, must assume the responsibility, and be left chiefly to their own direction. Un- less this matter, therefore, can be so presented as to produce the necessary conviction upon the public mind, our appeal on the main subject be- fore us will be of little avail. The theory we wish here firmly to establish is, that all who have the power of speech are en- dowed by nature, to a greater or less degree, with the gift of sonor. That there are differences in degree of talent is not to be regretted. First- rate musicians in the greatest number, are not needed even for amusement One Beethoven as composer, might suffice for an entire generation. A single Lind or Sontag might satisfy the idola- try of half her cotemporaries. Artists of less ability are more numerous. These again are di- vided into first and second-rate performers ; and as the gradation extends downward, in the scale of ability, to the plainest ballad-singers, the numbers are usually sufficient to afford amuse- ment for the million. But this is not all. Many voices, not suitable 3 26 Sacred Praise. Theory of Talent. for solos, are quite available in choruses. The massive combinations of this sort, in the orato- rio, embrace many a voice which, heard alone, would be disagreeable, but which, coverd by powerfiil instrumentation, becomes effective and satisfactory. The same thing also occurs in the lighter species of secular music. Talent, which is very moderate, may in various ways be avail- able. All this is ti'ue. let it be remembered, where attention is exclusively devoted to sesthetic con- siderations, and where the mind is at leisure for the minutest criticism. But in exercises of praise the miad must be very differently occu- pied. The music must be of secondary interest. The prevalence of the true spirit of praise will lead us to overlook much that is deficient in manner. If the performances are, on the whole, well ordered, respectable, and impressively de- vout, they will disarm criticism, and the music then prove a delightful auxiliary of religious in- fluences. The style of music composed for the church, too. is for the most part very plain and unpre- Sacred Praise. 27 Requires Simplicity. tending, compared with that of the secular de- partment, requiring, of course, less powers of execution. We are not ignorant that some churches depart from this simplicity. But while thej allow of copious and erudite selections from the mass, the oratorio, and even the opera,* we have yet to learn that they derive any spiritual advantage from the course they are pursuing. Taste in such circumstances is gratified, we fear, at the expense of devotion, and is not kept, as in the pulpit, under due subordination. We have no sympathy with those who attribute every thing to art. Fine music will often produce delight in time of worship, and this may not always in the case of individuals be unfavorable to devout med- itation. But the mind under this fascination will generally be misguided. Music, therefore, which is less pretending, is the most suitable for the church. Now, if the question here before us were, whether every one could excel as an artist, we should answer unhesitatingly — no. The ex- pectation would be as unreasonable as in relation * We refer not here to occasional extracts of a simple kind. 28 Sacred Praise. Ecquires Simplicity. to sculpture, to painting, or to poetry. But the question whether every one might not acquire sufficient skill in music to enable him to sing ac- ceptably to others and to his own profit, in sea- sons of public and private devotion, is a very dif- ferent one, in regard to the amount of talent ; and one, therefore, which we are constrained to answer in the affirmative. Speech embraces some of the elements of song. The quality of tone in either depends on the habitual treatment of vowels. The process of cultivation is simple, and every one can pursue it. But has every person an ear for the govern- ment of his voice in regard to musical scales? To this question we reply that the faculty is al- ways an acquired one. It is never instinctive. The scales themselves are artificial, and it de- mands no little practice fully to master them. Pupilage, both in speech and in song, commences in infancy. As the infant by the mere power of imitation acquires one language as readily as another, so it learns a right or a wrong, a true or a false scale with about equal facility. Speech being necessary to the purposes of social life, we Sacred Praise. 29 Individual Training. take unwearied pains with the faltering accents of infancy, and feel well rewarded for our labor by tlie improved utterances. We consider this no hardship. We delight in it. Now, it is well ascertained that one tithe of this labor, rightly directed, would serve to produce a discriminating ear in regard to musical relations. But since music is not demanded for the ordinary purposes of life, the necessary assistance is commonly with- holden. Every thing in respect to this develop- ment of skill, is left to accident. In such cir- cumstances the slightest misdirection, however induced, eventuates in a wTong habit, which strengthens by subsequent practice. Accordingly we find, on opening a large juven- ile class, a few voices which, without individual training, will be perpetually out of scale. If these are neglected they will make no progress. Yet when noticed more closely, all, or most of them, will show some talent for the appreciation of graduated sound. They will usually, while jarring against each other, be pursuing some liar- monic distances, such as a thu"d, a fourth, a fifth, or an octave above or below the principal sounds. 3* 30 Sacred Praise. Individual Training. Now it is remarkable that what thej are thus endeavoring to do, in the perpetuation of an ill- formed habit, is really more difficult in itself con- sidered, than what we wish them to do. These pupils, when there is leisure for individual ti'ain- ing, are easily brought in a gradual manner to a just appreciation of intervals, after which they are not unfrequently found to excel. Yet with- out this special assistance theii* unfortunate habits would have been perpetuated. They might ac- tually have been strengthened by repetitions in the class-room. This accounts for the fact that so many, even in families that are called musical, never succeed in learning to sing. Fortuitous developments in infancy are suffered to become habitual. And habits, whether right or wrong, strengthening by repetitions of effort, increase in tenacity with the lapse of years. But happily these habits, though they acquire great strength, are not absolutely incurable. Time and patience, with intelligent instruction, are found in the hardest cases to insure success. A few examples of special training in infancy and Sacred Praise. 31 Special Ciises. in riper years will not here be deemed out of place.* A— — , in early childhood, sung nothing but the monotone. This she had acquired by listen- ing to the one note, by which a parent had uni- formly hushed her to sleep. This habit of sing- ing every thing upon one note would probably have been perpetuated but for the advantage in * The process in dealing with sudi hard cases is very simple. Speech, as we have said, embraces some of the elements of song. A man while asking a question, for in- stance, will often elevate his voice about a tone or semi- tone with considerable uniformity; and when answering a question, will as often make a similar depression of voice. This, by careful practice, he will learn to do with more exactness as his power of discrimination improves. The following table exhibits the process to tne eye as applied to music-syllables: Qitest. — Do, I'e? Atis. — Re, do. do, re ? mi ? mi, re, do. do, re ? mi ? faw ? faw, mi, re, do. do, re? mi ? faw? soil sol, faw, mi, re, do. do, re ? mi ? faw ? sol ? la ? la, sol, faw, mi, re, do. Thus by asking and by answering question upon question with the music syllables, a satisfactory idea is given of the ascending and descending scale. Then by the prolonga- tion of vowels, speech is gradually changed into song. For a time the voice will be rough, and wanting in flexibility, and not be found to proceed safely alone. But as the pupil gain? strength, the progress is accelerated, and by degrees the 8i)ecial guidance of the teacher's voice is withholdeii. 32 Sacred Praise. Individual Training. early life of a few brief lessons, after which she made rapid progress, and became an excellent singer. The early efforts of B were so entirely out of scale that a superficial observer would have deemed her a hopeless case. But when it was ascertained that she had acquired with great accuracy the false intonation of a revered relative, she was regarded as a prodigy, and soon became an apt scholar, quite remarkable for good intona- tion. The ■ truth Avas th;it her first achievement, for which she might easily have been rejected, was what few could have performed after months of hai'd drilling. C early acquired, by some undiscovered means, the habit of singing uniformly a little be- low the proper pitch. Some would have regarded this as a native defect, yet, with slight prompting fi'om day to day, the habit was effectually coun- teracted ; and his intonation became remarkably accurate, and his ear discriminating. D , when very young, was laboriously drilled from day to day before he could be brought to sustain alone tlie melody of tlie simplest I'sahu- Sacred Praise 3a Early Bias. tune. He would lose his pitch insensibly, and not be able to regain it without assistance. The writer well remembers this case, for it was his own. The development of his voice and ear was slow, in consequence, perhaps, of bad singing by some of the older members of the family, who exhibited the same infirmity. Yet, while he has not been unsuccessfiil as a musician, others who manifested some precocity of genius, have made little progress in the art. Such facts as these are very convincing and suggestive, and the detail might be lengthened to almost any extent. Sometimes the mind receives an early bias which is unfortunate. E in her infancy manifested great fondness for music, but, in a year or two, grew indiflferent, and in a little time became thoroughly disgusted with all singing. The alienation might have continued through life, but for the early discovery of the cause. INIusic, in this case, had been associated with stern disci- pline. The child was stubborn about going to sleep, and restless under confinement during the morning and evening hymns. 34 Sacred Praise. Individnal Training. Mrs. F in her early childhood met with such discouragement from her parents respecting her musical powers, that it had an unfavorable influence through life. She made good profi- ciency, and became a good singer, but her voice would always falter in the presence of an un- wonted listener. The late Mr. G in early childhood made such uncouth noises as to draw upon him the ridi- cule of the family circle. Yet. h;xd he been duly tutored and encouraged, he might have exhibited remarkable talents; for afterward, under every disadvantage, he became a, good singer, a useful teacher, and a respectable composer of plain psalmody. H , a pious, lovely youth, whose society was highly prized, had, it was supposed, a consti- tutional antipathy to music. He could not en- dure it. He had no affectation. He was simple- hearted and kind, but felt justified in absenting himself from eveiy evening circle where he would be subject to musical annoyances. Some years later in life, however, while listening to a lecture on the subject of praise which exposed some of Sachei; Puaise 35 Early Bias. the prevailing abuses, his antipathy was happily removed. "Oh," said he, "I now understand the secret of my difficulty. When my young friends used to practice psalmody for amusement in the midst of mirth and gayety, the exei'cise seemed so like profanation that I could not endure it. As I knew nothing of music, and as most of the singers were persons who could not be sup- posed to trifle with sacred things, I concluded the difficulty was withm myself. But now I see the matter in a difierent light." It was from a similar cause, perhaps, that the excellent Deacon J became remarkably in- different to exercises in praise. They did not appear to be very profitable, he said. He could not enjoy them. He had no ear for music. He could never understand what there was in it which was serviceable to devotion, for he always felt re- lieved when the singing was ended. But in pro- cess of time a new choir was formed without his knowledge, and conducted on the strict basis of Christian principle. Soon he began to listen. From Sabbath to Sabbath he manifested increas- ing interest. "I know not how it is," he said; 36 Sacred Praise. A harder Case. " I never cared for music. But wLen the singers began to feel Avhat thej were singing, tiie tears would flow. This is something that I can enjoy." Who will say that man had naturally no ear for music ? There is good reason for supposing that both he and Mr. H might have been taught to sing. But we will mention a harder case. The late Mr. K , while young, made several unsuc- cessful attempts for the cultivation of his musical powers. These served, by repetitions of effort in the practice-room, only to "confirm the bad habits he had fortuitously acquired in the nursery. This was a case which should have received special at- tention. But he was neglected. When nearly sixty years of age, however, he felt such a desire to unite with his family in singing the praises of God, that he determined, thus late in life, to ac- complish that object if possible, by receiving pri- vate lessons. He had no practical knowledge Avhich was available. He had not a discriminat- ing ear. He could not form aright any single sound proposed to him. He was a man deeply immersed in the concerns of an extensive business Sacred Praise. 37 Successful Issue. in a large city. Beyond each given hour of pillc- tice he could scarce give a thought to the subject. Yet, at such an age, and under all these disadvan- tages, he in a little time succeeded. After receiv- ing about one quarter's private instruction from a teacher whose class he liad once attended to no advantage, he could sing several tunes quite equal to the ordinary style of the lecture-room. So long as he practiced he continued to improve. In a few weeks, after he had gained his object, how- ever, he was suddenly called to the sanctuary above, where we trust the everlasting song will be sweeter to him for having commenced his pu- pilage in the present world. But why need cases be multiplied? The pre- ceding ones, among many others equally suggest- ive, came under the writer's own observation, and he has reported them with sufficient detail for all the purposes of the argument. Could any thing be more decisive ? To say nothing of experiments in other countries or by other teachers in our own country, the writer can affirm that for the last twenty years he has sought in vain for a single instance of one who could speak, and yet upon 4 38 Sacred Praise. AU might succeed. wlwse voice and ear no musical impression could be made. He pretends to no remarkable skill or discernment in tlie matter, but has been earnest, patient, and untiring in his investigations. And what is the result ? Many have imagined them- selves and others to be exceptions to the rule, and many, especially those advanced in years, would not have courage to make the trial, or sufficient perseverance to insure success. But this is not the fixult of nature. The writer has often experi- mented upon classes of adults made up exclusively of such hard cases, and always with a measure of success proportioned to the industry and perse- verance of the pupils. He has done this not for pleasure, nor from any doubt of its practicability, but for the sake of gaining testimony to this point for the satisfaction of others. And now, when it is recollected that the earli- est development of voice and ear is usually left to accident, that the ear is liable to every species of bias, and that taste is subjected to the unre- strained influence of prejudice and misrepresenta- tion, who can wonder that so few become even tolei'able singers? It is just what might have Sacred Praise. 39 Decayed Voices. been expected. In music, as in painting, nature gives us hints, susceptibilities, and materials; cultivation must do the rest. There is a class of individuals, however, whom we must not forget to notice in this connection. We allude to those who, having been once toler- able singers, have gradually lost their powei-s, and who on this account excuse themselves from all activity on this subject. This diminution of powers, however, is usually the consequence of mere 'neglect in practice. Practice is not more necessary for the acquisition of skill than for the preservation of it. Neglect of practice necessa- rily leads to deterioration, while T.ell-directed in- dustry is rewarded with improvement. Defective intonation, rigidity of voice, shortness of breath, and other things of the sort, while physical health is unimpaired, will be sure to yield under the in- fluence of well-ordered practice. The apology offered by this class of individuals, therefore, often amounts to a virtual confession of delinquency. Practice is every thing. Let children receive early instruction, such as their cases require, and all may learn to sing. Let there be practice in 40 Sacred Praise Need of Practice. higher schools, in families, and in social circles, and all may easily retain the voice of song. The principle is obvious. Timely instruction for the development of musical powers, and practice for the preservation of them. CHAPTER III. THE MAIN QUESTION WHAT IS TO BE DONE ? The enterprise a practical one — Several things necessaiy to its accom- plishment. Having disposed of some important prelimi- naries, we are prepared to enter directly on the main question of this appeal — What can be done to restore to exercises of praise, their proper char- acteristics and influences? The enterprise is doubtless a practical one. It must be so, for praise is a form of worship instituted for the glory of God and the benefit of his people through all time. How then shall the work be accomplished ? SECTION I. The subject requires prayerful consideration — It is worthy of it. In the first place, the undertaking must be made a subject for prayerful consideration. It is no trifling matter. The question whether praise 4* 42 Sacred Praise. Prayerful Consideration. is to be desecrated or to be redeemed from its abuses and restored to its appropriate beauty and spirituality, is surely one -which is adapted to call forth deep solicitude. It is not simply a question of musical improvement. The great themes of salvation are taken in hand ; how shall they be treated? Shall they be abused and trifled with in the Divine presence, or shall they be cherished, illustrated, and enforced ? To with- hold solicitude in reference to such a subject as this, is to be guilty of unfaithfulness. The same may be said of prayer on this behalf Nothing can be achieved without it. Yet, how seldom are our supplications offered on behalf of this subject ? This is wrong. There must be earnest incjuiry, believing expectation and fervent prayer. To speak here of impracticabilities would be displeas- ing to Him who knows no worshipers but those who are spiritual. Many we have seen treat the whole subject with neglect. Many are satisfied with giving an occasional pittance toward "sus- taining the music." Others who have talent and influence, withhold exertions which there is resv- son to suppose would be beneficial. And tlicre Sacred Praise. 43 Christian Activity. are yet others who, fixing their attention upon the singinji, indulge themselves in censures or com- mendations, much as if they were attending a concert. All this again we say is wrong. It must he done away. The work to be accom- plished must be undertaken in the fear of God, and with reference to the promotion of his glory ; and in no other way will it succeed. SECTIOX II. The tmdertaldng reqnires Christian laborers — ^Eeasons— Efforts mnst be earnest and appropriate. The undertaking must be prosecuted chiefly by Christians. Nothing can be more evident than this. Can we look for spiritual improve- ment from those who are not spiritual? Too long have we been waitmg for such an impos- sibility. It is time for Christians to take their place as; lenders in this service. If deficient in musical skill, the remedy is before them. Let them have recourse to instruction and practice. Many churches, we are aware, excuse themselves 44 Sacred Praise. Christian Activity on the ground of musical deficiency. But this will never do. The apology is unsound. If what we have said in regard to natural gifts is true, every church will doubtless embrace Avithin itself, an abundance of natural talent which can be rendered available. And it should be remem- bered that the possession of gifts implies obliga- tion. Too much reliance, as we have seen, has been placed on mere musical efficiency. This may answer for secular ends, but not for those which are truly spiritual. Because music has such power over native and cultivated susceptibilities, has it therefore the power of producing influences which are supernatural ? Can it do the very office- work of the Holy Spirit? How absurd and mon- strous is the supposition ! As well might the same thing be affirmed of elocution in preaching or exhortation. This has its advantages which ought, perhaps, to be more highly prized. Yet, Avhat are they in this relation unless the speaker has some pretensions to personal piety ? We are always watchful and jealous over the influence of fine speaking. We know that it may prove a 45 Is indispensable. snare to us. The same watchful jealousy should be exercised in regard to church music, which is of. a refined character. If the singers are mere performers, something more than jealousy is de- ' manded. The influences, in a religious point of view, will, of necessity, be unsound and super- ficial. Ai'e those who know nothing of experimental religion to be regarded as the best instruments for promoting it in the office of praise ? Look at the languao-e ©f our songs in this connection. How hallowed, how full of meaning. How impressive. Shall it be the office-work of the impenitent to sing us .into tender contrition? Shall the care- less and the indifierent be the ones to awaken the supine and the slothful? Shall those who see nothing in the Saviour, why they should desire him be expected to charm us with his love, by the mere " concord of sweet sounds ?" Shall the un- grateful, the unbelieving, the rebellious, wholly unreconciled to God, and averse to Divine things — shall these be the very ones to excite us by their minstrelsy, to lively gratitude, to humble confidence in God, to holy delight in the Divine 46 Sacred Praise Cliilstian Activity government, and in the adorable perfections of the Most High ? How preposterous the expecta- tion ! The thing can not be. It is contrary to the true order of instrumentality. God may in his mercy regard the circumstance of ignorance, which is not voluntary, and he may overrule wickedness for good.^ But we can not expect him to smile graciously upon the unfaithful, and the unhallowed observance of his own institutions. This he will never do. He will honor those who honor him ; not those who rob him of the glory due to his name. And what have the wicked to do, treading his courts as leaders in such a hal- lowed service as this ? Let the unconverted join in the songs of Zion, if they will do so Avith be- coming decency and solemnity. We would not hinder them any more than in reference to prayer. But Christians alone can become efficient leaders in the hallowed enterprise. Just so long as it remains in other hands, the abuses will continue. We would not undervalue the taste, the kind feeling, the public spirit, the wonderful persever- ance which have often been manifested in sustain- ing the music of the church by those who have Sacred Praise. 47 Is indispensable. only a general reverence for religious institutions. Nor do we wonder that their patience should have been sorely tried by witnessing the apathy of the church in regard to their efforts. Nor do we think it sti-ange that professoi-s of religion, while under the influence of a worldly spirit, should sometimes have been guided exclusively by their counsels. Nor will we presume to say that the churches have derived no benefit fii"om such exertions. But there has been wrong every where ; and if this is to be done away, Christians must become the special actors. This is reasonable. No other agency will succeed. The great ends of spiritual worship will not otherwise be secured. Singers may be variously employed, as artists or as vol- unteer perfoiTners. We may have recourse to the untutored congregational style. We may sing with the organ or ■» ithout it ; or we may change the character of the music by never-ending in- ventions or devices ; and we may marvel, too, at the fi'ustration of plans and the instability of ar- rangements. But all will be to no purpose while the main requisite is wanting. Direct, decided 4-8 Sacred Praise. Iiifluenco and Intelligence. Christian influence must be the life-giving spirit of the enterprise. Christians have a susceptible conscience. Let this be enlightened, and their eflbrts can be secured. Let such efforts be duly sustained, and, under the Divine guidance and blessing, they will be attended with success. ■ SECTION III. Christians of influence and intelligence must become active — Reasons — No apology for neglect. Persons of influence and intelligence in the church must put their hand to the work. Such an interest as this should not be confided to the ignorant, to the inexperienced, or to those who are w£ak in influence or weak in faith. If taste and skill in music were the things chiefly m view, there might be some shadow of reason for neglect ; for enlightened minds would not e.xpect much benefit from the exclusive promotion of such prop- erties. This very idea may have had its influ- ence with the community. Those who are distin- guished for intelligent, consistent piety, go to the Sacked Praise. 49 Are demanded. house of God not to be amused, not to be enter- tained by the. sentimentalities of the place, not to yield themselves in a passive way to whatever ap- pliances may be brought to bear upon them. Their religion is one of principle as well as of feeling. They go to engage intelligently in sol- emn communion with things unseen. Mere ob- jects of taste, therefore, are rightly regarded as of secondary importance. Many of this clasc of Christians are dissatisfied with the manner in which praise is conducted. They witness so much of heaitlessness and of mismanagement and mis- rule in psalmody as to induce discouragement. They have acquu-ed no fondness for such music ; and, judging from past experience, nave little ex- pectation of benefit from it. There is, however, especially in large cities, a class of Chi'istians who err in a different extreme. Secular music is taught in their parlors. They have frequented the concert-room and the oratorio as lovers of art. For psalmody they have ac- quired no taste. Accustomed in the concert-room to give exclusive attention to the performances, and to praise or censure them as they seem to de- •5 50 Sacred Praise. Bias of Secular Music. serve, they carry the same habit with them at church. They know of nothing better. If the music displeases them, it hinders their devotions. If it is artistic, it answers well as a drop-scene in the exercises. Yet being in the minority as to numbers, they can seldom have the arrangements to their liking, and learn like others to treat the subject with neglect. Now all this abandonment of the interests of praise is wrong. Let motives be what they may, the case is not materially altered. No desertion of a cause so precious as this can find a sufficient warrant in Scripture or reason. The neglecters have much to learn on their own account. Their views of religious music are vague and inconsist- ent. They know not what they need, or what they should do in regard to it. The difference here between aesthetics and devotion, though heaven-wide in its claims and influences, is not well understood. Their practical notions, habits of thinking, prejudices and associations in refer- ence to this interest, must be re-examined in the light of Scripture truth. And if men of educa- tion, and piety, and influence greatly need this on Sacred Praise. 51 Must be counteracted. their own account, they need it still more in ref- erence to others around them who will be influ- enced by their opinions and examples. If a re- form is undertaken in the manner and spirit of praise, such men must bestir themselves. We speak plainly on this subject, for there is abund- ant cause. When good men, even the best of men, are unwittingly misled, it is time for some- body to speak out in all truth and faithfulness, that error may be seen and corrected. In the present case, a new public sentiment is to be in- duced and acted upon ; and to this end the assist- ance and co-operation of influential men is indis- pensable. Whatever views of duty they entertain regarding their own personal improvement in practical skill, their present position and policy must be changed. They must stand out of the way. Nay, they must become active — must be- come leaders in the enterprise. They must give it a distinct and permanent character. This will never be done by minds of secondary mold. These will not possess the necessary discrimina- tion. It requires ripeness of Christian experi- ence ; it requires a knowledge of mental science 52 Sacred Praise. Magnitude of the work. and of human nature. The thing to be accom- plished is no trifle. It is not the work of an hour or a day. It calls for talent aside from the teach- ings of art ; it calls for perseverance. The work of praise, like that of prayer, is one which will never promote itself, and never be finished Avhile the world remains, or while there are Divine per- fections to be celebrated. CHAPTER IV. Efforts to be based upon the teachings of Scripture — Teachings of art not undervalued — Must not conflict with tlie Bible. Efforts must be based upon the teachings of the holy Scriptures. As the office of praise has been established by Divine authority, we must look to the Bible for the principles which should guide us in sustaining it. The teachings of art have their importance. We can not dispense with them. Yet even these must be submitted to the unerring standard. If in the matter before us, they speak not in accordance with this, they must thus far be discountenanced and resisted. The same is true as to the prevailing notions, prej- udices, and speculations of men. They are too vague, too contradictory and erroneous, to l)c taken as authority. "What saith the Scrip- tures?'' "To the law and to the testimony." In all the more essential elements of praise, the Bible is our only sure guide. Its teachings, however, are sufficiently plain and definite. 5* 54 Sacred Praise. Praise to be Snng. SECTION I. The praises of God are to be sunr; — Other methods not to be substituted — Objections answered. We are required to sing the praises of God. The requirement is as general as that which re- lates to prayer. If -we are to pray without ceas- ing, we are in every thing to give thanks. The practice is not merely recommended, it is solemn- ly enjoined. We have seen also that Nature furnishes no excuse for the neglect of such ex- ercises. How far the want of early culture pro- ducing obstacles in the way of subsequent train- ing, may serve to modify present obligation in individual cases, we pretend not to determine. We have not the least doubt, however, • that multitudes who now sit as silent worshipers, ought to learn to sing. We will add, too, that in other cases, the smallest amount of talent may answer the ends of private devotion. While the heart overflows with gratitude, and love, and holy joy, it naturally seeks to express itself in audible cliantings, or fragments of song. Many an in- dividual, unable to sustain the melody of a regular tunc, has acquired this habit, and found the pre- Sacred Praise. 55 Action of Singing. ciousness of thus holding secret communion at the mercj-seat, with things unseen and spiritual. And why should not skill be augmented in such cases, as it easily might be by private training ? Some tell us, that, since they are unable to sing, they prefer to give thanks in speech during exercises of prayer. This, in any case, they should not fail to do. Exercises of praise, too, include petitions and supplications to be oflFered in song. Will the observance of the one form of exercises excuse us m the neglect of the other ? What would be thought of that professor of religion who should conclude to offer all his sup- plications in song ? Two distinct methods of addressing the throne of grace have been pi-c- scribed to us. We need them both, and Neither of them should be neglected. SECTION II. What is the action of singing? — Not simply mnsieal — Lana^iage mnst be illustrated and enforced — 01)jections — Music itself a langn.'ise — Claim of verbiil utterance not to be set aside. But what is the actwn of singing required of us in prnise ? Not, certainly, that whicli some of 56 Sacred Praise. Music Subsidiary. the ancient fathers supposed — the performance of beautiful music to which words are subsidiary. Such an idea would be preposterous. It would be placing art in the foreground, and the subject- matter in the shade. It would be making relig- ion the mere servant of taste. The idea, to be sure, is sufficiently artistic. We meet with it in the concert-room, and at the oratorio, where the express object is aesthetical. But, however ad- missible it is supposed to be in those connections, it is inconsistent with the purposes of worship. Here, from the nature of the case, the consecrated text must form the basis of the exercise. It is an instructive fact, that, while in the providence of God, not a single strain of music has been preserved, which is loioicii to have been sung during the period of biblical history, a mul- titude of the poetic themes of song are found on the pages of inspiration, for the use of the church, to the remotest ages of time. Does this look as if words were of mere secondary import ? Why should mere borders of paintings be so long and so carefully preserved, after the figures of the canvas have been obliterated? Sacred Praise. 57 To Verbal Utterance. But we need not dwell on this species of argu- ment. There is a fact established in musical history, which is entirely decisive. During the whole period in which the Scriptures were writ- ten, singmg was understood to be a refined spe- cies of verbal utterance. This utterance must have been, more or less, rhythmical and melodi- ous. But it was designed to be distinct, earnest, and impressive. This, artists themselves must acknowledge. Then, we say, let them remember this definition of song, and be guided by it, and not presume in church music to depart fi^-om the spirit of a rule which is given by inspira- tion. Many, however, plead tha.: the language is al- together too rough for musical purposes. Allow this to be true, and nothino; exaggerated. Is this any reason why the language should be rendered unintelligible? Paul thought differently. He tells the Corinthian brethren that he had rather hear five words in a language that can be under- stood, than ten thousand in a tongue unknown. And he dra^js his illustration ©f the principle from praise as well as from prayer. 58 Sacred Peaise. Objections. Again, we shall be told that in large churches, the choir placed behind the congregation, and ac- companied with a powerful instrument, are un- able to give a distinct utterance of words. Such an embarassment, we admit, is often very trying. But who has created it? Not, surely, the Mas- ter of Assemblies. The parties who have done so must be responsible. The Bible never authorises us to place the leading singers out of hearing, or to drown their utterances by overpowering instru- mentation. But "books are before us which con- tain the words." True; yet in multitudes of cases they 'lie unopened, and the people are igno- rant of what is sung, except as memory is exer- cised. Looking upon the words of a printed page, too, is but a poor compensation for indis- tinctness of utterance. We should certainly so regard it, in reference to preaching, to exhoi'ta- tion, or to prayer. We need the impressive utterances of a distinct, impassioned delivery. These, in some way, we caii have. We ymist have them, if we would follow the Scripture rule. But here comes an artist, enanjpred by the inimitable productions of the masters. Music, ho Sacred Praise. 59 Is Music a Language ? tells us, has become itself a language, and one which is so distinct and powerful as to do away the necessity of verbal utterance. Indeed ! Is the man wiser than the pages of inspiration ! But suppose him in some high artistic sense to be partially correct. Let him then come for- waixi with his exhibitions of skill. Let him have every possible advantage. Give him all the per- formers of a modern orchestra. Give him all the instruments that celebrated Nebuchadnezzar's image. Or, if he pleases, let him have the poet's " Gun, drum, trumpet, blunderbuss, and thunder." Now let him play us, if he can, a musical ti-ans- lation of the twenty-third or the hundred and forty-eighth Pfclm, which would be intelligible to any man living ! Far be it from us to under- value the real achievements of art. But such baseless pretensions, common as they have been, are deserving only of ridicule. Such are some of the subterfuges usually re- sorted to, by those who endeavor to set aside the claims of verbal utterance. They are easily dealt with. But there is another question of great 60 Sacred Praise. Personation. importance, which must be decided by the same unerring authority. SECTION III. Personated devotion— Generally prevalent— Opposed to Apostollo teaching— Sliould not be tolerated — Keasons, Does the Bible sanction a personated devotion in exercises of praise ? One would suppose it to do so, who should judge by the living examples which surround him. This, indeed, would seem to be the prevailing idea. Few, perhaps, are prepared to say that heartless worship in song can be accepted. But the language of customary arrangements, and practices, and negligences, cer- tainly argues great looseness of -tipprehension in this matter. The question, therefore, demands a careful examination. Let us turn once more to the inf illible guide. The examples of praise, recorded in the Bible, are full of instruction, and quite to the purpose in hand. Surely such per- sons as David, and Asaph, and Heman, and Je- duthan, and Jehoshaphat, and Simeon, and Paul, and Silas were not mere sentimentalists, mere Sac 11 ED Praise. 61 Is not Worship. pei-sonators of devotion. The angels at the na- tivity were not giving a serenade for the amuse- ment of the shepherds. Their song was the full outpouring of holj joj. The same inference may be drawn from an examination of many of the inspired themes of song. Though these em- brace a great variety of topics, they include some of the most spiritual, the most elevated, and most sublime portions of the Bible. Ought these to be sung in public worship as the mere exercises of the concert-room ! Or should not the utter- ance proceed from hearts enlivened by a spiritual apprehension of Divine things? Paul answers this question. In his epistles to the primitive churches, he is very explicit. See Ephesians v. 18, 19 ; and Colossians, iii. 16. Here we have in the first place what might be termed the pre- requisites of song, " Be filled with the Spirit," and "Let the word of God dwell in you richly in all wisdom." In the second place we have the manner of utterance — " speaking to yourselves in Psalms and hymns and spiritual songs, singing,'''' and "teaching and admonishing . . . singing P And lastly, we have what is required ot" us as 6 62 Sacred Praise. Personation Unnecessary. personal worshipers — " Making melody in your hearts to the Lord,^^ and " singing with grace in your hearts to the Lord." Nothing could be plainer. Here is no ground for personation. Singers are to be personal, spiritual worshipers. Certainly this is Paul's view. We see then what is required of us ; and Scripture rules must stand, whatever becomes of the counsels and traditions of men. There is talent enough in the churches. Let this be matured and there will be no need of personators. CHAPTER V. WHAT IS TO BE DONE IN SCHOOLS, IN RE- HEARSALS, AND IN FAMILIES ? SECTION I. Adnlt Schools — These must have a specific character — Eeasons — Men- tal associations — Spiritual iafinences — These must be promoted and cherished — Ordinary religions preparations not sufficient — Why — Ob- jections answered — Elemental knowledge. Schools and rehearsals of church music must have a character adapted to the object we are contemplating. There are several reasons for this. One is found in the well-known influence of mental associations. Cowper says : " Wherever I have heard A Idndred melody, the scene revives, And -with it all its pleasures and its pains." This is not poetic exaggeration, but simple truth. The power of such associations can scarcely be over-estimated. It is often greater in many re- spects than that of harmony, melody, and rhythm Sacred Praise. Adult Schools. combined : yet it has been little thought of in this connection. Adult schools and rehearsals of psalmody, during the past half century, have, in most instances, been little else than social gather- ings for amusement. Such an arrangement might answer for the practice of catches and glees. Here some measure of mirth Avould be indispens- able : for in music, as in oratory, one must enter fully into the subject before him, if he would do it justice. But to cultivate devotional music in the same mirthful spirit, would be exceedingly absurd. It would be as far i-emoved from the true principles of art, as from the claims of relig- ion. And here is seen one of the most fi.*uitful sources of that u'reverence and misrule which have so frequently disgraced choir performances in our worshiping assemblies. Associations of thoughtlessness and levity have been so intimately blended with strains of psalmody in the practice- room, as to destroy all feeling of reverence and solemnity. Such a result from such a practice was inevitable. Singers thus trained, learn to speak forth with boldness and inconsideration, sucii solc'imi language a.'* would fill llk'ni with iSACKEi) P RAISE. 65 Irrelevant Associations. trembling if they fully apprehended its import. This is very sad ; and yet it is a thing so common as scarcely to excite observation. L'relevant associations are not confined to schools and rehearsals of a lower order. They often abound where we look for better things. The teacher, it may be, wishes to treat sacred subjects in a becoming manner ; but he is habitually of a peevish or a merry temperament, and will be sure to leave his own impress upon the mind of his pupUs. Or if he is a dry mechanist or an excita- ble sentimentalist, a similar result will follow, un- less his influence is in some way counteracted. And doubtless much of the dullness and the ii'rel- evant emotion which attend exercises in praise may be ti-aced to this very source. Wrong associations and feelings can be pre- vented only by establishing right ones. We must preoccupy the mind with relevant associations, if we would escape from such as are imfavorable to devotion. This is our only alternative. Many pill not believe it. Why, they ask, may not (music be cultivated as painting, and poetry, and other arts are cultivated? Such questions have 6* 6t> Sacked Pkaise, Kight Associations. some measure of plausibility, and good men are often misled by them. But it should be remem- bered that the chief object of such schools and re- hearsals is not to produce artists, but to secure such musical appliances to sacred words as shall render them more impressive and more devotional. This object will of necessity be defeated, unless the practice of psalmody is accompanied with rele- vant influences. This is a principle the truth of which can not reasonably be questioned. Just such influences as have been habitually soAvn in the practice-room are sure to spring up for good or for ill in the solemn assembly. It must be recollected, however, that associa- tions and feelings may have some relevancy to religion without beino; what, in the evangelical sense, would be deemed spiritual. If the object before us were merely the promotion of aesthetic influences, the measure we are insisting upon would not be useless : but since we have chiefly in view a far nobler one, how is the importance of the measure augmented ! Spiritual influences come into the heart of the worshiper, it is true, only by a gracious implantation. But it is equally Sacred Praise. 67 To be Promoted. true that' they will never spring up and flourish in the midst of our indifference and neglect. That is impossible. Nor let it be imagined that gen- eral preparations for worship will here suffice. Praise, employing as it does the appliances of art to verbal utterances in the Divine presence, has claims of a special nature. It demands the for- mation of certain habits which are resultant from right practice. Practice of some sort we neces- sarily have, Avhich is never without its influence upon our devotions. Is it of no consequence, then, whether this practice be right or wrong? What we ask for is the adoption of the same prin- ciple in rehearsals which all allow to be essential in preparations for the pulpit. How are singers to worship in the spii'it if, in all their rehearsals, they make no efibrt for the promotion of spii'itu- ality ? This will never be. Doubtless we shall here meet with many an objection. Decency, and order, and gi-avity, and some measure of emotion in reference to the hymns in practice, will be deemed appropriate ; but to convert the practice-room into a place for exhorta- 68 Sacked Praise. Spiritual Influences. tion, prayer, and praise, would be as impractica- ble as unwise. But we are not pleading for such an entire change; we ask for religious influences just so far as thej may be necessary to secure the de- sired object. Of course, criticism and worship are distinct things. They can not be combined in any single exercise. The one draws the mind downward to musical observances, the other raises it upward in the contemplation of heavenly things. Each position of the mind is right in its place. But we need practice which will assist us in our upward aspirations, by freeing us from every ar- tistic entanglement. This we must have, to some extent, in the practice-room, or artistic considera- tions will constantly ensnare us. Nor would there be any thing iucongruous in such an arrangement as has been suggested. If, in the ordinary course of worldly employments, we can find occasional parentheses for prayer and praise, how much easier can we find them in evenings which are specially devoted to improvement in psalmody. The won- der is, that such an obvious duty should ever have been questioned. Among all meetings for benev- Sacked Praise. 69 Eudimcntal Instruction. olent objects, and for religious improvement and consultation, with this single exception, we engage more or less in devotional exercises. But prepara- tions for praise have been given over to the dicta- tions of art. The office-work of angels, so to speak, has been committed to the muses, as if taste were the chosen goddess of our idolatries ! This is palpably absurd, and must always lead to disappointment. Taste never appears in lovelier character than when it ministers in humble sub- servience to divine things. It is an unfortunate circumstance that a com- petent knowledge of rudiments is so seldom gained in early life. If the fact were otherwise, much of the difficulty now experienced in adult classes would be removed. At present the claims of notation, of rhythm, of melody, of style, of verbal utterance, of sentiment, and of expression, are necessarily crowded into the exercises of each successive evening, because of the general ignor- ance in such matters, and because of the brief period allotted to instruction. Every thing deemed essential must be inculcated in a little time, through the hurry of incessant application. Un- 70 Sacred Praise. Want of Method der such circumstances, how easy is it for relig ious exercises to be excluded. Secular music knows nothing of these embar- rassments. Sentimentalities are there easily ex- cited and regulated. Sufficient time also is usually allowed for the accomplishment of rea- sonable expectations. But as circumstances, in reference to psalmody, are so entirely different, it is easy to see that methods of instruction and practice, in relation to it, ought to be greatly modified. Every thing in this respect is at loose ends. Most teachers do their work very imper- fectly. One who excels in notation, for instance, will occupy most of the period allotted him, in teaching his pupils to read music. Another, who prides himself on being a good timeist, will dwell disproportionately upon rhythm. A third, for a similar reason, will train his pupils chiefly in melody and harmony. A fourth, who neglects some of the preceding elements, will dwell on dynamics, or vocal delivery ; while a fifth, more rarely met with, cares for nothing but sentiment. But where is the teacher who dwells on these ele- ments in due economical poi tions of time ? Sacred Praise. 7] In teaching. If artistic excellence were here the chief object to be obtained, we might well despair of success. But the case is far otherwise. We do not need the talents of a Mara or a Sontag, for instance, to enable us to maintain, in song, the earnest pleadings of the 51st Psalm, or the hallowed as- criptions of the 148th. A heart melted into sup- plication, or elevated in holy joy, would prove far more edifying, though possessing mediocrity of talent. The spirit of praise takes precedence of the manner of it, and finds a sweet response in the heart of every spiritual worshiper. Hence, for the purpose of singing, such as psalmody re- quires the necessanj attainments are so moderate as to be gained by a reasonable lanount of well directed training. Artistic refinements in style are extensive and difiicult. They are, more or less, of an adventi- tious character, always crying, "give, give." A man might spend his whole life upon them, and still be a learner. But such things would be mere impertinences in public worship. How evident is it, therefore, that instructions in devo- tional music should be methodical and appro- priate. 72 Sacked Praise. Juvenile Instruction. SECTION II. Childrmi mnst be instructed — Musical exercises give them pleasure — Pliysical, social, and religious advantages — Easily trained — Bearings npon the subject before us. Chilflren must be early taught to sing. This, as before hinted, is in accordance with the sug- gestions of nature. If pupilage actually com- mences in infancy, and if a right or a wrong scale is then acquired with about equal facility, by imitation, it must be very unwise to leave every thing, in respect to voice and ear, to the influence of accident. A little prompting, as in reference to speech, would usually suffice for the earliest stages of culture. The subject of nota- tion and style should be pursued in juvenile years. Children are found to make rapid progress in the elements of music. The exercises are not dreaded as tasks ; but form a pleasant relief from severer studies. They are conducive to health, and to gentleness, and quietness of disposition. Miscel- laneous songs, filled with pleasing incidents, good sentiments, and sound principles, social, moral, and religious, may have a happy influence on the formation of character. But the bearing which Sacred Praise. 73 Its Advanta«;c9. this instruction has upon icligious music is ex- ceedingly important. The history of modern cul- tivation, shows thus far, that most of those who neglect music in early years, will neglect it through life. But let all the children be trained, and in a few yeai-s the entire community may unite in chorus. And then how different would be the details of practice in adult classes. Every thing elementary would not, as now, be found to enOToss the attention. Adult schools miorht then be "schools of the prophets," and rehearsals be precious seasons of preparation for the worship of the sanctuary. The praises of God can not wait for such a consummation. Yet, if we would be thorough in the work of improveicent, we must look well to the instruction of children. SECTION III. Devotional Hnging in families — Its importance — JTeglect — Abnscs — Cbaracteristics and advantaaef — Influence upon congregational ^ine- ing — Parlor nmsic — Its influence ollen prejudicial — Not adapted to the object before ns. Devotional singing must be reinstated in family worship. The Bible, as well as the practice of 74 Sacred Praise. Praise in FamilioB primitive Christians, is in its favor. The Psalm- ist says, "Every clay will I praise thee," "At midnight will I rise to give thanks.'" The Apos- tle says, " In every thing give thanks," " Giving thanks always."* Why should the practice in these later times be so extensively laid aside? We consider it a great sin to neglect family pray- er, and truly it is so. But is it no sin to omit offerings of praise, for mercies which we are daily receiving in answer to prayer ? The methods of worship are both needed, and neither of them was ever intended as a substitute for the other. Praise, rightly conducted in the family, proves a delightful employment. It becomes a heavenly privilege. It leads the mind away for a little moment from the consideration of personal wants and circumstances, to a contemplation of the per- fections, the works, and the redemptive and pro- vidential dealings of God. It gives enlargement to the heart. It chastens and subdues the affec- tions. The language it employs is remarkable * And -we have seen what the Bible intends by sucli directions. Sacred Praise. 75 Not musical Pi-actice. for spirituality. It is such as is heard with holy delight in the dwelling-place ahove. We refer not here to mere musical practice, which is too often substituted for real devotion. T\Tiat we ask, is the restoration of solemn, spirtiual exercises, to which practice, however well con- ducted, is merely preparatory. Wrong habits that have been indulged, it is true, will not be over- come without a struggle. The desired influence, for a time, will not be realized. The efforts at first will be too labored for enjoyment. But through the Divine blessino;, the issue will nlti- mately come. The spirit of praise will then ac- company the accents of the poetry and the song, just as- the spirit of prayer accompanies, and adds interest to the language of our supplications. But what an argument is the one now before us. The fonnation of right habits in praise is quite essential to the utility of the exercise, whether at home or in the solemn assembly. The heaven- ward direction of the mind, so essential to all de- votion, will not be maintained without habitual effort. The man who neglects family prayer will find no liberty if he attempt to pray in the so- 76 Sacred Praise. Parlor Music. cial circle. If he neglects daily meditation, Lis thoughts will wander on the Sabbath. He can not even give for benevolent purposes with Chris- tian simplicity unless, by frequent eflforts of the kind, he fonns and sustains the habit of true lib- erality. It would be strange, indeed, if exercises in praise were to form an exception to so fixed a rule of influences. They evidently do not. The man who would any where enjoy exercises of praise ia a Christian manner, at least if he is a singer, must be, day by day, in the habit of devo- tional utterances in song. The rule would seem to be just as positive as in regard to prayer. The music of the parlor is not without its im- portance in this coimection. Though chiefly secu- lar, it possesses some advantages. Rightly or- dered, it becomes a pleasant relief from the bur- dens of care, and a sweet soother of disturbinji influences. It promotes kindliness of feeling, vir- tuous sensibility, and refinement. There is little question among intelligent Christians as to its utility. But what an amount of practice is de- manded for the maintenance of parlor music ! Instruction is given for years in the acquisition Sacred Praise. 77 Its luflucnce. of skill ; yet this skill will be gradually diminish- ing from the very hour that regular practice is laid aside. All this instruction and practice in parlor mu- sic too, Ave fear, is, in the multitude of cases, of little or no advantage to devotional singing. It does absolutely nothing toward promoting the true maimer or spirit of praise. Ai'tistic and devo- tional training in music are often opposed to each other. The one would secure a polished enunci- ation at the expense of language, the other would prefer distinctness to mere euphony. The one would dwell disproportionately upon conventional gi'aces and ornaments of style which are destined, like fashions in dress, to pass away and be forgot- ten; the other, rejecting these, would labor to maintain chaste simplicity in connection with the more essential and permanent features of style. The one cherishes earthly associations, the other, those which are heavenly and divine. Of the two systems thus in conflict, the more popular one is liable to gam the ascendancy, if not wholly to displace the other. The ambition of a doating parent is ready to make sacrifices. To have his Sacred Praise. Parlor Music. daughter become-a second-rate imitator of some favorite prima donna, he is told to keep her from the practice of psalmody. If she is ever to excel as a songstress, the injunction of her teacher, reasonable or unreasonable, must be obeyed. This, in large cities, is a very common case, and one, we are sorry to say, which often occurs in Christian families. The splendid instrument of the parlor thus bears daily testimony that the claims of art are deemed of more importance to the family than the praises of God ! What should be thought of such a decision ? What would angels think of it? How must it appear in the light of eternity ! CHAPTER VI. WHAT IS REQUIRED IN THE SELECTION OP TUNES. Prevalent causes of dissatisfaction— Old tunes vs. new — Taste neces- Barily progressive — Cotigreg;ations and choirs should come to an un- derstanding, and be governed by a Christian spirit. The selection of tunes for public worship is a matter which in many ways occasions dissatisfac- tion. To say nothing of the claims of rival pub- lishers whose livelihood is, in part, derived from the sale of music-books, and, in consequence of which, self-interest sometimes takes precedence of sound judgment and enlightened taste, we see enough in the circumstances of many congrega- tions to show that cordial unanimity in the selec- tion of tunes is not always easily secured. Pref- erences are various and contradictory. Every one has his own notions. Those who in earlier life were leading singers, but have since relinquished the practice, are generally in favor of old tunes — ^why should not these always be preferred? 80 Sacred Praise. Choice of Tunes. Such people reason just as if all progress in taste had ceased at the close of their own efforts. Yet were they to resume the practice, they would cease their murmurings. Clianges in selection, even in then* own case, would be found essen- tial. Choirs, too, are often unreasonable in this matter. They have too little regard for the ex- isting circumstances of the worshipers. Higher interests are involved than those of personal con- venience or gratification. The people can not worship in a tune which displeases them. An impression of some sort is to be made upon them. Shall it be for good or for ill ? The Master of Assemblies proposes to receive the homage of his people —will it arise from the lips of murmur- ers? In all such cases the parties should come to a mutual understanding. The matter should not be deferred. What if there is no outbreak of decided displeasure? Devotion is hindered and paralyzed ; and this is a sufficient reason for mutual inquiry and condescension. Such troubles are not peculiar to the present generation. They SACE13D Praise 81 Conflicting Views. have long been known, and they will continue to occur while personal responsibilitj in the matter is so imperfectly apprehended. If Christians wish to be benefited by exercises in praise, they must in some way become active. But again — cultivators of psalmody are often at variance on this subject. Some are for prog- ress in modern productions. Others are for chief- ly discarding them. Some, in defiance of unlial- lowed associations, would bring forward strains from the theater, from the hand-organ, the street- minstrel, or the hurdy-gurdy. Others, on the contrary, can see nothing devotional except in the chants and chorals of olden times. Such wide extremes do not always exist in the same neighborhood, but they are injurious and must be done away. Progress is needful, but it may be too hasty and in wrong directions. A venera- tion for the productions of antiquity has its ad- vantages, but it must not be exclusive. In music, as in painting, and poetry, and sculpture, every coming generation should be largely bene- fited by its own productions. This is reasonable : it is in accordance with the interests of religion 82 Sacred Praise. Conflicting Views. as well as with those of taste. The sermons aud treatises of the sixteenth century may famish the modern pulpit and press with valuable hints and materials — but we prefer to use those of our own times for ^ instruction. The principle ex- tends also to hymnology. Why, then, should we go back in our selections of church music to the tunes of that period, when melody, after all, is acknowledged to be a short-hved, evanescent thing? Old hymns and old tunes should be blended, to some extent, with new ones ; but the selection should have reference to real utility, rather than to age. Adaptations from secular music should be received with great caution. If fully recognized they will have an unhallowed influence. A strain thus borrowed may appear sufficiently solemn to those unacquainted with its origin — while to others it may bring nothing better to mind than the di*amatic mimicries of worship. The time, perhaps, has not yet come when well ordered selections and arrangements of psalmody can be established. But come it must in the progress of reform. Intelligent Christian fcjAOKEI) PkAISK 83 Expciience must decide. experience must be our ultimate guide. AVhat is thus found to be of a devotional tendency can be approved while the rest is set aside. Such difficulties as we are here describing will then be of short duration. In the presence of a sweet devotional spirit, they will disappear like mists of the morning before the rising sun. CHAPTER VII. Methods of conducting Exercises in Praise — Confrregational singing not tlie only primitive Method — ^An artistic Quartette, devotional or aesthetic? — A volunteer Choir rightly selected and conducted — Its superior Advantages — Voices of the Congregation should unite with it to a greater extent — Abuses many and flagrant — Must be done away. The method of conducting praise, whether by a precentor, or quartette, or volunteer choir, either with or without accompaniment, is a mat- ter about which, at the present time, there is much diversity of opinion and practice. In some instances the same congi'egation proceed from method to method, almost with continued dissatis- faction. Like the man in a fever, they " Shift from side to side by turns, And 'tis a poor relief they gain To change the place but keep tlie pain." Filled with wrong notions of musical efficiency they try every plan but the right one, and con- tinue to be unsuccessful. Sacred Praise. 85 Congregational Sin^iig. Where there has been much cultivation, an assembly may for a while so follow the lead of a precentor as to sing with decency and with Christian satisfaction. But the neglect of prac- tice which thence ensues necessarily leads to deterioration ; while many will become so partial to this method, as to insist on its continuance long after it becomes, in the opinion of others, unendurable. Such is the testimony of past experience. Tliis method has been said to be most in accordance with the Scriptures, and most favorable to the extension of individual privilege. But in ancient times this was not the sole method. The singing was often responsive. In the prim- itive churches there were also solo exercises. Paul does not condemn these, but merely com- plains that they were too numerous and irregular. Every man had his particular psalm, all of whom could not be accommodated. The argument drawn from Scripture pi'ecedent, therefore, must not be pressed too far. We may add, also, that the extent of privilege in this method has its limits. Those who will not learn to sing or who, having learned, relinquish all practice in music, ^ 8 86 Sacred Praise. A Quartette. social, and private, have certainly no right to dis- turb the worshipers around them, by their harsh utterances. There are many of this class, par- ticularly in city congregations. And how they can esteem it a privilege to make such doleful noises in the congregation, as they are wont to do, is more than we can understand. The method of employing a quartette to lead and sustain the voices of the assembly, possesses some advantages over the one we are considering, inasmuch as four voices are stronger than one. These voices, however, must be marvelous in power, if they can harmonize duly with each other, exercise a full control of the assembly, and prevent the latter from deteriorating through neglect of practice. The more usual design of a quartette, is to produce finer music than could otherwise be ob- tained ; and that for the gratification of a silent auditory. If the performers are animated by the spirit of intelligent Christian piety, they may so sing, perhaps, as to give permanent satisfaction, when this method is greatly preferred. But if they are of a difierent spirit, and are influenced Sacred Praise. 87 A volunteer Choir. chiefly by inferior considerations, their perform- ances, morally speaking, will be mere sabbath concerts for the gratification of taste — mere pro- fanation of praise. The method of conducting praise by a volunteer choir may be so pursued as to secure every ad- vantage that can reasonably be desired. Let Christians take the lead in this enterprise, and give it the right direction. Let the numbers be abundant, and be well trained. Then, if it should be desirable, there can be occasional solo utter- ances, relieved and beautified by the contrasts of a full choir. Let the choir consist of persons of influence, who will effectually sympathize with the congi'egation. Let them attend the evening lecture, acting there as a choir in reality, though not m fonn, leading the other voices in some well- know n tunes ; and let them aftenvards occasional- ly sing at church, the same humble strains of the lecture-room, with the express undei-standing, that the congregation are then to unite in general chorus. Such an arrangement has been tried, and found successful. It is no longer an experi- ment. It has in it all the elements of durability. 88 Sacred Praise. A volunteer Choir. All of its features may be considered essential. If Christian influence is withholden, the spirit of praise will be wanting. K the numbers are too few, they will not succeed in controlling the voices of the assembly. If they are not well trained, they will sing with too little expression, and fail to give light and shade to the various sentiments they utter. Above all, if there is a want of sym- pathy between the choir and the worshipers be- low, the latter will derive little benefit from the privilege of occasionally uniting in the general chorus. This privilege is essential. For unless the congregation bear some active part in the ex- ercises, they will be less interested in them ; and they will lose the advantage of that social princi- ple, which enters so largely into the nature of public worship. The writer of these pages, having been em- ployed fall half a century in this field of efibrt and observation, may claim the right to speak with confidence on this subject. He has too often tried the plan he here recommends, not to know, by happy experience, that what he affirms con- cerning it, is abundantly true. Let choirs be 89 Esthetic Influence?. formed on any other than a Christian basis, and he has nothing to saj on thoir behalf. He will not consent to answer for their good conduct, their unanimity or stability. They can not fully suc- ceed. We ought not to expect it. We ought, as Christians, to know better than to confide any de- partment of religious worship to the sole guidance of aesthetic influences. It is an abuse of hallowed things. Modern precedent, however respectable we may deem it, can not be pleaded against the plain precepts and examples of Scripture. Those who willingly and intelligently favor such an abuse must answer it to the i\Iaster of Assem- blies, whose cause they have dishonored. Chris- tians should look with devout solicitude to the character of praise, as well as to that of preach- ing or prayer. But what shall be said of instrumental music in this connection? Its use is fully s;inctioned by the word of God ; yet, like other good things, it is liable in many ways to be abused. The sound application of Christian principles to this department in worship is destined, no doubt, to effect important changes. Instruments will then 8* 90 Sacked Praise. Instrumental Music. come, as of old, to occupy an humble place, chiefly as accessories to the human voice. They will not then be allowed to embarrass its utterances, or to attract toward themselves that measure of atten- tion which is due to the sublime and solemn themes of praise. Much less will they be made objects of splendid attraction to draw an admiring auditory. But upon this subject we need not dwell. Common sense and Christian experience will ultimately suggest the needed improvements. CHAPTER VIII. INFLUENCE AND CO-OPERATION OF PASTORS. This is indispensable to success — Many considerations show this — The aid usually withholden — Reasons examined — Objections obviated — Musical talent not here indispensable — Without its advantages, he can consult the Scriptures, and bring forth their various teachings — These as important to praise as to prayer — Not right to neglect them — Old Testament precepts, examples and inferences considered — The New restament no less decided in its teachings — Precepts — Exam- ples — Inferences — No want of materials for tlie pastor's use — The sub- ject should be kept before the people — Suggestions as to modes of presentation — Secularizing notions, habits, and influences to be coun- teracted — ^The present a favorable time — Concerts and conventions will not do the pastor's work — He must act, or other efforts will fail. From what has been hitherto said of reform in church music, it will follow that pastors of churches, whether they sing or not, have an im- portant part to act in this matter. We wish here to say nothing inconsistent with that respect which is due to the sacred office. The duties of that office are, for the most part, so plain and so clear- ly revealed, as not to require the aid of any lay interpreter. And yet, it would not be very won- derful if the discussion before us should reveal to the notice of pastors an important field of duty which, unhappily, has been but little occupied. 92 Sacred Praise. Pastors must act. The subject of church music has been so long associated with artistic considerations as to render it difficult to break th'e entanglement. But this very thing must be done. And who will under- take it while the pulpit maintains its accustomed silence ? The offices of praise and prayer have been instituted by the same authority. The Law- giver has not told us that the one is less import- ant than the other. If the subject of prayer had been so unhappily combined with the claims of oratory as to prevent in great measure the fervor and the efficacy of addresses at the throne of grace, this very fact would inevitably call forth the teachings and admonitions of the pulpit. The clearest statements would be made, and the most careful discrimination be drawn. Arguments and motives would be brought to bear upon the sub- ject; and there would be line upon line, and pre- cept upon precept, till the people were enlight- ened and reclaimed. Now when we ask that the same measure of faithfulness for a similar reason, may be exerted in reference to the office of praise, do we ask any thing unreasonable? Could we ask any thing Sacred Praise. 93 This is Beasonable. less? The two ciises are substantially alike. They both iuvolve the same moral question ; and who hius told us that the mockery of praise is less displeasing in the sight of God, than the emptiness of lip-service in prayer ! The difficul- ties in which the subject is involved are neither intangible nor hopeless. They do not alter the truths of the Bible, and they form no impedi- ment to spiritual interpretation. The circum- stance that praise is to be sung instead of being simply spoken, does not change at all the spir- itual nature of the exercise. Singing, in a moral point of view, as we have shown, is but another kind of verbal utterance, a more elevated method of speech, which should form as true an index of the "thoughts and intents of the heart," as that which is demanded in social prayer. The pastor without any practical acquaintance with music, can understand this principle and present it before his people, and he can discover the heartlessness and formality and self-ignorance and presumption which prevail, as well as the earnestness, sincerity, and spirituality Avhicb are sometimes manitested. Waiving the authurity 94 Sacred Praise. — — ■ y ■ — A Pastor's Objections of human traditions and making the Bible his stand-point, the course before him would seem to be as clear and as well defined as in regard to any other point of doctrine or duty. But many a plausible theory, we shall be told, proves of little value when the experiment is made of reducing it to practice. Unforeseen ob- stacles arise, and unexpected difficulties occur, for the removal of which there is no existing provi- sion. This is very true. It should be borne in mind, however, that the theory which we ofier is one which presents no real novelties. It is a theory which has been fully tested, and one which, in its principal features, has a thousand times been reduced to practice with happy success. It is also the only one which is thoroughly in ac- cordance with the teachings of the Scriptures. We shall be told, perhaps, that laymen do not understand the peculiar embarrassments under which a pastor is called to labor. So many things invite his attention at once, that he is obliged to make his own selection. The citadel of the ad- versary can not be attacked single-handed at all points simultaneously. Some will be more vul- Sacred Praise. 95 Discussed. nerable than others, and promise a richer and more speedy return of benefits. And ■svho shall dictate to a pastor, at any given time, how his selection shall be made ? True, very true. But the proposition before us is not one of time; though if it were so, one would suppose that the delay of half a century, on a point of attack which is so vulnerable, might more than suffice. What we affirm, is simply that reform in the office of praise can not be achieved without the active, well-dnected effi)rts of a pastor ; and in this posi- tion we expect to be sustained. We have seen that prayerful consideration should precede every attempt at reform. And shall not the pastor take the lead in this matter ? Does it not appertain to his office ? Who else, if the pastor does not do it, will presume to call the people of his charge to solemn reflection and prayer in reference to abuses in the worship of God ? We have seen that Christians who are in- fluential, intelligent, and spiritual, must put their hand to this enterprise. How shall this be done, if their constituted leader in spiritual things re- mains silent and inactive? We have seen that 96 Sacred Praise, A Pastor's Objections eflTorts must be based upon the teachings of the Bible. Who but the pastor can bring these effec- tually to bear upon the people, and secm-e for them, throuorh the Divine blessino;. an abiding; in- fluence? We have seen that the character of schools and rehearsals must be essentially im- proved. Who -will cast the salt of religious in- fluence into those fountains, if the pastor perse- veres in neglecting them? And how shall the right instruction of children in church music be secured; and how shall selections of tunes be regulated, if the pastor will have nothing to say or do regardincf these interests? Tlie slightest reference to such topics as these, will more than sufiSce to show that refonn is in the natui-e of things impracticable, unless the pastor engages in it. The effort has often been made by individuals and churches, but never with permanent success, it is believed, where a pastor's influence has been withholden. Art may gain its pui-poses without him, yet not in this connection, without trespassing upon the claims of spirituality. The true spirit of praise will no sooner exist without cultuie, tliiiii will the spirit of Ijclieviug supplication. Sacked P ii, a i s k 97 Discussed. Both of these are necessary to acceptable wor- ship ; and both are worthy of pastoral effort and solicitude. But we shall be told that great difficulties may arise from a pastor's interference with the sing- ing. Some of the fathers in the ministry have enjoined it upon their younger brethren to " have nothing to do with the singing," lest it should endanger their influence, and involve them in troubles and contentions. Now that very serious difficulties have often arisen in this connection, no one will presume to deny; and that pastors have sometimes acted wisely in standing aloof from therti, for a sea- son, is equally obvious. But what has been the origin of such difficulties ? Doubtless they may all be traced to the wide prevalence of wrong principles. Were we to imagine, for example, that elocution is the chief desideratum in preach- ing, and in public and social prayer, and that those who acquire the greatest skill in that art, iare the very fittest persons to officiate in such ex- jercises, we would soon involve ourselves in inex- tricable difficulties. Sustaining choii'S on a simi- 9 98 Sacred Praise. A PasWs Objections lar principle, and then treating them with alter- nate neglect and severity, may well occasion trouble. It has often done so, and the end is not yet. The troubles are destined to increase, til?, right principles prevail ; and for the inculcation of these, we must look to the influence of the pulpit. If there really were any thing in music, which could lessen obligations to sincerity in exercises of praise ; if, as some would have us suppose, there is in music itself, a semi-Divine efiiciency, which might go far toward securing right influ- ences independently of right intentions in the sing- ers, we might find it more difiScult to show that the much honored clergy who neglect this entire subject, are not occupying a tenable position ; and probably it was some prevailing notion of the sort which led them to assume this position. But there is no such efficiency, as has been pretended The idea is erroneous. It is absurd. It should be driven from Christian society, and banished to the shades of modern infidelity, where it appro- priately belongs. There is not the slightest foun- dation for it to rest upon. For every purpose of Sacred Praise. 99 Discussed. moral discussion, religious music may be regarded as a species of consentaneous oratory, so ordered that numbers may unite harmoniously, in the same sounds, givins; emotional utterance to the great themes of the gospel. Mere music, it is true, has the power to />/ea5e, independently of verbal utterance. It is, therefore^ used in volun- taries and symphonies, in preparation for that which is better. But in religious worship, it is of secondary import. The case being thus, the moral bearings of the subject are seen at a glance; and it requires no uncommon wisdom, or practical knowledge in music, to bring them before the community. There is, however, another objection, which deserves to be considered, as it often exerts much influence on the decisions of a pastor, in relation to this subject. Sacred music has formed no reg- ular department in theological education. The subject of praise has been treated chiefly in the abstract. The teachings of the Bible on this sub- ject are not difi'use ; and where is the pastor to obtain the necessary materials for such a course of instruction as he might wish to pursue ? 100 Sacred Praise. Teachings of the Bible. In reply to this objection, we would say that it has, in part, been the object of this appeal to supply the necessary materials. We have endea- vored to present a suggestive train of thought, which may bear expansion. The topics have not been exhausted ; and the mere enumeration will naturally bring others to mind. But let us spend a moment upon the more direct contemplation of these materials. The office of praise, as beheld in the Scriptures, furnishes abundant matter for thought and inves- tigation. The nature of praise, as we have seen, needs to be carefully explained, according to the Scriptures, and to" be kept prominently before the mind of the worshipers. And this is the more necessary, because of the wide prevalence of the- oretical and practical errors in relation to it. Apostolic instructions to this end, though very brief, are explicit, and directly in point. They are easily explained and illustrated, as we have seen, and there is scarce a possibility of misinterpreta- tion. They accord at once with the spiritual nature of our religion, witli the pure and exalted nature of the themes of song, and with the many Sacred Praise. 101 Themes of Song. insti-uctive examples of praise contained in the blessed volume. It should be kept before the mind of the wor- shipers, that in praise just as in prayer, God looketh upon the heai't.* Tlie themes of praise are various. Some of them are meditations, or narrations, or descriptions, or addresses to saints or sinners. Yet they are all intended to be ut- tered forth in the immediate presence of the Searcher of Hearts ; and whether the utterance is directed to God, or whether it is addressed to our own souls or the souls of others, the requirement is all the same. We are to worship in spirit and in truth. Yet many of the themes of relig- ious song, are more lofty, more hallowed, and more momentous than the language we ordinarily employ in public or social prayer. What noble specimens are contained in the book of Psalms, in the prophecies of Isaiah, and in the book of Reve- lations. What preparation of heart, what com- mitment of soul they require ! The very utter- ances of heaven have come down to us, that we * This truth will be best appreciated, when Christians act as if they believed it. 0* 102 Sacred Praise. Teachings of the Bible. may catch something of their spirit, and send back our hallowed, though feeble responses. While such themes as these form the subject of pulpit discourse or exhortation, how easy it would be to di-aw instructive inferences in regard to the duty or the privilege of praise ; or to inquire whether we are not liable in many ways, to in- jure such language in our songs ; or to point out some of the obvious hindiances to devotional en- joyment in this connection : or to show how urg- ent is the necessity of schooling our hearts, in reference to utterances in religious song. A few hints at a time, suggested by the use of such themes in sermonising, would serve to make salu- tary and durable impressions. Or take the Psalmist's multiplied and earnest exhortations to praise, enforced as they are by apostolical author- ity. Shall we look upon these as mere poetic exclamations ? Or shall we regard them as urg- ing us to the faithful discharge of an important duty, and the enjoyment of a precious privilege ? The Scriptures abound with such sources of in- struction as these ; and doubtless tbey will prove amply suggestive. Sacred Praise. lOS Its Examples. Nor are Scripture examples of praise less re- markable or suggestive. The song of gratitude at the Red Sea was not an old one, rendered ven- erable by time-honored associations, but a new- one in all its freshness of interest, adapted to the special occasion. The people were not then en- gaged as mere amateurs in musical practice or in aesthetic personations. They just spoke forth in impressive language their gratitude for deliver- ance, when "the horse and his rider had been thrown into the sea !" They meant to be under- stood as speaking in good earnest their own senti- ments and feelings. Many of the most precious of the inspired Psalms had a similar origin, refer- ring to some particular event or occasion. The worshipers were not formalists or amateurs. They were not in the habit of using old or new pieces exclusively ; they seem to have employed lo some extent the talent of every generation in the pro- duction of new ones. Witness also the ark on its way to the city of David. Who were leaders in praise on this occasion? Childi-en and youth, with a few uninfluential members in society ? No. Tlie consecrated Levites and priests stood fore- 104 Sacred Praise. Teachings of the Bible. most, with the kino; at their head. What a dig- nity and importance ■was thus given to the exer- cise ! This was right. When God is to be hon- ored, we should do our utmost in the celebration of His praise. A fellow-worm, when receiving public honor, would not be satisfied with the tes- timony of a few unimportant voices. " Offer it now unto thy governor : will he be pleased with thee, or accept thy person?" We are all wrong in this matter. God is to be either honored or dishonored in the offerings of praise. If the for- mer, then let us have the best talent and influence which the church can possibly command. In the case before us, the man after God's own heart felt it his privilege to take a most active part in the song. Though a king, he was not afraid of such conspicuity. He acted nobly; and his example was recorded for the instruction of subsequent generations. There was a lofty-minded one, how- ever, who felt scandalized at the undignified de- portment of the king. How glorious was the king of Israel," said she, sneeringly, after she beheld the train. And how many an earthly- minded one of the present day might be fear- Sacred Praise. 105 A Dedication Song. fully rebuked by a reference to this exam- ple. Still greater interest was attached to exercises in praise at the dediciition of the first temple. The glorious symbol of the Divine presence was not given when the ark was deposited in the holy of holies, but at the glad moment when the song arose, " For his mercy endureth forever."' Then it was that the "glory of the Lord filled the house," and shone so transcendently that even "the priests could not stand to minister.'' This is not to be regarded merely as a part of the splendid ceremonies of a typical dispensation; there is a moral lesson in it as distinct and sig- nificant as that which attends the dedicatory prayer. The words of that .song have come down to us with a greater amplitude of meaning under the gospel dispensation ; and shall we now, Ijy a negligent or by an Eesthetic treatment, virtually reduce them to commonplace? Is it right to neu- tralize the influence of themes and sentiments which have been so honored by the God of Israel? Reliorious song is destined to have its fullest sior- nificiJ.nce in days of gospel privilege, and to be- 106 Pi \ CUED Praise. Teachings of the New Testament come a livelier and more impressive type of the worship of the redeemed in heaven. The New Testament is not without its exam- ples. The choir of angels at the Nativitj were not Jews engaged in typical representations. The closing exercise at the institution of the Lord's Supper was not, at that solemn moment, a mere aesthetic one, or one distinguished for dullness or formality. Paul and Silas, in the depths of a dismal dungeon, with their backs unwashed from the scourgings of persecution, were not engaged in mere musical practice or in giving a soiree, when the quaking earth so miraculously respond- ed to their strains. And in the visions of the Apocalypse none seem to have borne a more ani- mated and conspicuous part in the songs of heav- enly joy than those who had learned the "new song'' of redeeming love. Such examples are numerous and suggestive. Beheld in the Bible, their influence seems quite irresistible. But when we compare them with the maxims, and details, and influences of modern times, the temptation is to reconsider, to rclin- i[\v. Praise. SecoLir Interests. listeners assume the responsibility of real active ■worshipers. Let them, with the hjmn in hand, pei-sonallj plead, confess, give thanks, and adore, with the mind as intently jBxed on Divine things, as if they were orally engaged in earnest prayer. Let them persevere in doing this from Sabbath to Sabbath, till they can realize in some measure the power of a new habit, and they will find them- selves, for the most part, blessed with influences very difierent from those we have been describing; influences of a precious, permanent, and substan- tial nature. Esthetic influences, too, though greatly chastened and modified, wUl then be all the sweeter for being kept in due subordination. SECTION IV. Difficulties occasioned bv strong combinations of secolai interests with the music of tlie clinrcli — ^The spirit of praise, not thus promoted — Bemedr — ^Teachings of tlie Scriptures — Pastoral aid indispensable. Secular interests often extensively combine in efforts for the promotion of church music, partic- ularly in respect to skill. Teachers are emulous Sacred Praise. 133 Become Prominent of distinction, and desirous of patronage. Authors and publishers wish to increase the sale of their productions. Builders and venders of musical instruments desire to augment the number of pur- chasers. Trustees of churches wish to secure the many incidental advantages which arise from "good singing;" and choirs love to vie with each other in attainments of practical skill. Hence there must be " great gatherings." This is a matter of course. Good men must lend their co-operation, and society at large must show hos- pitality, and patronize the concerts of the conven- tion, in the hope of promoting the interests of church music. Secular music, however, must come in for its full share of attention, and find its way, perhaps, in concerts of a mixed, incon- gruous character, embracing songs of every grade, from the refined sentimental to the low comic, and possibly, to the coarsest burlesque. The res- ident pastor is expected to be present, and favor the enterprise. Now as most of the interests in- volved are right in themselves considered, what is he to do? Good men are there. Even the leaders, perhaps, are professors of religion, desir- 12 134 Sacred Praise. Secular Interests ous on the whole for the promotion of the right spirit. All is not as they could wish. But they must enjoy themselves, and please the people ; and to this end must cater to every kind of music- al taste and appetite. Shall he stand aloof, and draw upon himself the charge of indifference and illiberality ? Or shall he join the coalition, and crave the Divine blessing upon all its purposes and transactions. This is sometimes a difficult question, and probably the answer should not al- ways be the same. Such gatherings may be use- ful in many respects. If they are sometimes worse ordered than we have here represented, they at other times have a better appearance, and are attended with better results. In the latter case, the pastor has often been delighted, and filled with encouragement. And his hopes have not always been disappointed. A single question, however, wiU serve to throw light upon the moral of such conventions. Are these people, in the furtherance of psalmody, agreeably to the Saviour's rule seeking first the kingdom of God and his righteousness, with the expectation that secular advantages will incident- Sacred Praise. 135 Mast be Subordinated. ally accrue? Or are thej, in reversing that rule, seeking fii'st and chiefly their own secular interests with the idea that , praise will be inci- dentally promoted? The hope of promoting the worship of God in any department, by the power of secular interests, is wholly delusoiy. Taste, and knowledge, and skill, and perseverance may be so promoted, perhaps, but not the spirit of true devotion, whether in praise or prayer. We might as soon expect to revive the piety of a church by lyceum lectures, or awaken a spirit of prayer by ornamenting a steeple or setting out shade-trees. Conventions and concerts of the ordinary kind, may be so conducted as to secure many advantages; but deliverance fi'om abuses must arise from another quarter. It is a happy circumstance that such combiued interests are seldom found in a single congregation ; for in that case, artistic motives would constantly seek the ascendency. But where the excitement of a con- vention has in some measure subsided, the pastor, understanding the position of things, can usually manage to give the right direction to his people. But we need not here enlarge. The remedy 136 Sacred Praise. A Seinedy. before us, even in the most trying cases, is still to give timely instruction as the basis of appro- priate effort ; and the nature of the diflScultj vill sufr^est the kind of instruction demanded. TV^e need not check the progress of musical improve- ment, in order to guide it in right directions. We need not question the advantages of taste, be- cause it has sometimes led us astray. But vre must be all the more careful. Even where ar- rangements and influences ai-e as we could desire, where pi-aise is comely in manner and devotional in spirit, we have need to be watchful. Tempta- tions wiU arise. The '"musical world" will try its censui-es, or flatteries, or allurements. Lead- ers may change, members may change, who are of a different spirit. And above all, the adversary of souls, always vigilant and unwearied, will take every possible advantage of circumstances: and never be more encouraged than when there is want of watchfulness. The pastor must keep bis eye upon the interests of praise as he would on those of prayer. Personal exertions, both in and out of the pulpit, are as really necessary in the one case as in the other. Sacred Praise. 137 PsstonJ Inflnencd. But the labor will not be unprofitable. It will secure delightful influences. Nor will it always be difficult. In reference to the regulation of schools and rehearsals — to the proper instruction of children — to the promotion of praise in fami- lies — ^to the selection of tunes, and the ordering of choirs and instrumental accompiniments. it may be said, that " wherever there is a will, there is a way." and one which can be readily dis- covered and profitably pursued. Let us com- mence operations on a scriptui-al basis, and be influenced by a Christian spirit, and for the most part, experience will prove a satisfactory guide. There is nothing in the nature of these interests which need occasion embarrassment Evils have arisen throash folse theories and conset|uent neglects. In reference to the leading subject of this ap- peal, we must act consistently and with due in- telligence, if we expect success. For if we will still insist on the spiritual efficacy of aesthetic in- fluences, or if we will govern our effi)i"ts, as if such a thing had a real existence, we may still be greatly troubled. We will deserve to be i2* 138 Sacred Praise. Abuses troubled. And it may be well if troubles will drive us to the discharge of our dutj. Here, ixs we have said, is the fruitful source of all our dif- ficulties ; and whether we favor the idea of this imaginary efficiency, or, whether disbelieving, we infer the uselessness of singing devotional words, it matters little. We will be equally in error, and equally subject to disappointments and per- plexities. But, let us act intelligently, and with unanimity, and in Christian faithfulness, and no unreasonable amount of effort will be required. It is, doubtless, in the power of the Christians and Christian ministers of this favored land, to restore praise to its proper basis, and by the Di- vine blessing upon their efforts, to procure for it those peculiar and delightful influences, which are intended by the great Head of the Church. Too long has it been degraded from its rightful posi- tion, by the mistaken courses of those who were bound in duty to sustain it. It will never be re- stored by neglect, or accident, or misrule. Such a miracle need not be expected. Those who are spiritual and influential, aided by their pastor. Sacred Praise. 139 Never heal themselves. must put their hand to the work in good earnest, or it will never be accomplished. A thousand other methods may be successively tried, but all will be in vain, as to any true and permanent result. CHAPTER XI. CONCLUSION. The subject is momentous — Must be thoronghly taken In hand — ^Neg- lect inexcusable — The cause demands speedy action — Who should be most forward and zealous in the undertaking? But, finally, we have seen what ought to be done, and who should be the actors, and with what spirit they should be guided. We have pointed out the methods to be pursued, and have shown their practical bearings and operations. And we have done this, not in the way of abstract speculation, but as the result of experience and observation, for the last fifty years, directly within the circle of musical and religious transactions. We have spoken plainly, and we trust, directly to the purpose. And now that the subject is en- tirely before us, what more can be said with the hope of strengthening this appeal. Is it a trifling matter that praise has been so long deserted, se- cularized, misunderstood, and desecrated? God proposes to be honored in the offerings of praise. Is it a small matter that He is so often, so cxton- Sacred Praise. 141 Conclusion. sivelj, and so deeply dishonored in the assemblies of His people ? All this, too, -while the remedy lies plainly Avithin our power ? It can not be. That work which is the joy of angels and glorified spirits in the sanctuary above, ought to be here, a most hallowed employment. And to trifle with it in this world of hope and of privilege, while it is given us as a rich foretaste of joys to come, must be inexpressibly displeasing in the sight of God. We might speak of the many privileges and advantages which would arise in connection with faithfulness in this cause. We might speak of Chi'istian enjoyment, of growth in grace. We might speak of happy influences upon the pulpit, and upon Christian assemblies, and upon private circles and families. We might speak of power- ful revivals of religion, in many instances pro- moted by this instrumentality. We might speak of Christians, distinguished for self-denial and holy activity in the Church, whose first abiding religious impressions were received in the well- ordered schools and rehearsals of Christian psalm- ody. But while it is a delightful truth, that God has been wont to smile graciously upon such 142 Sacred Praise. Obligation to Activity. endeavors of faithfulness in the cultivation of praise, we choose rather to ground this appeal upon the simple basis of obligation. Let us re- member that the general possession of native TALENT, sufficient for the object before us, argues a corresponding extent of responsibility. If it is right for any man to neglect the praises of God in the sanctuary, let him do so if he will, and undergo the loss of a precious benefit. If it is right for any neglecter of music to disturb the devotions of the assembly by his discordant noises, let him do so. If it is right for men of influence among churches and pastors to withhold their ef- forts from such a cause, let them do so, and con- tinue to bear the perplexities and discomforts which surround them. But if this is wrong — all wrong , what shall be said of such delinquency? The question is an important one, in the case of individuals. How shall it be decided? Not, surely, on the ground of personal inclination, or comfort, or convenience, or comparative amount of talent, but on the principle of sound. Christian obligation. We leave it for the earnest, prayer- fiil consideration of our readers. AVhatever is to Sacked Praise. 143 Obligation to Activity. be said of the duty of those who lost the advan- tages of early instruction, and are now advanced in life, the duty of multitudes who are inactive, is perfectly plain. Let talent everywhere be drawn forth and improved for the general edi- fication. And who among the favored number, should be so forward in zeal and in earnest effort, as those who have made the greatest progress in the Divine life, and have drunk deepest from the fountains of redeeming love ? They are furnished w^itli a powerful motive. Surely love and grati- tude should incite them to activity. We have seen enough of indifference in congregations at large. We have seen enough of mere amateur performances and artistic personations of devo- tion. The soul sickens at the thought of them. Away with such heartlessness in the worship of God ! We plead for a revival of sacred praise. We plead for the restoration of sound principles and hallowed influences, such as the subject de- mands, and such as originally prevailed. And as our plea is drawn directly from the pages of inspiration, we hope and trust it will not be in vain. 144 Sacred Praise. Principles will live. The writer of these pages is reminded, by the lapse of years, that he must soon be called from the long-cherished scene of his labors. Others will succeed- him. His name and his influence will be forgotten. But the principles he has ad- vocated are destined to live ; for they accord with the teachings of the Bible. And now, while in the full vigor of health and activity, he gives his deliberate — perhaps his last — -testimony to their truth and importance. Through the blessing of the great Head of the Chui'ch, he trusts that it will not be in vain. APPENDIX. APPENDIX. We present under this head a number of ex- tracts gleaned from various sources, which have a bearing upon the preceding discussion. For every shade of thought thej contain, yue-. of course, would not be individually responsible : yet, if we mistake not, they will prove suf&ciently suggestive to thinking minds. I. DECLEXSIOX IX CHURCH iiL'SIC. The following appeared in the New York Ob- server, and New York Erangelisf of 1838 : A celebrated eastern traveler informs us of a singular musicjil custom prevailing among the Jews at Tiberias. While the Rabbin is chanting cci'tain portions of the Psalms, the congregation, he says, frequently imitate, by their voice and gestures, the meaning of some remarkable passages. Wlien, for example, the Rabbin pronounces the words, ' Praise the Lord with the sound of the trumpet."' they imitate the sound of such an insti'ument through theii' closed fists : when a ' ' horrible tem- pest"' occurs, they puff and blow to represent the 148 Appendix. Declension storm: and when "the cries of the righteous in distress" are mentioned, they set up a loud scream- ing. This practice might be quoted as a fine bur- lesque upon much that passes at the present day for imitative expression : but not to insist upon this idea, it might be well for those among us who have been better instructed as to the spiritual claims of devotion, to inquire how far. in a relig- ious point of view, the prevailing style of culti- vated psalmody rises above that of the poor de- luded Tiberians. Of course it is more refined — more consistent with the principles of enlightened taste ; but. beyond this, in the majority of in- stances, I fear there is not very much to be said. By the aid of a professional organist, we have about the same mimetic accompaniments ; the ut- terance from the choir, in such circumstances, is often as inarticulate as the tooting and puffing of the Tiberians ; and, as to the spirituality of the exercise, we not only have, in a multitude of in- stances, the unconverted for our chief singers, but frequently men of base principles and question- able morals, as the leaders in this part of the serv- ice ; while, at the same time, most of the mem- bei's of the church are sitting in theu" pews as mere silent listeners. Look at the scene which is usually presented. While the hymn is read indifferently from the desk, as if no important results were anticipated from the exercise the worshipers are yet found to be attentive, and they seem to manifest some in- terest in the sulyect : but when the tune is to bo given out, the whole aspect changes. If tlie Appendix. 149 In Church Music. music appears coarse, all are restless; but if it chances to be very fine, then a small portion of the listeners who are amateurs, are evidently de- lighted with the entertainment, and a few others here and there, sympathize with them without much knowledge or discrimination. All these for the time being are virtually at a public concert, and the singers look down upon them as if anxious to catch the smile of approbation. Another small poi tion of the assembly, whose physical gifts have always been neglected, are attentive to the service from prin- ciple ; but the rest, forming in many cases a large majority of all who are present, are found to be remarkably inattentive. The beloved pastor him- self sets the example. His part in the matter was merely to i-ead the hymn ; and now he must look out a passage of Scripture, examine his no- tices, adjust tiie pages of his manuscript, receive messages from the elders or deacons, or whisper some important hint to a brother minister sitting by his side, or descend from the pulpit to speak with some member of the congregation. A.s all this is to be done in the few brief moments allowed to the singers, the pastor, without the least thought of its impropriety, becomes remarkably active, that there may be no waste of time. An example so conspicuous is not lost upon the industrious sexton with his noisy offices, and the influence spreads like contagion throughout the assembly. What a spectacle ! Are these people all en- gaged in a solemn act of worship ? During the readimj of the hymn, perchance they were meas- urably so : but now, while, according to the L)i- 150 Appendix. Declension vinelj constituted method of sacred praise,, the chief impression is to be made, they are otherwise engaged. The poor Tiberiaus are earnest iu theii* way of singing; not so the worshipers at large in a Christian assembly. They have somt'thing else to euc;a2;e tlieir attention during the office of sacred praise. These irrelevant activities, it is true, are not always equally manifest. There is some difference as to congregations, circumstances, times and places ; yet if they are to be taken as a fair criterion of the general state of mind with re- spect to the spiritual claims of the exercise, they are everywhere sufficiently prevalent to reveal the most painful barrenness. I blush to think of it. My soul is ashamed when I consider the existing state of things. Let it not be said that all this couipiicuted mockery is merely the fault of cultivated singers. Though these must answer for their own sins, the rest of the congregation will not thereby l)e ren- dered innocent. They are at least accessory to the abuses, while they treat the whole suiiject, as lam constrained to think, with the most inexcusable neglect. Nor let it be said that in the absence of a choir, the state of things is any more favorable. The abuses may be .somewhat modified, but they are neither removed nor lessened by the circum- stance. The same irrelevant activities are here observable ; and the abuses are often more flagrant here than in the former case. A gi-eater num- ber, it is true, attempt to sing, and this might be well, but their manner for tlie most p;irt, is nei- ther musical nor consentaneous, while their ut- Appendix. 151 In Chnrch Music. terance is indistinct and unimpressive. TLey sometimes make all manner of noises, but it can hardlj be said that they sing, in any proper sense of the phrase. I am aware that many people ai e atfciched to this peculiar method, and think it highly devotional. So think the Tiberians in re- gard to their own chosen method ; but men of sound discrimination ui such matters, think differ- ently. If this method does indeed subserve the interests of true devotion, how does it happen that such endless abuses are tolerated? Would any one think of passing round the contribution-box. or of inviting the people to exchange seats during the office of public prayer ? Yet. during the of- fice of praise, such things are done abundantly in many churches, on the mere plea of saving time, and without one thought of theii* proving a hiu- derance to devotion ! I do not undertake to say which of the two methods in the present state of the art, is the most unfavorable to religious edification. I sus- pect the grand adversary of souls will be well sat- isfied with either, so long as he can prevent a re- form in favor of spii'ituality. Forms it is true ai-e not all equally pleasing; yet empty formality^ however convenient or attractive it may seem, is a miserable substitute for real devotion. The following remarkable passage appears in the book of discipline of the Presbyterian Church : " God's ministers ought to be careful not to make their sermons so long a»s to interfere with or 152 Appendix. Declension exclude the more important duties of prayer and praise," etc. More important duties ! What can this mean ? Sermons perhaps are not generally too long, and we are accustomed to hear them Avith devout at- tention. Prayer excites a universal feeling of solemnity ; but praise is accompanied for the most part by different demonstrations. It is attended on the one hand by lassitude, weariness, and dis- gust ; and on the other by that species of senti- mentalism which results from the gratification of taste. Where the style is uncultivated, the sing- ing seems to occupy a sort of recess in the solem- nities; and where the music is attractive, the scene for the time being reminds us of a rehearsal or public concert. The people are interested, sometimes deeply so, but the interest is not gene- rally of the most desirable kind. It is that kind which makes them think of the song, the adapta- tion, and the execution, till the sentiments of the hymn, the prayer, and the sermon are forgot- ten. This is a sad, though faithful picture of music- al influence in too many of our churches. Nei- ther of the two extremes here presented, exhibits any thing in accordance with that clause in the rule to which we have referred, and as no one be- lieves in the efficacy of restrictions which will be perpetually violated, it becomes a (question wheth- er the clause should not be stricken out. If this were done, then a new rule miglit be added like the following : " As praise among all religious duties is the one Appendix. 153 In Chnrch Mnsic. which is least in importance, which is the most liable to be misunderstood, and the most diflBcult to be regulated: it becomes advisable when a hjmn has been given out, that, either on the one hand the sexton attend to his more noisy affairs, the deacons to their contribution-boxes, the eldei*s to the disposal of pulpit notices, and the pastor to those various items which would interfere with the regular solemnities ; or that, on the other hand, the people be allowed to enjoy a short musical entertainment, as a relaxation from the strictness of devotion." The proposal of a rule like this may seem harsh in the ear of orthodoxy, but it is in strict accord- ance with the practical habits and maxims which extensively prevail. Consistency is a jewel ; and what could sooner secui-e its inestimable advan- tages, than the adoption of such a rule ? The Baptist Register, in reference to the same abuses, copies fi-om one of those journals a re- mark that " the idea of praise to God, as the ob- ject of singing in public worship, has in many churches become obsolete, while mere display, as at theatrical concerts, is the grand aim of the singers, who are appropriately termed perforni- e?'s." To this the editor adds a significant comment : "We are very sorry to say, that from the ob- servations made by us in several of oui' congrega- tions, we should be unable to bear any better tes- 154 Appendix. Declension timony. It is sorely to be lamented, but how it is to be remedied we know not, unless pastors take the thing sei'iously in band, apd point out repeatedly the solemnity and design of this part of Divuie service. The proper encomiums which have been so repeatedly passed on choirs at asso- ciations and other occasions, ha^'e been carried by us to a shockino; leno-th, and have contributed in no small degree to injure the spii'ituality of this part of worship, and here we have gone altogether beyond our P{edobaptist neighbors. We have set up our choirs, and eulogized them as the world do a company of theatrical performers. How must such things appear in the sight of Him who requires us to sing with the ' spuit and with the understanding?' " The following appeared, a few years since, in one of the religious papers of this city : In the earlier ages of Christianity, the princi- pal chaiUer was appointed under sanction of a sol- emn charge. That which was prescribed for this purpose by one of the councils of Carthage, was as follows : " Sec that thou believe with thine heart what thou singestwith thy mouth : and that what thou believcst witli thine heart, thou carry out in thy walk and conversation."' The chief singer of modern days is chosen with less reference to religious qualifications than to vocal powers. But let us suppose the Carthagin- ian precedent to be re-established and carried into Appendix. 165 In Church Music. successful operation. Then, under the extensive influence of proper cultivation, elementary and religious, we might look with confidence for the i-equired results. Then the music, instead of de- stroying, as it often does, the entire influence of a hymn, would clothe the language and the senti- ment of it with additional interest. Then such lines as, " Had I a thousand tongues, they all Should join the harinouy" — would no longer be accompanied by pulpit mes- sages and contribution boxes — nor such as, " Let knowledge lead the song, Nor mock lain with a solemn sound Upon a thoughtless tongue," be sung on the one hand without the least knowl- edge of art; or on the other, with skill in couec- tion with graceless affections. Then such a pas- sage as " Seven times a day I lift my hands And pay my thanks to Thee," instead of falling from lips that speak false, would be connected with a habitual spirit of praise, at church and in the social circle, at home and abroad. Such lines, too, as, "Tet save a trembling sinner. Lord," etc., would be uttered in the breathings of true peni- tence, and be followed by a blameless life — and such as, 156 Appendix. Declension "Now I resolve, with all mv heart, "With all my powers, to serve the Lord," would be accompanied with real consecration of soul ; a consecration never afterward to be re- voked. Then, in short, the language of the lips [of the singers] would no longer be at variance with those of the heart and life. There would be meaning, consistency, and true commitment of soul in the office of holy song. Why then, should not the ancient precedent of which we are speaking be at once restored ? Were the Carthaginian council wrong in establishing it ? Did they attach undue importance to the of- fice of praise ? Far from it. They followed, in this respect, the examples and precepts of the Holy Scriptures. The chief singer, according to the Bible, sustains a holy and responsible office : while those associated with him are bound to be personal worshipers, singing approjjriately as to manner, and in the time spirit of devotion. The Biblical Repository of 1844, sjjeaks thus on the character of church music : Once it Avas cultivated by kings and princes, and teachers of religion — now it is left with the less influential classes in the community. Once, the singing of psalms, and hymns, and spiritual songs, was an exercise as truly and as exclusively religious, as was that of preaching, exhortation, or prayer — now, the same exercise is often little else than an enterUiinment for the gratification of taste. Once, those who were the most spiritual were the Appendix. 157 In Church Music. most active in the solemn work of praise — now they are generally the most negligent : or, earn- estly engaging, as they sometimes consent to do, in the discharge of this duty, they are often seen to decline in spirituality. They appear in relig- ious things as if some strange lethargy had overtaken them : as if some withering hand had dried up within them all the sources of spiritual life. They become other men. They learn by degrees to ex- ercise themselves with the sentimentalities of song, instead of lifting up holy hands and hearts to God in the solemn service. The many painful examples of this nature which have been witnessed in modern times, have awakened the jealousy of good men against the claims of the art, and led many to imagine that it Avas designed chiefly for the circumstances of other times, while now it is waxing old and ready to vanish away. Why else, they would ask, do we receive so httle benefit from exercises in praise, and why are we so often foiled in our efforts to- ward rendering it an efiicient instrument of edifi- cation? * * * * * * Sacred music as a Divine institu- tion, was not destined, like the ancient Jewish rit- ual, to decay. It is to stand while time endures, as a lively representation of the worship of the sanctuaiy above. Nor can we doubt that it will yet be seen to operate more efl5ciently than ever in enlivening the devotions of the sincere wor- shiper. 14 J.58 Appendix. Character n. HTMN TUNES. Something far beyond grammatical accuracy should be aimed egiu to look from the north southwai-d. in autumnal weather, a few. springing from the reeds and sb-ubs of Labrador, begin the aerial caravan, and. as they wind soutliward. out of every tree and every copse, from orchanl and gar- den, come forth new singei-s. increasing in num- bers at every furlong, until at length, coming down from their high pathways in innumerable flocks, they cover provinces and fill forests, and ai-e heard triumphing thi-ough unfrosted orchai-ds. amid the vines, the olives, and the oranges, with such wondrous bursts of song. that, as'^one lies between sleep and waking, he might think the Advent renewed, and God s angels' to be m the air. And so it has pleased us often, in thought, to liken the rise, and spread, and flight, and inul- titude of hymns that have come down from the Ix-ginnings of time into God s pleasant gardens and vineyai-ds. in om- days, increasing as thev flew. Only there is no buxl that can sing like "a hymn. There ai-e no meamngs in all the mingled sounds of all the singers of th.> grove, or hed»e. or lawn, like the voices of hvmns that utter all the mysteries of Christ's love' in the human sold. ^. ^"^^ig to believe that God gave forth a subsidiary iaspii-ation. and taught men to sing hymns for the Chui-ch. as He had inspired holy men of old to speak and to wi-iie for her ? They are not eqaal to Scripture nor clothed with its authority, nor to be accepted as an unerring rule 168 Appendix. Hymns. of faith and practice, as is the Bible : but I would fain believe that in their lower sphere they were born of the same divine inspirations as the origi- nals in Scripture : and though the hjma-book is not a sun, it is its satellite, and takes its light, to reflect it upon our eyes, in rays which are more tolerable because diminished in power, being tem- pered to the weakness of our eyes, which can not always look the sun full in the face. But leaving out these poetical reasonings, ex- perience has shown that the Church has derived large and various instruction from the hymn-book. But its uses have not yet been fully explored. Its service is scarcely begun. In the sanctuary the Bible must speak, for the most part, through the voice of the pastor and teacher. The congregation may murmur re- sponses of Scripture, but can not read it with those continuous and clear utterances which are required for understanding and edification. The true voice of the congregation must be heard through the hymn-hook. In our Christian congregations, for the most part, the people are only recipients ; they are not participators or actors in public worship. The minister prays for them, the choir sings to thera, and the minister again preaches to or at them. Their duty seems comprised in a respectful sym- pathy and patient reception of the vicarious wor- ship. This ought not to be. It can not long con- tinue in any congregation without drying up the springs of feeling, and leaving public worship arid as a desert, or with only an occasional spot of Appendix. 160 HjTiins. greenness. And that grievous evil has turned the longings of some wise and good men to liturgical forms. That the congre'Tdtion mav be enabled to speak, and to utter its own feeling, it has been proposed that every church should make selections of Scripuire to be recited, and responses to be ut- tei"eerpetual treadings and reealcitrations. It is not tamiliariiy that iireeils contempt, but sameness, and this is the maiTow of that proverb. And thus it came to pass, when Go«:l Avould teach the world — not forgetting what He had done in the outward world — where seeds and plants ai-e true to their species, but never identical, varying with amazing versjitility. through leaf, flower, fruit, and seed, so that individuality is clothed with diversity, and extern:tl differences hide inter- nal sameness and identity — by this same rule He created the sacred Scriptures, whose truths are o»e and the 5 ^me in the long revelation of four thousand years, but never alike in > .rpressioH . One substance endlessly varied in expression ia 1.5 170 Appendix. Hymns. Go "s delight, in and out of the Bible. The lan- guage of the race, and all the symbols of nature, and the fertility and fullness of the human heart, were employed, that the Divine truth, like a miglity sap in the Tree of Life, should burst forth in new leaves and flowers of expression, new clus- ters and fruits, all the way down to the Apoca- lyptic close. And then, lest the book should, by a literal using, grow stale, and pall upon the accustomed car, God appointed men in eveiy age to dissolve the Bible into their own hearts ao-ain, and give it forth from Sabbath to Sabbath in the fresh and new forms of life belonging to each age, each coun- try, and every congregation. Identity of substance and truth, but profuse and endless variations of ibrm, this is tlio genus of the natural and the spiritual revelations of God. Instead, then, of venturing upon a course that is at variance with analogy, not consonant with human want, and not justified by any success of e.xoerimcnt hitherto, it is better to seek some raetliod which shall give the most various utter- ance in the cono-regation to the same substantial truths, so that the Word of God shall always be the life and power, and men's language the leaves and blossoms, that in autumn and spiing play dcith and resurrection in glorious I'ounds, forever ciianging. but never altering tl)e truth. The hlimn-book is th- liturgy of the congregation. it gives to us hi.story, biography, doclrine, expe- rience. It furnislie-! tlie essenti il trutlis of God, and the essential experiences of man. But so Appendix. 171 A Report. large is its store, so various its expression, that the same truths may be daily repeated and the same language never twice employed in the year. It is a wrong and a sin for God s people not to accept this s-icred language of worship ! It is a grievous blindness that we do not accept this won- derful liturgy of hymns fi-amed from the heart of ages for us ! Sacred hymns, whose nests have been found in every age, from the very gray and twilight of cre- ation, seem to have flown out and flocked to oui* days, and are filling the boughs of our churches, like trees in the garden of the Lord, as with birds from heaven, flitting fi-om branch to branch. All the old days are heard speaking in our days. The voices of all ages are collected as an airy choir in our own. The whole world has been learning to speak for six thousand years that we might have a language of the -people for the sanctuary ! IV. INFLUENCE OF ORATORIOS AND CONCERTS UPON CHURCH-MUSIC. The following article on a subject of great in- terest was read a few years since before a musical convention in this city as the report of a special committee to whom the subject had been referred the preceding year It called forth considerable 172 Appexdix. Oratoria) discussion at the time, but was not then given to the public. The committee, it will be seen, took moderate ground. They might have pressed the argument further, but were fearful of creatins excitement and irritation. Still the facts and arguments they present are worthy of the most serious consideration. We give the article en- tire : QUESTIOXS. How far is the influence of oratorial rehears- als beneficial to psalmody, and Can public concerts of sacred music be given with propriety for secular purposes ? The increased attention which is devoted of late to the musical art. and the multiplication of pub- lic performances of sacred music throughout the land can not fail to exert powerful influences upon the songs of the sanctuary. To ascertain in some measure the character of these influences is the object of the present Report. The two questions here presented, involve con- siderations which are grave and momentous : and all of us. whether artists or amateui-s. singers or auditoi-s. are interested in the right disposal of them. The first in order is — IIoic far is the influence of oratorial rehears- als beneficial to psalmody ? This question, it will be perceived, is not an ar- tistic one. If it wei'e so. we might dispose of it Appendix. 173 Inflaence. in a single word. Oratorios are noble specimens of composition. They are as the classics of the art. It would be as vain to reason against their utility, as to frame philippics against the great productions of a Homer, a Virgil, or a Milton. They are invaluable sources of improvement to the musical student, and form an essential pait of his library. But the question before us is a practical one. We are to speak of relative in- , liuences as they are. and have been upon psalm- ody ; and in this respect, there is sufficient room for honest difierenees in opinion. Our decisions upon this subject, however, must necessarily be influenced by the views we enter- tain of the nature and the responsiblities of church - music, as a means of Christian edification. The community in regard to church-music may, for the convenience of discussion, be ranked in two general classes. In the one we would include those who are governed, chiefly, by aitistic \iews, habits and associations : and in the other, those who are mostly control lerl by evangelical senti- ments in religion. Both classes, we are aware, may occasionally be found to subscribe to sen- timents which are not in accordance with their practice — but we here refer to such sentiments and habits in church-music as are constantly embod- ied in prac ice : and in this respect, all. we think, may be ranked in the two classes just described. Let us compare the practical views entertained by these cla^ises. and see what are their beai'ings on the question here at issue. 1. Those who are under the bias of artistic lo* 174 Appendix. Oratoiial views, fix their attention upon the music, as that which in practice chiefly concerns the office of praise. Those of the other class, on the contrary, fix their mind upon the great themes of salva- tion, whicli are to be so enunciated as to exert a deeper influence upon the worshipers. The one class enjoying the music on its own account, be- come critical and fastidious ; the other, regarding ^ it chiefly as an instrument of edification, prefer, as in pulpit oratory, chasteness and simplicity of style, in distinction from every thing which sa- vors of artistic display. It is not difficult to see, in this respect, which of the two classes Avould find its views most promoted by joining in the re- hearsals of an oratorio — for here, artistic views, arrangements, habits and susceptil)ilities, are found exclusively to prevail. Such an amount of skill in execution is demanded, too, as of necessity to absorb the attention of the singer. 2. By the one class it seems to be taken for granted, that the art can secure its proper results, in religious music, irrespective of religious con- siderations in the minds of the performers. Many will confidently afiirm this ; and the numbers are still greater, who are acting in church music as if it were an acknowledged principle. This is seen in the manner iu which singers arc obtained and instructed; and in the irreligious character of many a teicher and leading singer. But by the other class, the appliances of the art to strictly religious purposes, are viewed in the light of im- pressive oratory, which i-e(|uircs indispensably, a schooling of the affections in the persons of the Appendix. 175 InSnenc«s. Iierfoi-mers. Here again, it is not difficult to de- cide which class wiil find its views and habits pro- moted hy oratoiial singing ; especially, ad Uiany portions of an oratorio, from the high character of the music, require talent in execution of the first order, which perchance is to be obtained only by drawing upon the theater or from tlie r. nk-; of decided immorality. 3. Many of the artistic class neglect altogether, in church music, the training of the emotions. They habitually give utterance to sacred themes during the hours of preparation, in connection with mirth and thoughtless hilarity. Some teach- ers soeing the impi-opriety of such niauagement. endeavor by the power of mournful pieces, to kindle up a class of transient emotions of the op- posite extreme. Those who have more knowledge and experience, endeavor, by close adaptation and tasteful execution, to call into exercise, the senti- mentalities which are in accordance with the sub- ject-matter of the song : but which after all are nothing better than the offspring of musical sus- ceptibility. Any thing beyond this, is neither attempted nor supposed to be necessary. With the other class, however, the question of Christian edification, is understood to turn upon the cultivation of true religious aiiections, such as relate to other religious exercises. And this is seen in the fact, that their rehearsals of church music are constantly conducted in accordance with religious order : and that even the claims of music- al expression are made subservient to pious reflec- tions and aspirations. fJut who will pretend that 176 Appendix. Oratorial oratorial rehearsals, such as are usually wituess- ed; could exert any congenial influences, upon the views, and habits, and cherished associations of this class of singers, \rheu the words of the di"ama are strictly and decidedly religious ? They would I)e as far from such a result as merriment is from se- riousness, or as mere imaginative sentimentality is from hallowed religious meditation. And let it be here recollected that, while society remains in its present state, professional talent, such as is indispensable to the entire success of the oratorial school- Avill not be brought into very close con- nection with religious considerations. 4. It seems in practice to be taken for granted by the one class, that the utmost which can be demanded of the performer, in church music, is skill, taste and conception, such as ai'e appropriate to di-amatic personation. This is evinced by the existino; methods of trainino; and manaorement ; and by the style of the remarks and criticisms which are made upon musical performances in gen- eral. All these are seen to be artistic, having nothing in the world to do with questions of prac- tical godliness in the persons of leading membei-s of a choir. Every thing Avhich is found to be " effective,^' in style, goes with them directly to the heart as a matter of course ; even though the orisons should be addi-essed to Dagon or Allah. It suffices with this class, that sensibilities can be enlisted, though perchance, the Avorship of the emotions be offered to the singers themselves, or at the shrine of a fals - deity. But the othei'"clas3 in church music, endeavor Appendix 177 Infiaences. to substitute real worship, in place of a personated devotion. They insist on a full commitment of the soul in praise just as in prayer. Even while the words in singing are didactic and hortatory and not to be directly addressed to God, they re- gard themselves, in an im])Ortant sense, as real worshipers. They e.xpect to find, especially in the leading talent of a choir, the evidences of decided religious influence. They are Avatchful and prayerful. They exercise the same suspicious care over iraacrinative influences in the sonors of praise, that they would over oratorical display in exhortation or prayer. Their meetings for re- hearsal, their deportment at church, the solemn attitude of their minds during the exercise of praise ; and the humble estimate they form of their own affections, attainments and perform- ances, are all, as is conceived, in accordance with the claims of spiritual religion. So far are they from trusting to mere artistic efiicacy, that tiiey are accustomed to watch over themselves with godly jealousy as in the presence of the Searcher of hearts. Now, just in proportion to the strength of these principles, habits, and impressions, in regard to chui-ch music, will be the dread of such influ- ences, as attend oratorial singing, whenever the words of the oratorio are of a decided religious character. Persons thus conscientious know too well the power of habit over the affections, not to see in the style of discipline which distinguishes that school; influences which are at variance with their cherished sentiments and aspirations. To be 178 Appendix. OratoTial in the habit of giving utterance to words Avhich are adapteil to the solemn use of the church, in the midst of thougutle:>s hilarity, and in councv- tion with artistic difficulties and embarrassments in execution, is more than thev can do, without ex- jieriencing in their own case, a decay of spiritu- ality in the exercises of praise iu the solemn as- sembly. Of this they feel a.ssured. But. not to dwell longer on these distinctions, it is easy to see how they will necessarily affect our decisions on the question here at issue. Among intelligent minds, those who practically maintain that, in time of worship, the music should absorb the attention of the performers, that the art it- self Ls capable of securing legitimate results, and that mere musical susceptibility, or at most well conceived effoits at personation will secure the ends contemplated in the office of praise — will of course hail oratorial rehearsals and pertbrmances. skillfully susuuned and couductetl. as every way- beneficial in their influence ujwn p.salmody. Those, on the other hand, who practically maintain t ' at. in the time of worship, the great themes of religion should absorb the attention of the singer, that the music should serve like pulpit oratory, to increase and perpetuate this interest in the themes, and that, to this end. religious motives and affections are bv the singers to be continually cultivated and cherished in rehearsals and performances of church music — practically maintaining and inculcating such views as these, it is impossible for them r.jt to recognize in the prevalence of oratorial rehearstils of the usual kind, a chiss of influences which ai-e Appexdix. 179 Inflnences. Strongly antagonistic to those -which they desire to cherish. Thus the two cksses stand, honestly, if not strenuously, maintaining opposite opinions in re- gard to this subject. Which of the two may be found at the present time the most numerous or influential it is not so material to inquire as which is nearest rkjht in its views and practices. If the one is in practice, too regardless of the specific claims of vital religion in church-music, the other is in most instances, we feai-, too neglectful of the art. in respect to those properties of style which, in connection with right purposes, are indispensa- ble to edification. Because style with the one class is too artistic, it does not follow that it should be negligent or slovenly with the other. Yet as lo religious considerations, the evangelical class have nothing to relinquish. Whoever attentively considei-s the nature of ti-ue religion, carefully ex- amines the hallowed themes of SiJvation which constitute the basis of chui-ch-music, and duly re- flects upon the character of the numerous precepts and exhortations which have been given in reorard to this matter by the great Master of Assemblies Himself will he coustrainetl to admit, that in the practice of this class of singers, as descrilied above, there are no works of supererogation, no species of religious efibrt which can properly be termed superfuous. On the contrary, he will rather be led to complain of remaining deficiencies. With this view of the subject we are led to the conclusion, that the •• practical benefits of oratorial singing'' are chiefly those which relate to the pi o- 180 Appendix. Oratorial motion of music as an art ; and these, no doubt, are great and numerous. To what extent they have influence upon psalmody in particular, it seems impossible to determine with any exactness. Dif- ferent views, as we have seen, will be entertained of this matter. We would be fixr from undervalu- ing the merits of classical music ; or the efforts of those who are so successfully engaged in making it understood and felt by the community at large. In some important respects, their efibits are worthy of all praise. But we believe that religious mu- sic, properly so called, will never become in this country what it ought to be as an instrument of edification, while the religious element is so gen- erally withholden from our systems of instruction and practice — nor can we believe that oratorial singing has any tendency toward restoring this element. This will not be pretended by any one : but ,what we ask is, that the tendencies shall not be found directly or indirectly adverse to this restoration : and this most surely is a reasonable demand. There are religious subjects found in the Jew- ish history, which seem fitted for this species of drama. Witness the oratorios of Sampson and David. But there are subjects, also, which are too solemn, too awful, and too momentous for such treatment; as in the case of those which form the Mount of Olives, where the tendencies to irreverence and desecration are strong, if not iiTcsistible. The same may be said of particular passages in oratorios, such as supplications ad- dressed without meaning to the Supreme Beuig ; or Appendix. 181 Infliienceg. praises to Jehovah and to Dagon. responding to each other in the same chorus: and this for purposes of amusement or artistic display. The treatment of religious subjects in a light and irreverent manner, can not be too strongly (^ieprecatcd. Xor can it fail to operate injuriously upon the minds of the singers in reference to exercises of praise. All subjects, however, are not truly sacred which are so denominated by the artist : nor ai-e all which are sacred in reality, found to be equally solemn and momentous. Some are far less liable to abuse than others. And since oratorios furnish so many sti-ains of surpa.ssing excellence, in every musical point of view, we are inclined to think that by some changes in management, with re- spect to selections, rehearsals, and performances, they might be rendered more favorable to the in- terests of psalmody, than they ever have been. At the same time, let us remember that the true spirit of praise which is so pre-eminently dear and sacred to every enlightened Christian mind, can be acquired and cherished only in connection with a system of training which infuses the religious element. When this element is wantincr. the songs of the sanctuary are but as ' • sounding brass or a tinkling cymbal. ' The present tendencies in church-music, we fear, are decidedly toward artistic extremes : and if they are, we ought to know it. and endeavor to secui-e the application of an efficient remedy. A spirit of inquiry is already abroad, as to what can be the cause of so much heartlessness in our ac- customed songs of praise. The question as one of 16 182 Appendix. Influence of dnoerts. Christian experience and Christian principle, will continue to be agitated, till tlie truth of the mat- ter can be ascertained. It will then be well for us, as cultivatoi's, patrons, and friends of the art, if we have not boon found guiltj of any materi- al oversight or delinquency. The first of the two questions thus disposed of, the remaining one, " Can public concerts of re- ligious music be properly given for secular pur- poses?' need occupy but a single word. It ought distinctly to be understood that religious subjects, in music as in oratory, should always be treated in a reverential manner. To do less than this, is of course to be guilty of desecration. Concerts of religious music, therefore, require great delicacy in management. In the present condition of things, they are continually liable to degenerate into seasons of tasteful amusement, even to play- fulness and hilarity. Whenever they do so, their tendency is decidedly injurious. Secular sub- jects, it is true, are not always improperly con- nected with prayer and praise : for we doubtless need to seek the Divine favor and guidance with respect to them. But on those special occasions, when we strive to become musically effective in the language of praise, the tein})tation to artist- ical irreverence and display are so great, tliat we call not be too careful and scrupulous with regard to our arrangements. The testimony of experience and observation incline us to decide this question in the negative. Let secular music be given for secular purposss, Appe:< dix. 183 bifluonoe of Concerts. and religious music for religious purposes. This ■vve think should be adopted as a general rule. The rule, however, as above intimated, does not strictly apply to every thing which is called sa- cred by the artist. Within the range of pieces so denominated, abundant materials may be found which admit of greater freedom as to sele.;tiou and performance; but the rule applies, with truth and emphasis to such pieces as are sacred in the highest sense of the word. Above all. let con- certs of a mixed character commingling as subjects of taste, things religious and secular, in the same connections, l»e entn-ely discardt-d. Tiiese, in our opinion, are always injurious to the cause of relig- ion and good taste. But finally, in bringing the discussion of these (questions to a close, we would mention the rea- sons why the friends of improvement in church music, find such diflBculty in awakening a proper interest in the subject, among the mass of evan- gelical Christians. The two classes above described have not understood each other, nci have individ- uals in either class, well understood themselves. Sacred and secular maxims, habits, and associations have been improperly l)lended. Artists, and :mi- ateurs by claiming too much in some respects, have gained too little in others : and, by neglect- ing things essential to Christian edification, their highest efibrts in religious music, have of; en proved fruitless. Of what avail is it to the spij - itual worshiper, to listen to fine music if he can not be really edified by it ? The fault in tliis case may in part be his own ; but it is not chiefly his ; 184 Appendix. A "Serions Difficnlty." and it is useless to reason with him against his own habitual experience. Before the churches will fully second the ef- forts of the friends of improvement in psalmody, the religious element, as we have seen, must be restored to our rehearsals, and thus be made dis- tinctly to appear in our performances at church. Let us labor at this point in Christian faithfulness, and our efforts will not be in vain. V. MISCELLANEOUS EXTRACTS. We here subjoin a few gleanings of a more miscellaneous character, which may 1)€ allowed to speik for themselves, without a formal intro- duction. They all have a bearing upon the lead- ing subject of this volume, and some of them were originally furnished by the editor. A "SERIOUS DIFFICULTY." But here, in the mind of many intelligent and conscientious worshipers, arises a serious difficulty; and one which they suppose in the present con- dition of things is insurmountable. The difficulty may be thus stated : If the most successful cul- tivators in the midst of us — men who devote much time, and labor, and expense, in qualifying themselves for leading the praises of God, in our 185 A " Serious Difficnlt>\" worshiping assemblies, are, after all. so deficient in their acquirements as vce find them, how can the rest of the community hope to accomplish any thing to the purpose by such means and oppor- tunities as are within their power ? In meeting this difliculty I am willing that it should be fairly appreciated. Let it have its full weight. For argument s sake let it even be re- garded as insurmountable. And what is the in- ference ? Plainly, that no remedy is to be found. The churches then have a right to trample on the art : and individuals to admonish one another in the jargon of dissonant voices and unintelligi- ble articulations. And then, too, we must affirm that the musical art has outlived the period of its utility; and that what has so often been effected in ages of comparative darkness, is now rendered impracticable amid increasing light and accumu- lating facilities. Our readers are not ready for such a conclusion as this : and will therefore be willing to abandon the premises that lead to it. Then, ))y every fair principle of inferential argu- ment, I would say the difficulty oiifjht to he sur- mounted. The cause of Zion requires it. The honor of the Christian name requires it. It is a shame for us to be undervaluing the high praises of our God. His language is — "Whoso offereth praise glorifieth Me."' And He has distinctly pointed us to the constituted method of prais- ing Him. Have we found out a better method ? And may that which God Himself constituted, now be neglected with imi:»uuity ? But let us approach this difficulty, and see 186 Appendix. A "Serious Difficulty." if it can not be fairlj met. What is the amount of it? Why, simply this, that because some are " for ever learning; Avitliout comino- to the knowl- edge of the truth," the rest who have not been studying may as well despair of finding it. and sit down in idleness. We have not so learned Christ. Every man must stand or fall on his own respon- sibility. We admit that the difficulty in question has become great ; but we assert, fearless of contra- diction, that it has grown out of that very general neglect of the subject which it proposes to excuse and perpetuate. The truth is, that often in refer- ence to devotional song, cultivation, where it has been resorted to, has greatly mistaken its end. There has been in this respect, a world of mis- direction ; and tlie evil will never be cured till the work is taken in hand on Christian principles. The maxims of the devotional and of the secular departments, are in some important re- spects, fundamentally at vai iance with each other. The one has religious edification for its object ; the other amusement. The one makes its appeal chiefly to the heart : the other addresses itself principally to the imagination. The one aims at true pathos, like the eloquence of the pulpit : the other has but the pathos of polished style or dra- matic sentimentality. 'The one excludes the os- tentation of display : tlie otlier tolerates and en- courages it, as a matter of necessity. The one demands true sensibility of soul in reference to the sacred words of the song : the other has little Appendix. 187 A " Serious Diflicalty." to do with words except as furnishing occasion for music. The points of difference relate not merely to composition and e.xecution but to systems of culti- vation. Devotional music, according to the de- sign of the institution, directs its appeals to all, even the humblest classes in community. Secu- lar music, regarded as a fine art, despises every thing like mediocrity, and delights to elevate it- self above the level of popular apprehension. In the consistent school for devotional music, it early becomes a leading object to inculcate the distinct enunciation of the sacred text. The pupil must be taught to speak intelligibly, though for a time he does so. more or less, at the expense of melody. Polish of manner is necessarily Avith him a later acquirement. But, in the secular school, the voice is treated throughout, as a musi- cal instrument of a higher order, scarcely en- dowed with the power of verbal utterance. It often claims our highest admiration, even in an unknown tongue. Witness for example, the crowds at our Italian operas and concerts, where not a single syllable is understood by the eager listeners ! Such important distinctions as have here been suggested, 1 am sorry to say, have been for a long time overlooked by the friends of cultivation. Men of secular views, associations, and principles, have so generally taken the lead in this business, that their habits and maxims and methods of man- agement have extensively prevailed without being investigated, or called in question. And who 188 Appendix. Difficulty Obviated. even now shall dare to rise up against the highest geniuses in Christendom, charging the idols of public favor with the least suspicion of imperfec- tion or fallibility ! Who can speak in the gen- tlest manner of the possibility of misdirection ? I am no enemy to the higher walks of cultiva- tion. Let them have an appropriate place. All I ask is proper discrimination *in management. Music, like painting and poetry, will doubtless continue to be cultivated extensively as a secular art. And why should it not? What should hmder ? As well miglit we say that no eloquence should ever be cultivated but that of the pulpit. The pulpit itself is benefited by the lessons of elo- quence wiiich it derives from the bar and from popu- lar assemblies. And this is a species of advantage which it could not well afford to lose. At the same time, let it be remembered that the pulpit has a distinct school of its own. It has its own pe- culiar maxims and associations, and purposes, and principles, which are not to be set aside, in favor of dramatic sentimentality, or invaded by the dic- tates of every talental declaimer who wins upon the public favor. Real improvement it can in- deed derive fi-om almost every source imaginal)le, without departing from fundamental principles. These are ever to be held inviolate. We ask for devotional music the same precise thing — the same independence of foreign dicta- tion -the same liberty to form a system of its own in reference to religious associations and principles. And surely this is no unreasonable demand. Let this be granted, and the work of Appendix. 189 Case Supposed. reform will uo longer be deemed impracticable. Difficulties of eveiy kind, however insurmountable they might appear under other circumstances, will then be readily obviated. MUSICAL INSTRUCTION. A Case Supposed. I endeavored to show that the difficulties in the way of musical reform can be obviated by estab- lishing, for the cultivation of church music, a system of management which shall correspond, as in the case of pulpit oratory, with the vital claims and principles of religion. But this topic requires further illustration. Let us then suppose a strong case, and one which has never yet occurred. A church sud- denly awakes to the importance of devotional music, and its members design to become active in the work of cultivation. Funds are raised, sufficient to employ an instructer of the highest professional talent : and Monsieur A or Signor B, from the theater or opera, is the man. Allow him if you please (what is not always found in such cases) conciliatory manners, and pure morals, while he is destitute of any special regard for true religion. The school has opened; how does he proceed ? 1. He adopts the very convenient maxim that no voices are worthy of being cultivated but tliose which are already developed, and which appear to be of a higher order. Out of the thousand 190 Appendix. Case supposed. members of the congregatiou, some twenty or thirty are selected, who happily are professors of religion : the rest are dismissed, as having at pres - ent no fui'ther concern in the undertaking. 2. He adopts the maxim, too prevalent among men of the secular school, tl|at psalm-singing injures the voice."' Secular songs, therefore, are adopted, for a time at least, as the best means of disciphning the voice, and improving the taste of his pupils. 3. The better to form the taste of his pupils, he continually points out the supposed defects or redundances that exhibit themselves in the style of the best schools or chou-s in the vicinity. All strong expressions savor of vehemence : all dis- tinctness of enunciation is but rudeness of man- ner. Music is one thing and speech is another. Others, if they choose, may talk and imagine them- selves to be really singituj. But this is not to sing after the most approved method. 4. But at length the work of cultivation has so far advanced that the rest of the chui-ch begin to meet with the singers for the special purpose of edification The words of a psalm or hymn * * * uttered or not must now claim tlie solemn atten- tion of the performers. The little band of vocal- ists desire to feel the full import of the words, that then- performance may be tiuly impressive ; but their teacher aims only at decent formality : " Pious orgies, pious airs, Decent worship, decent prayers." They desire to feel religiously the full import of Appendix. 191 Case sappose<1. ■what they sing, and would be asliamed of luke- vrannufss in such a service. He desires tiot to teel religiously, and would secretly scorn to be susi)ected of any such thing. Their emotions would incline to kindle and interchange with the vai-ied current of thought suggested by the text before them : his emotions would have constant i-ef^rcnce to the abstract features of the tunc, ex- cept here and there in descriptive passages, where bomethinjr like sta^re effect mij/ht seem to be indi- Gated. At length, then, the parties are quite at issue. The highest expression of sentiment, thei-e- fore, must now l>e virtually abandoned, or the teacher must Ije discharged. Yet as the latter has been faithful in his way. aud his pupils are making fine progi'ess. it seems a pity to dismiss him. His school continues, and most of his habits and maxims, and associations of thought and feeling ultimately prevail. 5. Another period of iusn-uction has elapsed, and the teacher aud his pupils are assembled to give a sacred concert. ^Nothing now is too diffi- cult for their execution. The music is enchant- ing. It has lifted up the souls (i. e. imaginations) of the amateurs to the thud heavens. All that is lofty or imposing, sublime or Ijeautiful in de- scription, is skillfully illustratefl by the perform- er's. They act their* part well, and the audience are deeply interested. Some are even in rap- tures. "What music!" "What fine music i ' every one exclaims. ' • What wonderful skill ; what an excellent teacher: what fine pupils I " And. professionally speaking, this is correct. 192 Appendix. Case supposed. We have an exhibition of masterly skill and ex- quisite taste, if not of refined sensibility. One thino; is wanting : and that the teacher has never intended to supply. Other matters have occupied the exclusive attention of his pupils ; and now while themes of the most mobentous import are falling from their lips, they are but "acting a part'' for the public gi-atification. The words of prayer and praise dwell on their tongues, but no one suspects them of preteutliug to engage in a solemn act of worship. They are personating, describing, representing such acts, in a beautiful and imposing manner. But the singers are not worshipers. Real worship is not now the precise object in hand ; nor in fact, had it ever been so, dui'ing the whole period of their instruction. Even while at church on the Sabbath their con- science had not been remarkably inquisitive. The concert has ended. The musicians receive due praise. And now — is this the style of the worship which is henceforward to be offered. Or, on the contrary, are we to presume, that singei-s thus trained, and thus commended for their pro- ficiency, will all at once assume new habitji in favor of strict devotional influence ? This tiling can not be without the intervention of a miracle. Habits formed with such system and care, and success, will continue in a great measure to pre- vail. The devout minstrels may be as solemn, perhaps, as the deluded devotees of an idol's tem- ple, but their thoughts, in spite of every effort to the contrary, Avill continue to wander from the subject-matter of song, and their afl'ections to be ApI' EShlX. Case supposcil. either Linguid or irrelevant. To fhein at leiisi, the exercise of singin;! Avill not l)e remarkable for its spirituality ; and, to the congregation at large, it will savor more of tasteful gratification than i-eligious improvement. I have supposed such a case as the above, that I might avoid all seeming personalities. I shall not be suspected of undervaluing professional talent as such, or of entering my protest agjiiust public performances. Nevertheless, the results I have here depicted are painful living realities amid the thousand churches of the land — results quite palpable to common observation. May I not venture to say that even amid the instances of higher cultivation they are almost universal ? Facts and incidents are not wanting in proof of this point. I might allude to the haliits and cm- rent maxims of pi-ofessed Christians — to the per- sonal experience of thousands of the devout who fail to be truly edified, either as hearers or per- formers, though ic^norant of the rei' cause. But I forbear. It. will readily be admitted that the results are not in accordance with the ends of the institution of sacred praise ; and that their exist- ence is to be attributed, in some measure, to the undue prevalence of secular maxims and princi- ples in oui" schools of sacred music. And suppose that a majority of the little band of pupils above mentioned had not been Christian professore ; or that instead of the whole church coming up to their assistance and patronage, a very limited number only had co-operated with them, while the rest in due time were to be taken 17 194 Appendix. Case supposed. by surprise by the sudden introduction of a new style. Or suppose that a -whole church, with its paostor and session, had uniformly, for a long pe- riod, confided the interests of sacred praise exclu- sively to the non-professing members of the con- gregation, as a mere matter of decent formality belonging of right to them alone ; and that some forty or fifty of the youth, for the mere purpose of social enjoyment, had banded together, em- ployed theii" own teacher, and from fii-st to last assumed the entire direction of every thing in re- lation to the interests of church music ! Who does not see in every such case, that abuses of the institution would continue to abound and pre- vail. Even were the chosen teacher a devoted Christian he could effect very little in the way of reform. He would be as a spark of fire amid the snows of winter. These, I ain sorry to say, are not merely sup- posititious cases, nor cases of rare occurrence ; nor ai-e they by any means the most adverse that could be named. Very far fiom it. I could speak of long and bitter animosities and conten- tions among the members of a choir ; of teachers not only ignorant and vulgar, but depraved in morals and principles : of whole churches depre- cating the existence of a singing school as "an unruly evil, full of deadly poison. ' ' Yes, and of beloved ministers, too, who had Ijeen warned in the very schools of the prophets always to "let the singing alone if they would keep out of trouble;" and who to the end of their lives scru- Appendix. 196 "Want of Teachers. pulously adhering to this rule of policy, were always in trouble. How evident is it, then, that little can be done in the w^ay of reform without extensive mutual co-operation ! The churches must once more take the interests of sacred praise into their own hands, as in days of old, calling upon all the members of a congregation indiscriminately to co- operate Avith them, according to their various tal- ents and opportunities. Then this interest will stand upon the right basis, as in the case of Sab- bath Schools, Missionary, Bible, Tract and Tem- perance Societies. The cause, by the blessing of God, Avill then be seen to prosper. Better teachers will arise. Better maxims, principles, habits, and associations will begin to prevail. Then there will be, as in the days of old, union of heart and voice. Cultivation will advance on right prin- ciples, as ascertained by experience ; and the churches will begin to be edified, in a manner hitherto unknown in modern times. This would not be a novel experiment. More than twenty years ago it was tried by a few churches in this city with delightful success. But the impression has disappeared in the changes of population. WANT OF TEACHERS. But where shall suitable teachers be obtaine 1 ? and how shall they be supported ? Here are two very important incjuiries. Let the churches an- swer the latter as they should do, and the former 196 Appendix. Spiritual Preparation. "will soon find a solution. If the office of teacher is not sufiiciently respectable to secure general co-operation, let them make it so. If it is not sufficiently lucrative to prevent starvation, let them make it so. The means are in their power : and they should remember that the Avorkman is ■worthy of his hire. There would soon be no want of musical talent in the churches, if the subject was properly taken in hand; but while it continues to be neglected, we must not think it strange if the office is often filled with unworthy incumbents. We have seen that a fearfiil amount of respons- ibility is resting upon those who lead our devo- tions in the songs of praise. Nor does it rest upon these alone. It rests upon the silent listen- ers and upon the neglecters of this service ; and especially does it rest upon those who willingly consign it to improper hands, knowing that with- out a miracle the true interests of edification will not be sustained. SPIRITUAL PREPARATION. We have said that the claims of a mere person- ated worship, can not be secured, unless the pupils are well instructed as to the sentiment of the themes, and are induced to make the latter the subject of meditation while they sing. But fur- ther preparation is wanting to secure the ends of true devotion. Let us here compare the language of the con- Appendix. 197 Spiritaal Preparation. secrated themes with that which is usually em- plojetl in social prayer. ^Ve are accustomed on all ordinary occasions, to pray for mercy and forgiveness in moderate terms, lest the language should seem to indicate more emotion than is usually felt : but in song we hesitate not to employ the language of great earn- estness, as in the fifty-fii'st Psalm, and in the hymn '• Mercy, 0 thou Son of David." We often pray for conformity to God and for the spii-it of obedience, as if doubting of our own de- sires and motives ; but in song unhesitatingly ex- claim, '• 0 how I love thy holy law." On occasions of thanksgiving we make moderate prefessions of gratitude in prayer, and acknowl- edge our deficiency in the oifering. but in song, we break forth in the fullest emj^hasis of meaning, '•Bless the Lord, 0 my soul" — or " Yes, I will bless thee, 0 my God," "We pray for fixedness of thought : but the Psalm- ist exclaims — "My heart is fixed. 0 God, my heart is fixed.'' Our satisfaction and delight in the divine government are generally expressed in moderate terms while at prayer : and often we do no more than ask for the grace of submission : but in praise there is no such hesitation, We cill upon every thing that breathes — upon natm-e ani- mate and inanimate — '• 0 for a shout of sacred jo)', To God tlie sovereign King," 17* 198 Appendix. Spirimai Preparations. We call on the rocks, and the hills, and the val- leys, and the wares, and islands, and depths of the sea to join in the anthems of pi-aise, and rejoice in the holy sovereignty of God. Xow let these deep supplications and acknowl- edgments, and these high ascriptions of praise, in- volving such unreserved commitment of soul, be transfen-ed to the oflSee of prayer : and let us sup- pose that those who lead in the office habitually neglect all preparations for the solemn employ- ment, excepting such as relate to manner — that they notice the language in reference to such things as tones and inflections, and meilitate upon it chiefly in regard to oratorical eflect or imagin- ative sentimentality. What would be thought of such conduct ? Hypocrisy ! h yporrisy ! would be the universal cry. The disclosure of such conduct would excite a general bui^t of holy in- digmition. But how is the case materially altered by this transfer of themes ? Is solemn mockery any less offensive in praise than in prayer ? And will the consideration of crotchets and quavers, and time- tables, and accents and emphases, and cadences, and melodic and hai-monic relations, in connection with the phraseology of the themes, and of mere musical expression, have any direct tendency to induce such high and holy and unreserved com- mitment of soul? Far fi-om it. They will have the opposite tendency, unless the mind is preparetl by solemn me