FROM THE LIBRARY OF 
 REV. LOUIS FITZGERALD BENSON. D. D. 
 
 BEQUEATHED BY HIM TO 
 
 THE LIBRARY OF 
 
 PRINCETON THEOLOGICAL SEMINARY 
 
 Dirt 
 
 Sectioi f5£-B 
 
 /5;<263 
 
J&atrtft 38 raise. 
 
SACRED PRAISE: 
 
 AN EARNEST AXfiEAL 
 
 
 ^ 
 
 ^ 
 
 CHRISTIAN WORSHIPERS, 
 
 BEHALF OF A NEGLECTED DUTY. 
 
 BY 
 
 THOMAS HASTINGS, 
 
 AUTHOB OF VABIOUS MUSICAL AND MISCELLANEOUS PUBLICATIONS. 
 
 4 Let every thing that hath breath, praise the Lord." 
 
 Psalm cL ( 
 
 NEW YORK: 
 
 A. S. BARNES & COMPANY. 
 
 No. 51 & 53 JOHN STREET. 
 
 1856. 
 
Entered according to Act of Congress, in the year 1£ 
 
 BY A. B. HI ".XES & CO 
 
 In the Clerk's Office of the District Court of the Southern District 
 of New York. 
 
 SIEKKOIYl'EU liV FK1MED BY 
 
 THOMAS B. SMITH, GEORGE WOOD, 
 
 »J <fc 84 Beekman Street. 51 John Street. 
 
preface. 
 
 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 full and thorough investigation. He has 
 given his best thoughts to the subject, and 
 the following pages will show the result. 
 
It 1 1 It 1 3 . 
 
 CHAPTER I. 
 
 INTRODUCTION. 
 
 PAGB 
 
 Praise, as presented in the 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 cause — Wrong notions of mere musical efficiency — Originally 
 the singers were personal worshipers 18 
 
 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 — Ex- 
 amples in point — Decayed voices — May generally be restored. . . . 
 
 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 
 
 Section II. — The undertaking requires Christian laborers — Eeasons 
 — Efforts must be earnest and appropriate 43 
 
viii \ T B NTS. 
 
 PAGE 
 
 Section III.— Christians of influence and intelligence most become 
 active — Reasons — 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 53 
 
 Section I.— The praises of God are to be swag— Other methods not 
 to be substituted — Objections answered 54 
 
 Section II. — What is the action 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 . 55 
 
 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 REHEARSALS, AND 
 IN FAMILIES? 
 
 Section I. — Adult Schools — These must have a specific character 
 — Eeasons — Mental associations — Spiritual influences — These 
 must be promoted and cherished — Ordinary religious prepara- 
 tions not sufficient — Why — Objections answered — Elemental 
 knowledge 63 
 
 Section II. — Children must be instructed — Musical exercises 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 73 
 
 CH AFTER VI. 
 
 WHAT IS REQUIRED IN THE SELECTION' OF TUNES. 
 
 Prevalent causes of dissatisfaction — Old tunes p& new — Taste neces- 
 sarily progressive — Congregations and choirs should come to an 
 understanding, and be governed by a Christian spirit 79 
 
Contents. is 
 
 CHAPTER VII. 
 
 PAGE 
 
 Methods of conducting exercises in praise— Congregational singing 
 not the only primitive method — An artistic quartette, devotion- 
 al or aesthetic ? — A 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. 
 
 INFLUENCE AXD CO-OPERATION" OF PASTORS. 
 
 This is indispensable to success — Many considerations show this — 
 The aid usually withholden — Reasons examined — Objections ob- 
 viated — Musical 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 be kept 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 Church. 112 
 
 CHAPTER X. 
 
 THE SUBJECT CONTINUED. 
 
 Section I. — Greater difficulties — Strong prejudices against innova- 
 tion — Origin of these — Not to be wantonly violated — May be 
 gradually undermined — Certain methods successful 120 
 
U IS T K N I 
 
 PAGE 
 
 Section II. — Difficulties where there lias been much training npon 
 elements of notation — No instructions of an a-sthetic or devo- 
 tional character— The latter to be supplied — Hints regarding the 
 process 188 
 
 Section III. — Difficulties where lesthetic 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 spirit of 
 praise not thus promo'ted— Eemedv — 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 15S 
 
 III.— Hymnology 161 
 
 IT. — Influence <»f Oratorios and Concerts upon Church Music 171 
 
 V. — Miscellaneous Extracts 1S4 
 
 A Serious Difficulty 184 
 
 Musical Instruction 1S9 
 
 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 efficiency — Originally the singers 
 were personal worshipers. 
 
 Praise, as contemplated in the sacred Scrip- 
 tures, is hallowed and delightful. It is as the 
 voice of angels echoing amid the wastes of a fallen 
 world. How pure, and how 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 remarkable 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 worshipers, 
 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 misdirection. Either 
 the singing is rude and tasteless, or it is sustained 
 chiefly on aesthetic principles to the detriment of 
 devotion. There are occasional instances of a 
 more favored nature ; but these are comparatively 
 
Sacred Praise. 15 
 
 Abuses. 
 
 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 praise are extensively withholden 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 S a c R ED Praise. 
 
 
 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 intractabil- 
 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 in 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. 
 
Sacred Praise. 17 
 
 Its Nature. 
 
 piety as furnishing the solution of the difficulty. 
 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 neglect ers of 
 the subject are among the more spiritual 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 the lis- 
 
 9 o 
 
18 Sacred Praise. 
 
 Its Nature. 
 
 teners are to yield to it, either audibly or inaudi- 
 bly, 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 fathers. 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 borders. This, in musical prac- 
 tice even now, seems to be the popular idea. 
 
Sacred Praise. 19 
 
 Conflicting 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,' 7 however obtained, as an efficient 
 instrument of religious edification. Others, how- 
 ever, driven by a natural reaction to the opposite 
 extreme, would be for discarding every harmonic 
 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 part 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 Prai g E . 
 
 Conflicting Notions. 
 
 of personal obligation, are just such as would 
 naturally arise from these conflicting misconcep- 
 tions of musical efficiency. 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 choir 
 performances in the light of Sabbath concerts, are 
 found to shrink from such conspicuity. Others 
 again are unwilling to engage 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. Members 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 the duty of praise. He s es 
 the prevailing abuses, and is sometimes deeply 
 
Sacred Praise. 21 
 
 Cause of Decline. 
 
 grieved. But he is no artist. What has he to 
 do with such matters? 
 
 These conflicting notions about musical effi- 
 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. 
 
 of Decline. 
 
 blesses the right observance of His own institu- 
 tions. But when these are habitually ab 
 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 decrees 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 difficulty 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 faint 
 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 Prai.se. 
 
 riuory 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 difficult 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 they 
 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 song. 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 
 
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 
 powerful 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 true, let it be remembered, where 
 attention is exclusively devoted to aesthetic con- 
 siderations, and where the mind is at leisure for 
 the minutest criticism. But in exercises of 
 praise the mind 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 
 they 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, 
 
 Requires 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 
 
Sacked Praise. 29 
 
 Individual Training. 
 
 take unwearied pains with the faltering accents 
 of infancy, and feel well rewarded for our labor 
 by the 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 wrong 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 har- 
 monic distances, such as a third, 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 they 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 train- 
 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 their 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 Cases. 
 
 in riper years will not here be deemed out of 
 placed 
 
 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 such 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 pow'er of discrimination improves. The 
 following table exhibits the process to the eye as applied 
 to music-syllables : 
 Quest. — Do, re? Ans. — Re, do. 
 
 do, re ? mi ? mi, re, do. 
 
 do, re? mi? faw? faw, mi, re, do. 
 
 do, re ? mi ? faw? sol? sol. faw, mi, re, do. 
 
 do, re i 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 
 gains strength, the progress is accelerated, and by degrees 
 the special guidance of the teacher's voice is withholden. 
 
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 was that her first achievement, 
 for which she might easily have been rejected, 
 was what few could have performed after months 
 of hard 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 
 from 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 lie could be brought 
 to sustain alone the melody of the simplest Psalm- 
 
Sacred Praise, 33 
 
 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 unsuccessful 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 indifferent, 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. Music, 
 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. 
 
 Individual 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, had 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 every 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 
 
S A C R E I) P 11 A I S E . 35 
 
 Early Bias. 
 
 the prevailing abuses, his antipathy was happily 
 removed. "Oh," said he, "1 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 exercise 
 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 within myself. But now I see the 
 matter in a different 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 S a c R i: r Praise. 
 
 A hard. 
 
 " I never cared for music. But when the singers 
 began to feel what they were the 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. \Vhen 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 
 which 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 prac- 
 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 had 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. 
 
 All might succeed. 
 
 whose voice and ear no musical impression could 
 be made. He pretends to no remarkable skill or 
 discernment in the 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 fault 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 
 tolerable 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 powers, 
 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 well-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 
 
 Sac r e j) P r a i 
 
 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 necessary to its accom- 
 plishment. 
 
 Havixg 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 
 
42 Sacred Praise. 
 
 Prayerful Consid< r 
 
 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 inquiry, 
 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 rea- 
 son to suppose would be beneficial. And there 
 
Sacred Praise. 43 
 
 Christian Activity. 
 
 are yet others who. fixing their attention upon the 
 singing, indulge themselves in censures or com- 
 mendations, much as if they were attending a 
 concert. All this again we say is wrong. It 
 must be 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. 
 
 SECTION II. 
 
 The undertaking requires Christian laborers — Eeasons — Efforts must 
 be earnest and appropriate. 
 
 The undertaking must be prosecuted chiefly 
 by Christians. Xothing can be more evident 
 than this. Can we look for spiritual improve- 
 ment from those who are not spiritual? Too 
 long have we been waiting for such an impos- 
 sibility. It is time for Christians to take their 
 place as leaders 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 within 
 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, 
 what 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 
 
Sacred Praise. 45 
 
 Is indispensable. 
 
 snare to us. The same watchful jealousy should 
 be exercised in regard to church music, which is 
 m 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. 
 
 Are 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 
 language of 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 indifferent 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 Sacked Praise. 
 
 -inn 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 with be- 
 coming decency and solemnity. TTe 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 strange that professors 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 from 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 performers. We may have recourse to 
 the Untutored congregational style. We may sing 
 with the organ or without it ; or we may change 
 the character of the music by never-ending in- 
 ventions or devices ; and we may marvel, too, at 
 the frustration of plans and the instability of ar- 
 rangements. But all will be to no purpose while 
 the main requisite is wanting. Direct, decided 
 
48 Sacred Praise. 
 
 Influence ami Intelli 
 
 Christian influence must be the life-giving spirit 
 of the enterprise. Christians have a susceptible 
 conscience. Let this be enlightened, and their 
 efforts 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 weak in influence or weak in faith. If taste 
 and skill in music were the tilings chiefly in view, 
 there might be some shadow of reason for neglect : 
 for enlightened minds would not expect 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 
 
Sacred 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 clas* of 
 Christians are dissatisfied with the manner in 
 which praise is conducted. They witness so much 
 of heartlessness and of mismanagement and mis- 
 rule in psalmody as to induce discouragement. 
 They have acquired no fondness for such music ; 
 and, judging from past experience, have little ex- 
 pectation of benefit from it. 
 
 There is. however, especially in large cities, a 
 class of Christians 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 tu praise or censure them as they seem to de- 
 
50 Sacred Pra 
 
 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 incon<i.-t- 
 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 while 
 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 the 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 be 
 taken as authority. "What saith the Scrip- 
 tures?*' "To the law and to the testimony. 77 
 In all the more essential elements of praise, the 
 Bible is our only sure guide. Its teachings, 
 
 however, are sufficiently plain and definite, 
 o* 
 
54 
 
 Sacred Praise. 
 
 Praise to be Sung. 
 
 SECTION I. 
 
 The praises of God are to be sung — 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 
 chantings, or fragments of song. Many an in- 
 dividual, unable to sustain the melody of a regular 
 tune, has acquired this habit, and found the pre- 
 
Sacred Praise. 55 
 
 Action of Singing. 
 
 ciousness of thus holding secret communion at the 
 mercy-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 offered 
 in song. Will the observance of the one form of 
 exercises excuse us in 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 pre- 
 scribed to us. We need them both, and neither 
 of them should be neglected. 
 
 SECTION II. 
 
 What is the action of Binging? — Not simply musical — Language must 
 be illustrated and enforced — Objections — Music itself a language — 
 Claim of verbal utterance not to be set aside. 
 
 But what is the action of singing required of 
 us in praise ? Not, certainly, that which some of 
 
56 Sacred Praise. 
 
 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 known 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, singing 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 from 
 the spirit of a rule which is given by inspira- 
 tion. 
 
 Many, however, plead that the language is al- 
 together too rough for musical purposes. Allow 
 this to be true, and nothing; 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 draws his illustration of the principle 
 from praise as well as from prayer. 
 
58 Sacred Praise. 
 
 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 enibarassment, 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 exhorta- 
 tion, or to prayer. We need the impressive 
 utterances of a distinct, impassioned delivery. 
 These, in some way, we can have. We must 
 have them, if we would follow the Scripture rule. 
 But here comes an artist, enamored by the 
 inimitable productions of the masters. Music, he 
 
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- 
 ward 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 trans- 
 lation of the twenty-third or the hundred and 
 forty-eighth Psalm, 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. 
 
 SECTIOX III. 
 
 Personated devotion — Generally prevalent — Opposed to Apostolic 
 teaching— Should not be tolerated — Reasons 
 
 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 apprehension in 
 this matter. The question, therefore, demands a 
 careful examination. Let us turn once more to 
 the infallible guide. The examples of pw 
 recorded in the Bible, are full of instruction, and 
 quite to the purpose in hand. Surely such per- 
 sons as David, and Asaph, and Pieman, and Je- 
 duthan. and Jehoshaphat. and Simeon, and Paul, 
 and Silas were not mere sentimentalists, mere 
 
Sacred Praise. 61 
 
 Is not Worship. 
 
 personators 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 holy joy. 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, 77 
 and "Let the word of God dwell in you richly 
 in all wisdom. 77 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." 
 And lastly, we have what is required of u> a> 
 
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 IX SCHOOLS, IN KE- 
 HEARSALS, AND IN FAMILIES ? 
 
 SECTION I. 
 
 Adult Schools — These must have a specific character — Keasons — Men- 
 tal associations — Spiritual influences — These must he promoted and 
 cherished — Ordinary religious 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 kindred 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 
 
64 lc red 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 would 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 removed from the 
 true principles of art, as from the claims of relig- 
 ion. And here is seen one of the most fruitful 
 sources of that irreverence 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, 
 such solemn language as would fill them with 
 
S A C 11 E U P R A I S E . 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. 
 
 Irrelevant 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 
 pupils. 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 irrel- 
 evant emotion which attend exercises in praise 
 may be traced 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 unfavorable to 
 devotion. This is our only alternative. Many 
 jwill not believe it. Why, they ask, may not 
 (music be cultivated as painting, and poetry, and 
 
 other arts are cultivated ? Such questions have 
 6* 
 
66 Sacked Praise. 
 
 Right 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 sown 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 being 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 Pkaise. 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, which 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 spirit if, in all their rehearsals, 
 they make no effort for the promotion of spiritu- 
 ality ? This will never be. 
 
 Doubtless we shall here meet with many an 
 objection. Decency, and order, and gravity, 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- 
 

 Spiritual Inftu 
 
 1 
 
 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 they 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 r. 
 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. Xor would there 
 be any thing incongruous 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- 
 
Sacred Praise. 69 
 
 Rudimental 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 portions of time ? 
 
Sacred Praise. 71 
 
 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 necessary attainments are so moderate 
 as to be gained by a reasonable amount of well 
 directed training. 
 
 Artistic refinements in style are extensive and 
 difficult. 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 Sacred P it- a; 
 
 Juvenile Instruction. 
 
 SECTION II. 
 
 Children must he instructed — Musical exercises give thein pleasure — 
 Physical, social, and religious advantages — Easily trained — Bearings 
 upon the subject before us. 
 
 Children 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 Peaise. 73 
 
 Its Advantages. 
 
 this instruction has upon religious 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 years 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 
 engross the attention. Adult schools might 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 improvement, we must 
 look well to the instruction of children. 
 
 SECTIOX III. 
 
 Devotional singing in families— Its importance — Xedect — Abuses— 
 Characteristics and advantages — Influence upon congregational Mur- 
 ing — Parior music — Its influence often prejudicial— Not adapted to 
 the object before us. 
 
 Devotional singing must be reinstated in family 
 worship. The Bible, as well as the practice of 
 
74 Sacred Praise. 
 
 Praise in Families 
 
 primitive Christians, is in its favor. The Psalm- 
 ist says, " Every day will I praise thee," "At 
 midnight will I rise to give thanks. 7 ' 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 such 
 directions. 
 
Sacred Praise. 
 
 Not musical Practice. 
 
 for spirituality. It is such as is heard with holy 
 delight in the dwelling-place a,bove. 
 
 We refer not here to mere musical practice, 
 which is too often substituted for real devotion. 
 What 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 blessing, the issue will ulti- 
 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 formation 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 
 
 cial circle. If he neglects daily meditation, his 
 thoughts will wander on the Sabbath. He can 
 not even give for benevolent purposes with Chris- 
 tian simplicity unless, by frequent efforts of the 
 kind, he forms 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 in 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 comiection. Though chiefly secu- 
 lar, it possesses some advantages. Eightly or- 
 dered, it becomes a pleasant relief from the bur- 
 dens of care, and a sweet soother of disturbing 
 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 Influence. 
 
 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. we fear, is, in the multitude of cases, of 
 little or no advantage to devotional singing. It 
 does absolutely nothing toward promoting the true 
 manner or spirit of praise. Artistic 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 
 graces 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 
 
78 
 
 Sacred Praise, 
 
 Parlor v 
 
 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 OF 
 
 TUXES. 
 
 Prevalent causes of dissatisfaction— Old tunes vs. new — Taste neces- 
 sarily progressive — Congregations 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 Sack e d V u \ 
 
 
 Such people reason just as if all progress in I 
 had ceased at the close of their own efforts. Yet 
 were they to resume the practice, they would 
 3e their murmurin^s. Changes in selection, 
 even in their 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 
 A— emblies 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 
 
Sacrel Praise. 81 
 
 Conflicting Views. 
 
 have long been known, and they will continue to 
 occur while personal responsibility 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 unhal- 
 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 relis 
 
82 Sacred Praise. 
 
 Conflicting View* 
 
 ell as with those of taste. The sermons and 
 treatises of the sixteenth century may furnish the 
 modern pulpit and press with valuable hints and 
 materials — but we prefer to use those of our own 
 times for general 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-lived, 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 dramatic 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 
 
Sac u ed Praise. 83 
 
 Experience must decide. 
 
 experience must be our ultimate guide. What 
 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 — Congregational singing 
 not the only primitive Method — An artistic Quartette, devotional or 
 esthetic? — 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 congregation 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 the 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 Singing. 
 
 "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. This 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 precedent, therefore, must 
 not be pressed too far. We may acid, 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, 
 
86 Sacred Praih;. 
 
 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 different 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 congregation. Let them attend the evening 
 lecture, acting there as a choir in reality, though 
 not m form, leading the other voices in some well- 
 known tunes ; and let them afterwards occasional- 
 ly sing at church, the same humble strains of the 
 lecture-room, with the express understanding, 
 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. If the numbers are too 
 few. they will not succeed in controlling the voices 
 of the assembly. If they are not w T ell 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 full half a century in this field of effort 
 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 
 
 I 
 
S A C RED P R A J 89 
 
 .E-thetic Influences 
 
 forraed on any other than a Christian basis, and 
 he has nothing to say on their 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 Master 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 sanctioned 
 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 Sacred 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 nsnally withholden — Reasons examined — Objections obviated — 
 Mimical 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 Testament no less decided in its teachings — Precepts — Exam- 
 ples — Inferences — No want of materials for the pastor's use — The sub- 
 ject should be kept before the people — Suggestions a.-* 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. ^Ye wish here 
 to say nothing inconsistent with that respect which 
 is clue 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. 
 
 
 The subject of church music has been so long 
 associated with artistic considerations as to render 
 it difficult to break the 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 Reasonable. 
 
 less? The two cases are substantially alike. 
 They both involve the same moral question; 
 and who has 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 which are 
 sometimes manifested. Waiving the author 11 v r 
 
94 Sacred Praise. 
 
 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 offer 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 who 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-directed efforts 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 
 

 Sacked Praise. 
 
 A Pastor's Objections 
 
 efforts must be based upon the teachings of the 
 Bible. "Who but the pastor can bring these effec- 
 tually to bear upon the people, and secure for 
 them, through the Divine blessing, 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 regarding these interests? The slightest 
 reference to such topics as these, will more than 
 suffice to show that reform is in the nature 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 pastors influence has been 
 withholden. Art may gain its purposes without 
 him. yet not in this connection, without trespassing 
 upon the claims of spirituality. The true spirit 
 of praise will no sooner exist without culture. 
 than will the spirit of believing supplication. 
 
Sacred Praj 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 them, 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, 
 jare the very fittest persons to officiate in such ex- 
 jercises, we would soon involve ourselves in inex- 
 tricable difficulties. Sustaining choirs on a simi- 
 
98 
 
 Sac re i) Praise. 
 
 A Pastor's 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, till 
 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 efficiency, 
 which might go far toward securing right influ- 
 ences independently of right intentions in the sing- 
 ers, we might find it more difficult 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, giving emotional utterance to the 
 great themes of the gospel. Mere music, it is 
 true, has the power to please, 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 diffuse ; and where is the pastor to 
 obtain the necessary materials for such a course 
 of instruction as he might wish to pursue? 
 
luij Sacred Prai 
 
 Ilible. 
 
 Iii reply to v. rion. 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 nr 
 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, with the pure and exalted 
 nature of the themes of song, and with the many 
 
Sacred Praise. 101 
 
 Themes of Song. 
 
 instructive 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 heart.* The 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. 
 
 9* 
 
102 Sacred Praise. 
 
 r the Bible. 
 
 may catch something of their spirit, and send 
 back our hallowed, though feeble responses. 
 While such themes form the subject of 
 
 pulpit discourse or exhortation, how easy it would 
 be to draw 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 hindrances 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- 
 es © 
 
 ing us to the faithful discharge of an important 
 duty, and Vie enjoyment of a precious privilege? 
 The Scriptures abound with such sources of in- 
 struction as these : and doubtless they will prove 
 ggestiye. 
 
Sacred Praise. 103 
 
 mples. 
 
 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 se.em to have employed to 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? Children and youth, 
 with a few uninfluential members in society ? Xo 
 The consecrated Levites and priests stood fore- 
 
104 Sacred Praise. 
 
 Teachings of the Bible. 
 
 most, with the king at their head. What a dig- 
 nity and importance waa thus given to the exer- 
 cise! This was right. When God is to be hon- 
 ored. we should do our utmost in thi 
 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 dedication 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 hi 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, by a 
 negligent or by an aesthetic 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? 
 Religious song is destined to have its fullest sig- 
 nificance in days of gospel privilege, and to be- 
 
10(5 a bd 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 Nativity 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 
 sono;" 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 relin- 
 r convictions of the truth, to consult the 
 
Sacred Praise. 107 
 
 Nor to be disregarded. 
 
 traditions of men, and to listen to empty declama- 
 tions on musical efficiency ; and then, to become 
 skeptical about such pretensions, to confess igno- 
 rance, and to conclude that the spirit of praise is 
 never again to be revived. But all this is wrong. 
 To the law and to the testimony. Let God be 
 true, though every man were to prove a liar. 
 Most solemn and impressive are the teachings of 
 the Scriptures in regard to praise : and the time 
 is coming when these teachings will be appreci- 
 ated, and when songs of holy joy will be heard 
 " from the uttermost parts of the earth." 
 
 By the brief selection of Scripture materials 
 here presented, it is easy to perceive that the 
 blessed volume is not deficient in its teachings 
 upon the subject before us. How to divide the 
 word rightly, to bring forth treasures new and old, 
 and to give to each a portion in due season, is 
 doubtless a matter which calls for study and re- 
 flection: and it is worthy of being thus enter- 
 tained. The subject must in various ways be 
 kept before the mind of the people, till wrong 
 principles and arrangements concerning it are 
 banished from the churches, and ria*ht views and 
 
108 Sacred Prai.-i:. 
 
 An Example of Declension. 
 
 purposes are fully restored. Give to music, as 
 an art. its due consideration. Encourage it. 
 Deny it not any of its masterly achievements. 
 Exercise liberality toward its admirers and culti- 
 vators. Indulge no evil surmisings against it. 
 But when it comes into the church with mistaken 
 pretensions, confounding aesthetics with spiritu- 
 alities, let the mistake be detected, and exposed 
 and censured, if need be. till its blinding, and 
 
 chilling, and deadening influences shall be With- 
 er o 
 
 drawn and counteracted. 
 
 Here is the place to begin. Just here the sub- 
 ject labors, and will continue to labor, till the 
 much loved and honored clergy will be convinced 
 that they have solemn instructions to give, which 
 have been too long withholden. Nor is the Bible 
 deficient in its teachings, as to this very point. 
 Notwithstanding the wonderful displays at the 
 dedication of the temple, there, unhappily, came 
 a period in the history of Solomon, when he " gat 
 to htm self men-singers and women-singers, and 
 musical instruments of all sorts, so delightsome 
 to the sons of men." He became an amateur, it 
 would se m. where he should have been a wor- 
 
Sacked Praise. 109 
 
 Love of Art. 
 
 shiper. ^Esthetics invaded the province of spi- 
 ritualities. No wonder he was led to cry out 
 ' ' Vanity of vanities — all is vanity and vexation 
 of spirit, 7 ' But this was not his only mistake. 
 He became, it appears, too exclusively addicted 
 to music as an art. This, of course, would lead 
 to fastidiousness, to disappointment and satiety. 
 The art was given to us for better purposes than 
 those of amusement or ostentation. Solomon has 
 in this respect, we fear, many imitators among 
 Christian professors of the present day. They 
 need not wonder that their fondness for art, to the 
 neglect of devotional singing, is rewarded with 
 barrenness of spiritual enjoyment. The king, too, 
 might have imagined for a time that there was a 
 divinity in art, which might be worshiped. 
 
 Again we say, it is just here that the subject 
 labors. Efforts are too exclusively put forth at 
 the present time, for the increase of music as an 
 art. Schools, and concerts, and conventions, and 
 lectures, are doing much which is commendable. 
 But is the evil, to which we refer, at all lessened 
 by the wonderful increase of effort and of zeal ? 
 We think not. We think it is increasing, and 
 10 
 
110 Sacred Praise. 
 
 Taste ami Devotion 
 
 that it will continue to increase till teachings from 
 the desk, to which we have referred, are brought 
 fully to bear upon the public mind. The grati- 
 fication of taste, to some extent, as we have seen, 
 legitimately combines itself with devout utter- 
 ances of praise. But if, in our artistic ardor, we 
 seize upon the one to the neglect of the other, we 
 are, doubtless, preparing in all haste to make 
 shipwreck of devotional interests. The few faint 
 exhortations, which are heard in schools, in con- 
 certs, and conventions, will be easily drowned in 
 the overflowings of musical harmony. The pul- 
 pit must speak, or other appeals will be powerless. 
 It should speak ere the present season for strong 
 impressions shall have passed away. Now while 
 artistic improvements of every character are joint- 
 ly promoted, amid the joyous greetings at con- 
 certs and conventions, the danger is that moral 
 and religious distinctions, which are vital to the 
 interests of devotional music, will more than ever 
 be lost sight of and forgotten. The presence of 
 clergymen, on these occasions, will not prevent 
 such an issue. The tendencies are strong, and 
 irresistible by such appliances. The people at 
 
Sacred Praise. Ill 
 
 Properly Combined. 
 
 large must be enlightened : and the pulpit, hither- 
 to neglectful of this topic, must speak forth 
 in its scriptural teachings and admonitions, if 
 the threatening evil is to be averted. Something 
 can be effected by private exertions; but these 
 alone will not suffice. 
 
CHAPTER IX. 
 
 PRACTICAL DIFFICULTIES. 
 
 How those are to be obviated — Those of the least magnitude occur in 
 various fields — Among heathen converts — Among the slave popula- 
 tion — In new settlements — In settlements more densely populated — 
 Among jealousies and contentions — When the leading talent is out 
 of the church. 
 
 HAVING shown the principal causes of declen- 
 sion in praise, and pointed out the means of restor- 
 ing the appropriate characteristics and influences: 
 it remains for us to give our remarks a more 
 practical bearing. To have shown that certain 
 things ought to be done, and by what means they 
 might generally be accomplished, will not suffice 
 for all the purposes of this appeal. The actors 
 will often be placed in such circumstances, as not 
 to perceive exactly how they should commence 
 operations. Let us then contemplate some of the 
 fields of effort, and see what light can be thrown 
 upon them. We begin where little is to be done, 
 and pass to fields which are more perplexing. 
 
Sacred Praise. 113 
 
 Fields of Effort. 
 
 1st. Missionaries to an unlettered people have 
 often been in a dilemma — obliged to set Christian 
 hymns, either to native melodies, stained with 
 impure associations, or to set them to the melodies 
 of a civilized land, which, for a time, would be 
 neither appreciated nor enjoyed. The latter 
 method, we believe, has been usually pursued, 
 and with good reason. Yet. were it not for bad 
 associations, the native melodies would, for a time, 
 be preferable. Taste must be formed gradually. 
 A marked distinction should here, as well as in 
 every other field, be preserved between the ex- 
 ercises of drilling and devotion. This requires 
 great care. 
 
 2d. Among the slaves at the South, little at 
 present can be done toward improving the mari- 
 ner of praise except by oral examples. Simple, 
 outspeaking melodies, with pure associations, and 
 which readily admit of an emotional utterance of 
 words, should here be cultivated. The hymns, 
 however, should not be so much used in mere 
 practice as to destroy their freshness or lessen 
 their interest. Some hackneyed stanza or some 
 10* 
 
114 Sacred Praise. 
 
 Fields of Effort. 
 
 one of the music-syllables would be best for prac- 
 tical purposes. 
 
 3d. In new settlements, where the population 
 is scattered, and where few musical advantages 
 are enjoyed, little can be done in the first instance 
 but to lay a good foundation for future improve- 
 ment. A full, distinct, earnest, vocal delivery 
 should be secured in connection with tunes al- 
 ready familiar. Some of these will be offensive 
 to good taste, but better ones can be gradually 
 substituted in their place. Vulgarities on the 
 one hand, and extreme refinements on the other, 
 should be equally avoided as unfavorable to de- 
 votion. A pastor's services would here be very 
 beneficial, especially as the earliest teachers in 
 such places are usually superficial. A little 
 drilling upon vowels will improve the tone of 
 voice, and practice upon consonants will improve 
 the articulation. Accent, emphasis, momentary 
 pauses, management of the breath, and other 
 things which relate to vocal delivery, can be in- 
 culcated gradually, in a simple way. as far as op- 
 portunity allows. To this end a pastor need pos- 
 
Sacred Praise. 115 
 
 Fields of Effort. 
 
 sess very little knowledge of music. * Great cure, 
 however, must be exercised in the government of 
 thoughts, and feelings, and purposes, in regard 
 to exercises of praise even in times of practice, if 
 the spirit of praise is to be promoted. Practice 
 should, in this respect, correspond with theory. 
 The danger is. that the nicer points in style will 
 occupy too much the attention of the worshipers. 
 ■1th. In older settlements, even, where the pop- 
 ulation is comparatively dense, the singing is often 
 very poor. Teachers are deficient, and schools 
 are infrequent and disorderly. The general no- 
 tion that •• music is a good thing for society, and 
 an important part of the worship:' is not ac- 
 companied with an abiding conviction of duty or 
 obligation. Untold abuses prevail at rehearsals 
 and at church, while the performances of the choir 
 are apparently as unmeaning and heartless as the 
 mummeries of a heathen temple. This is no pic- 
 ture of the fancy, but one which is often seen as 
 a living reality. 
 
 But since all parties are in fault, as well as 
 greatly deficient in information, the pastor's course 
 * Such knowledge would greatly add to ins usefulness. 
 
110 Sacred V n \ 
 
 :' Etfort. 
 
 is a plain one. He can pursue his Scriptural pre- 
 sentations of the subject without appearing invidi- 
 ous. His first object should be. not to descant 
 upon abuses, but to awaken in the church a true 
 and abiding sense of her responsibility. He can 
 at the same time do much toward this result by 
 making frequent calls at the practice-room, L 
 ing there a pleasing yet hallowed influence : and 
 he can do much by his deportment in the pulpit 
 during exercises of praise. The choir, having 
 sinned ignorantly, should not be denounced as 
 public offenders : nor should the first attack be 
 made upon ignorant and unprincipled teachers 
 who sometimes infest such places. Christians 
 have been remiss. Let them ingenuously ac- 
 knowledge their fault, and so qualify themselves 
 to become leaders, that others will consent to fol- 
 low them. 
 
 5th. The same general course should be pur- 
 sued where divisions in sentiment and practice 
 prevail, or where jealousies, contentions, and ani- i 
 mosities abound. Such things could not exist if 
 one party only were in fault. Ignorance of re- 
 sponsibility, as well as dereliction of principle, lies 
 
Sacred Praise. 117 
 
 Pulpit Appeals. 
 
 at the foundation of the difficulties. The pastor 
 need not become a partisan. In the course of his 
 instructions he can say to all. as an apostle did to 
 the Corinthians. "And I, brethren, could not 
 speak unto you as unto spiritual, but as unto car- 
 nal, even as unto babes in Christ.' 7 Where all 
 parties are in fault, and where the church takes its 
 full share of^he blame, difficulties may gradually 
 be obviated. The prevalence of Christian princi- 
 ple, of Christian feeling, and of Christian activity, 
 will produce a wonderful influence. People who 
 have been religiously educated will feel the power 
 of such an influence. What would they think of 
 such contentions as they are witnessing, if these 
 had reference to the promotion of prayer-meet- 
 ings ? Such a question timely presented would 
 not be lost upon them. Much patience may be 
 required before instructions from the pulpit will 
 produce their desired effect. They must be pre- 
 sented in affectionate meekness, "line upon line, 
 precept upon precept : here a little, and there a 
 little,** till prejudice can be gradually undermined 
 and truth be made apparent. One thing is cer- 
 tain. Let people duly cultivate the spirit of 
 
118 Sacred Praise. 
 
 Unchristian Leaden 
 
 praise, and they will not quarrel about the man* 
 ner of it. 
 
 6th. Is it not a shame that churches, by 
 their own neglect, are so often driven to seek 
 ••aliens from the commonwealth of Israel" to 
 lead them in the songs of salvation? This, 
 surely, is a sad incongruity. If music alone 
 could build up the spiritualities of Ae sanctuary 
 just as brick and mortar has built the walls of it, 
 the plan might answer. But as it has no such 
 power, the practice is inconsistent. There could 
 be no necessity for it, if Christians would do their 
 duty. The remark applies to instruments as well 
 as to voices. In neither case can the control of 
 the exercises proceed from merely aesthetic agen- 
 cies without compromiting the interests of devo- 
 tion. We speak plainly on this subject; yet we 
 speak fearlessly, for our language is in accordance 
 with the teachings of inspiration and the dictates 
 of enlightened experience. If such a measure has 
 for a time been needed, let the church awake to 
 the true remedy. There is no necessary defi- 
 ciency of talent among its members. It should be 
 drawn forth and matured by culture. Churches 
 
Sacred Praise. 119 
 
 Should be Superseded. 
 
 should act upon this subject. What if pastors 
 were to tell them so? Possibly non-professors 
 mio;ht demur. Then let instruction begin further 
 back, and show from the Scriptures the para- 
 mount importance of spiritual qualifications in 
 those who give character to the songs of the 
 sanctuary. 
 
CHAPTER X. 
 
 THE SUBJECT CONTINUED. 
 
 SECTION I. 
 
 Greater difficulties — Strong prejudices against innovation — Origin of 
 these — Not to be wantonly violated — Maybe gradually undermined — 
 Certain methods successful. 
 
 A large class of churches, owing to some for- 
 mer prevalence of artistic abuses, have become 
 extremely prejudiced against innovations in the 
 way of improvement. No very important change 
 has taken place for some centuries past. The 
 hymns in many cases are quite destitute of lyric 
 character, while the tunes are so inappropriate to 
 the sentiments of the language, and so miserably 
 sung, as to neutralize the tendencies to devotion. 
 The people, however, long accustomed to these 
 rude utterances, derive some pleasure from them, 
 and persist in maintaining them. Few fields of 
 labor are so difficult as these. Yet even here 
 something may in time be effected. By the ju- 
 
Sacred Praise. 121 
 
 Prejudices. 
 
 dicious. patient, graphic exhibitions of truth, the 
 prejudices may be gradually undermined. Ref- 
 erence should be had to the precepts and examples 
 of Scripture. Comparisons should be drawn be- 
 tween exercises in praise and prayer. These 
 would serve to show up the abuses in their proper 
 light. A mere reference to the habits and to the 
 general appearance of the assembly would suffice 
 to show that, comparatively speaking. "the glory 
 has departed." And when the church are in 
 some measure awake to the subject, a few meet- 
 ings can be held for general improvement. Some- 
 thing then can be done in the way of practice. 
 The leading principles of good vocal delivery, if 
 prudently presented, will commend themselves to 
 the good sense of the people. Some better no- 
 tions, too. of tune, of time, and of melody, may 
 be advantageously given, all duly subordinated to 
 the spirit of praise. A few good, spiritually- 
 minded singers may on these occasions be so 
 seated in the assembly as to act informally and 
 incidentally like a controlling choir. The advan- 
 tages of this measure would soon be manifest. 
 Taste would begin to improve, and devotion to 
 11 
 
122 Sacred Praise. 
 
 Remedy. 
 
 increase. The increase of spiritual enjoyment 
 would weaken the bonds of prejudice, till in time 
 the measure might be perpetuated. Other im- 
 provements might follow in a similar manner. 
 
 Such congregations are usually influenced by 
 the examples of the reformers of the sixteenth 
 century. But those reformers availed themselves 
 of the best hymns, which their own times pro- 
 duced, and set them to such spirit-stirring melo- 
 dies, old and new, as could be appreciated and 
 remembered with delight. These were sung in 
 families as well as in public. They had great in- 
 fluence with the people ; and whole villages would 
 become vocal with the praises of God. Would it 
 not be advisable for us, now these three centuries 
 later, as descendants of the reformers, to follow 
 the spirit of their example, rather than to copy 
 their identical utterances, which have become too 
 antiquated and time-worn, to produce their former 
 influence.* So thought a late excellent pastor 
 of a Cameronian church, when without any book 
 
 * Originally they were felt to be music and poetry. They 
 were sung with energy, and not in the present drawling 
 manner. 
 
Sacred Praise. 123 
 
 Limited Training. 
 
 « 
 
 in hand, he would often give out the lines of some 
 of the sweetest hymns of the language. This 
 gradually prepared the way for further improve- 
 ments. Other experiments of an analogous char- 
 acter, might often be attended with similar suc- 
 cess. Yet they should not be pressed too far. nor 
 seem to be of an aggressive character. They 
 should be such as would commend themselves to 
 the good sense and good feeling of the worshipers, 
 and contribute to their spiritual enjoyment. A 
 course less gradual and conciliatory, would lead 
 to a painful reaction in favor of old habits. 
 
 SECTIOX II. 
 
 Difficnlties where there has been mnch training npon elements of no- 
 tation— Xo instructions of an aesthetic or devotional character — The 
 latter to be supplied — Hints regarding the process. 
 
 We pass now to a field where there is much 
 cultivation of a limited kind. Considerable in- 
 dustry has been bestowed upon the elementary 
 branches of the art. Schools have been well at- 
 tended, and orderly, and the pupils, so far as 
 psalmody is concerned, have become versed in 
 
124 Sacred Praise. 
 
 Want of ':. 
 
 ___ * 
 
 notation. There is manifested some stability and 
 unanimity of purpose, and some fondness for musi- 
 cal practice ; yet there is little discrimination in 
 matters of taste, and still less as to devotional in- 
 fluences. The congregation seem to be indiffer- 
 ent to the performances. 
 
 This description will apply, with little varia- 
 tion, to thousands of churches. But in the mul- 
 titude of cases, the training has been too exclu- 
 sively mechanical. If taste is to be cultivated, 
 the mind must be allowed occasionally to dwell in 
 the practice-room upon objects of taste; and if 
 right habits of piety are to be formed in this con- 
 nection, the mind must have its corresponding 
 seasons of uninterrupted religious meditation. 
 This principle in training, as we have seen, is 
 everywhere indispensable. But unfortunately it 
 is disregarded. The mind is occupied so exclu- 
 sively with rhythmic, harmonic, and melodic ele- 
 ments, and with sounds, syllables, accents, <fcc, 
 independently of the meaning and spirit of the 
 language, that groveling tendencies become habit- 
 ual. It occupies itself as exclusively with such 
 matters, as if they alone were essential. 
 
Sacred Praise. 125 
 
 And Piety. 
 
 Many who are dissatisfied with such unmean- 
 ing mechanism, are not at all aware of the cause 
 which produces it, " Some people,'' they tell us, 
 '•will never acquire taste. What is the use of 
 reasoning about such matters ? Men who are so 
 governed by habit and prejudice, will have their 
 own notions, and abide by them." Such a style 
 of remark may answer in relation to secular music, 
 where taste often runs into extravagances, or re- 
 fines into fastidiousness: but it has no proper 
 bearing upon the case before us. These people 
 have such an exclusive fondness for mechanism, 
 simply because nothing better has been taught 
 them. Their minds have been misguided, in re- 
 gard to taste and devotion, by erroneous teaching. 
 How is taste or devotion to be promoted in the 
 practice of church music, while the mind is con- 
 stantly preoccupied by minor considerations ! The 
 day of miracles is past. 
 
 Eight minded people, who have ordinary sus- 
 ceptibility, will easily cultivate a taste for simple 
 music, when the opportunity is given them : and 
 with the Divine blessing, they will become devout, 
 if the proper means are used. If the teacher is 
 
126 Sacred Praise. 
 
 
 deficient or diffident of his ability in these re- 
 spects, how easy will it be for the pastor to as 
 him ? Even if the latter knows little of practical 
 music, he understands language, and sentiment, 
 and devotion, and the philosophy of the human 
 mind. Let him occasionally occupy the school 
 for a brief moment, with aesthetic considerate 
 drawn from the characteristics of some hymn, and 
 the singers will begin to acquire taste. Let him 
 do a similar office in regard to the religious sen- 
 timents of a hymn, and he will be likely to do 
 something for the promotion of a spirit of praise. 
 Very brief instructions of the sort, often repeated, 
 are usually found to have a happy and abiding 
 influence. Habits of attention are thus induced, 
 in favor of taste and spirituality. A remedy so 
 easily applied, and so efficient, ought not to be 
 withholden. Even if the teacher is talented and 
 faithful, he will be happy to receive this aid from 
 the pastor. Such visits have often been bless 
 An occasional word of tenderness, in such circum- 
 stances, often gains a lodgement in some heart. 
 which had resisted the more ordinary presenta- 
 tions of truth. 
 
Sacred Praise. 127 
 
 ^Esthetic Influences. 
 
 SECTION III. 
 
 Difficulties where aesthetic considerations have undue influence — Char- 
 acteristics— Self-ignorance — The proper test — The remedy. 
 
 There is another field of labor, which from the 
 general progress of musical knowledge and refine- 
 ment, is becoming more and more perplexing. 
 We refer to congregations where sesthetical influ- 
 ences have gained the entire ascendency. Good 
 people do not always know themselves in this re- 
 spect. Mere pleasures of taste sometimes pass 
 with them for better influences. This is especi- 
 ally true with those whose training has been 
 artistic. They can go for amusement to a sacred 
 concert, or to an oratorio, be delighted with the 
 exhibitions of skill, be melted by the sweet touch- 
 es of pathos, and be animated by the impressions 
 of moral courage and sublimity, precisely as if 
 they were at the opera. But since the subject is 
 religious, and since their minds are so pleasantly 
 exercised in that connection, they are tempted to 
 regard these pleasures in the light of spiritual in- 
 fluences. They are also apt to reason from such 
 experiences, in favor of mere musical efficiency. 
 
128 Sacred Praise. 
 
 ^Esthetic Influences 
 
 If while their chief object is amusement, they are 
 so religiously affected, how powerful must the art 
 l)e, and how much more might be expected from 
 it at church, while the object is religious ! Church 
 music, of a simpler kind, has no attractions for 
 them. It is too unpretending. It does not pre- 
 sent that special kind of appeal to which they are 
 accustomed. Yet if the music at church, as some- 
 times happens in city congregations, becomes suf- 
 ficiently artistic to meet their demands, they sit 
 as irresponsible listeners, to be wrought upon 
 by aesthetic agencies, estimating the music ac- 
 cording to its power over their sensibilities. 
 
 That such persons are wholly destitute of right 
 feelings, we do not presume to say. Probably 
 not. The Christian, in certain favored seasons, 
 will find his thoughts tending upward, when there 
 is much around him that would ' ' chain him down 
 to sense." At such times, every thing which is 
 beautiful in nature or art, may serve to remind 
 him of the goodness of God. Perhaps, too, the 
 sin of ignorance is so " winked at," by Divine 
 forbearance and condescension, in such cases, that 
 individuals are more benefited than any one would 
 
Sacred Praise. 129 
 
 To be Counteracted. 
 
 suppose them to be. In some instances the fact 
 would appear to be so ; and hence the difficulty 
 of convincing such persons that they are habitu- 
 ally in error. If such a thing is attempted di- 
 rectly, they refer to conscious experience. Ques- 
 tion the " heavenly influence*' of fine music, and 
 you reveal your own want of susceptibility. The 
 anxious pastor is in a painful dilemma. He sees 
 plainly that such persons are ensnared, but per- 
 ceives no practical mode of disentanglement. The 
 evil is increasing, but what can he do ? Shall he 
 quote the decisions of a Newton, a Cecil, and a 
 Richmond against the influences of splendid con- 
 certs and oratorios ? Those good men, perhaps, 
 were not sufficiently liberal-minded. Shall he 
 speak against excessive indulgence in music? 
 But how is one to know what is excessive, if he 
 himself is a neglecter of the art ? 
 
 But, happily, there are two or three considera- 
 tions which serve to throw light upon such aesthet- 
 ic influences. The first is that, for the most part, 
 they are exceedingly transient, terminating al- 
 most with the strains that produce them, and lead- 
 ing off the mind from the subject-matter of the 
 
130 Sacred Pkaise. 
 
 Methods 
 
 song, to considerations of musical skill. The 
 second is, that they are not usually accompanied 
 with evident fruits of spirituality. Those who 
 have the most of this enjoyment, often seem to 
 make but little progress in the Divine life — a 
 very suspicious circumstance truly. The third 
 is, that such influences are not confined to Chris- 
 tians, but are equally operative upon unconverted 
 men — a circumstance still more suspicious. These 
 considerations are neither trivial nor inconclusive. 
 They are of solemn moment, and are not easily 
 set aside. 
 
 Some persons, on witnessing the unsatisfactory 
 nature of such influences, grow skeptical as to the 
 utility of religious music. But they reason from 
 the abuses of it, rather than from any personal 
 discovery of its proper effects. Real worship in 
 religious song, is not the mere passive experience 
 of emotions that come and go at the bidding of an 
 earthly minstrel. It implies voluntary intelligent 
 activity of the mind, in relation to Divine things. 
 It claims the high purposes of the soul, and con- 
 fers happiness incidentally in connection with the 
 discharge of duty. But, if in place of this volun- 
 
Sacred Praise. 131 
 
 Of Discrimination. 
 
 tariness, this activity of purpose, we are indolently 
 waiting to be acted upon, just as the u harp of the 
 winds r ' may be influenced by the passing breeze, we 
 have no right to expect a blessing from the exer- 
 cises ; nor need we wonder if they should prove 
 a snare to us. We may have pleasures in this 
 relation, which are more in keeping with the con- 
 cert-room than with the house of God. 
 
 Morally speaking, the case before us has its 
 exact counterpart in pulpit oratory. While lis- 
 tening to an excellent discourse, we are some- 
 times more influenced by the manner of the 
 speaker, than by the real import of his message. 
 Our fondness for oratory has proved a snare. 
 This is a common case, and one which all can 
 understand. If we have been listening to the 
 discourse, chiefly on account of the exhibition of 
 talent, we usually find our reward in the fleeting 
 sentimentalities of the occasion. It is only when 
 the mind is in sympathy with the object of the 
 speaker, that we are in the proper attitude for 
 receiving spiritual benefit as worshipers. 
 
 A principle, so obvious as this, may serve for 
 every purpose of illustration. Let the amateur 
 
132 B a c R e i) P R \ - 
 
 listeners assume the responsibility of real active 
 
 wors Let them, with the hymn in hand, 
 
 •iially plead, confes lore, 
 
 with the mind as intently fixed on Divine things, 
 as if they were orally engaged in earnest prayer. 
 Let them persevere in doing this from Sabbath to 
 >ath. 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 different from those we have been describing; 
 influences of a precious, permanent, and substan- 
 tial nature. JEsthetic influei. . though 
 greatly chastened and modified, will then be all 
 the sweeter for being kept in due subordination. 
 
 SECTION IV. 
 
 Difficulties occasioned by strong combinations of secular interests with 
 the music of the church— The spirit of praise, not thus prom< 
 
 -Teachings of the Scriptures — Pastoral aid indispensable. 
 
 dar interests often extensively combine in 
 efforts fur 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- 
 
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, will 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 
 
 Must be Subordinated. 
 
 ally accrue? Or are they, in reversing that 
 rule, seeking first 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 delusory. 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 from abuses 
 must arise from another quarter. It is a happy 
 circumstance that such combined 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. 
 
 •nedy. 
 
 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 difficulty will 
 surest the kind of instruction demanded. We 
 
 CO 
 
 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 we 
 must be all the more careful. Even where ar- 
 rangements and influences are as we could desire, 
 where praise is comely in manner and devotional 
 in spirit, we have need to be watchful. Tempta- 
 tions will arise. The " musical world" will try 
 its censures, 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 his 
 eye upon the interests of praise as he would on 
 • 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 
 
 Pastoral Influence. 
 
 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 accompaniments, 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 scriptural 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 through false theories and consequent 
 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 efforts, as if 
 such a thing had a real existence, we may still 
 be greatly troubled. We will deserve to be 
 12* 
 
138 Sacred Praise. 
 
 Abm 
 
 troubled. And it may be well if troubles will 
 drive us to the discharge of our duty. Here, as 
 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 XL 
 
 CONCLUSION. 
 
 The subject is momentous — Must be thoroughly 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 exten- 
 
Sacred Praise. 141 
 
 Conclusion. 
 
 sively, and so deeply dishonored in the assemblies 
 of His people ? All this. too. while the remedy 
 lies plainly within 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 Christian 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- 
 ful consideration of our readers. Whatever 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 
 with 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 Church, 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 they contain, we. of course, 
 would not be individually responsible : yet, if we 
 mistake not, they will prove sufficiently suggestive 
 to thinking minds. 
 
 I. 
 
 DECLENSION IN CHURCH MUSIC. 
 
 The following appeared in the New York 06- 
 server, and New York Evangelist of 1838 : 
 
 A celebrated eastern traveler informs us of a 
 singular musical custom prevailing among the Jews 
 at Tiberias. While the Rabbin is chanting certain 
 portions of the Psalms, the congregation, he says, 
 frequently imitate, by their voice and gestures, the 
 meaning of some remarkable passages. When, 
 for example, the Rabbin pronounces the words, 
 :c Praise the Lord with the sound of the trumpet." 
 they imitate the sound of such an instrument 
 through their 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- 
 io 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- 
 bers of the church are sitting in their 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 subject : but when the tune is to 
 be given out, the whole aspect changes. If the 
 
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 portion 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 read the hymn: and now he must 
 look out a passage of Scripture, examine his no- 
 tices, adjust the 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. 4s 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 ? D uring the 
 reading of the hymn, perchance they were meas- 
 urably so : but now, while, according to the Di- 
 13* 
 
150 Appendix. 
 
 Declension 
 
 vinely constituted method of sacred praise, the 
 chief impression is to be made, they are otherwise 
 engaged. The poor Tiberians are ear/test in their 
 : of singing : not so the worshipers at large 
 in a Christian assembly. They have something 
 else to engage their 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 exerciso, they 
 are everywhere sufficiently prevalent to reveal the 
 most painful barrenness. I blush tor think of it. 
 My soul is ashamed when I consider the existing 
 state of things. 
 
 Let it not be said that all this complicated 
 mockery is merely the fault of cultivated singers. 
 Though these must answer for their own sins, the 
 rest of the congregation will not thereby be ren- 
 dered innocent. They are at least accessory to the 
 abuses, while they treat the whole subject, as [am 
 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 greater num- 
 ber, it is true, attempt to sing, and this might be 
 well, but their manner for the most part, is nei- 
 ther musical nor consentaneous, while their ut- 
 
Appendix. 151 
 
 In Church Music. 
 
 terance is indistinct and unimpressive. They 
 sometimes make all manner of noises, but it can 
 hardly be said that they sing, in any proper sense 
 of the phrase. I am aware that many people are 
 attached 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 in 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 their proving a hin- 
 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 spirituality. Forms it is true are 
 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 : 
 
 u God ? s ministers ought to be careful not to 
 make their sermons so long as to interfere with or 
 
152 Appendix. 
 
 Declension 
 
 exclude the more important duties of prayer and 
 praise.' 7 etc. 
 
 More important duties ! What can this mean ? 
 Sermons perhaps are not generally too long, and 
 we are accustomed to hear them with 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 extrenies 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 might be added like 
 the following : 
 
 " As praise among all religious duties is the one 
 
Appendix. 153 
 
 In Church Music. 
 
 which is least in importance, which is the most 
 liable to be misunderstood, and the most difficult 
 to be regulated: it becomes advisable when a 
 hymn 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 elders 
 •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 secure its inestimable advan- 
 tages, than the adoption of such a rule ? 
 
 The Baptist Register, in reference to the same 
 abuses, copies from 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 perform- 
 ers" 
 
 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 our 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 seriously in hand, and point out 
 repeatedly the solemnity and design of this part 
 of Divine service. The proper encomiums which 
 have been so repeatedly passed on choirs at asso- 
 ciations and other occasions, have been carried by< 
 us to a shocking length, and have contributed in 
 no small degree to injure the spirituality of this 
 part of worship, and heie we have gone altogether 
 beyond our Psedobaptist 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 ' spirit and with the 
 understanding?' " 
 
 The following appeared, a few years since, in 
 one of the religious pap or s of this city : 
 
 In the earlier ages of Christianity, the princi- 
 pal chanter 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 : 
 
 " See that thou believe with thine heart what 
 thou singest with thy mouth : and that what thou 
 believest with 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. 155 
 
 In Church Music. 
 
 successful operation. Then, under the extensive 
 influence of proper cultivation, elementary and 
 religious, we might look with confidence for the 
 required 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 tongue?, they all 
 Should join the harmony" — 
 
 would no longer be accompanied by pulpit mes- 
 sages and contribution boxes — nor such as, 
 
 " Let knowledge lead the song. 
 Nor mock him 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 conec- 
 tion with graceless affections. Then such a pas- 
 sage as 
 
 u 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, 
 
 ••Yet save a trembling sinner. Lord," eta, 
 
 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 my 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 varia 
 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 Ave 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 appropriately as to 
 manner, and in the true spirit of devotion. 
 
 The Biblical Repository of 1844, speaks thus 
 on the character of church music : 
 
 Once it was 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, a- was that of preaching, exhortation, or 
 prayer — now. the same exercise is often little 
 than an entertainment for the gratification of t;.~ 
 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 
 was 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 little benefit from exercises in praise, 
 and why are we so often foiled in our efforts to- 
 ward rendering it an efficient 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 
 sanctuary above. Nor can we doubt that it will 
 yet be seen to operate more efficiently than ever 
 in enlivening the devotions of the sincere wor- 
 shiper. 
 
 14 
 
158 Appendix. 
 
 Character 
 
 II. 
 
 HYMN TUNES. 
 Something far beyond grammatical accuracy 
 should be aimed at in the selection of tunes for 
 public and private worship. We have often spoken 
 upon this subject on various occasions. But we 
 here present an interesting extract from Rev. H. 
 W. Beecher : 
 
 Any theory that denies to church music a pow- 
 er upon the imagination and the feelings, as rnusic, 
 and makes it a mere servile attendant upon words, 
 will carry certain mischief upon its path, and put 
 back indefinitely the cause of church music. 
 
 The tunes which burden our modern books, in 
 hundreds and thousands, utterly devoid of char- 
 acter, without meaning or substance, may be sung 
 a hundred times, and not a person in the congre- 
 gation will remember them. There is nothing to 
 remember. They are the very emptiness of fluent 
 noise. But let a true tune be sung, and every person 
 of sensibility, every person of feeling, every child 
 even, is aroused and touched. The melody clings 
 to them. On the way home, snatches of it will 
 be heard on this side and on that : and when, the 
 next Sabbath, the same song is heard, one and 
 another of the people fall in, and the volume 
 grows with each verse, until at length the song, 
 breaking forth as a many-rilled stream from the 
 hills, grows deeper, and flows on, broad as a 
 mighty river ! Such tunes are never forgotten. 
 
Appendix. 159 
 
 Of T 
 
 They cling to us through our whole life. We 
 carry them with us upon our journey. We sing 
 them in the forest. The workman follows the 
 plow with sacred songs. Children catch them. 
 and singing only for the joy it gives them now. 
 are yet laying up for all their life food of the 
 sweetest joy. Such tunes give new harmony and 
 sweetness even to the hymns which float upon 
 their current. And when some celestial hymn of 
 Wesley, or of the scarcely less than inspired Watts. 
 is wafted upon such music, the soul is lifted up 
 above all its ailments, and rises into the very pre- 
 sence of God. with joys no longer unspeakable, 
 though full of glory : 
 
 We copy from the same source, some good re- 
 marks on congregational singing. 
 
 We do not think that Congregational Singing 
 will ever prevail with power, until Pastors of 
 Churches appreciate its importance, and univer- 
 sally labor to secure it. If ministers regard sing- 
 ing as but a decorous kind of amusement, pleas- 
 antly relieving or separating the more solemn acts 
 of worship, it will always be degraded. The pas- 
 tor, in many cases, in small rural churches, may 
 be himself the leader. In larger societies, where 
 a musical director is employed, the pastor should 
 still be the animating center of the music, en- 
 couraging the people to take part in it. keeping 
 before them their duty and their benefit in partic- 
 ipating in this mos^ delightful part of public wor- 
 ship. 
 
 It is a very general impression that the pastor 
 
160 Appendix. 
 
 Of Tunes. 
 
 is to teach and to pray, but another man is to sing. 
 Music is farmed out. and the unity of public serv- 
 is marred by two systems of exercises con- 
 ducted by different persons, and oftentimes without 
 concord or sympathy with each other, and >■ 
 times even with such contrariety, that the oi 
 and the choir effectually neutralize the pulpit. 
 While it may not be needful that the pastor sh< 
 perform the part of a musical leader, yet it is cer- 
 tain that there will not be a spirit of song in the 
 whole congregation if he is himself indifferent to 
 it. and the first step toward congregational singing 
 must be in the direction of the ministry. 
 
 The following is from a more artistic source : 
 
 In the production of psalm-tunes extremes 
 should bs avoided. The structure should not be 
 too artistic and complicated, nor too very simple 
 and unpretending. The melody and the rhythm 
 should not be light and secular, nor heavy and an- 
 tiquated. It should not have such an attraction 
 as to draw off the mind from the subject, like ill- 
 ordered elocution in the pulpit, nor so destitute of 
 interest, as to afford no help in religious medita- 
 tion. The tune. too. if it is to affect us, should 
 be the evident offspring of feeling in the compoe 
 These, and other hints of the sort, may properly 
 be regarded as fundamental. How incompetent 
 then is mere grammatical knowledge as a guide 
 to composition ! And how superficial and unsat- 
 isfactory is that criticism on music-books which 
 dwells chiefly upon minor points in grammar ! ' 
 
Appendix. 161 
 
 Hymns. 
 
 III. 
 
 HYMNOLOGY. 
 
 The full importance of this subject is not gen- 
 erally understood. Many of the hymns in circu- 
 lation have little claims as to poetry or sentiment. 
 Some of them to the singer are wholly impractic- 
 able. He can neither illustrate their meaning, 
 nor add to their significance. Yet they will be 
 given out. Setting forth some mere heads of dis- 
 course, a pastor often selects them because they 
 bear a relation to his sermon. This is unfortu- 
 nate. If a hymn is to be effectively sung, it 
 should have some traits that are lyrical. Hymn- 
 books, too, we fear, are exciting but a feeble in- 
 fluence upon the piety of the present generation. 
 There is some zeal in procuring them — but, ex- 
 cepting on the Sabbath at enure' i, they are often 
 laid aside with as little ceremony as if they were 
 almanacs out of date. In these circumstances 
 we take pleasure in quoting at some length from 
 the interesting writer above named. On some 
 points we might feel obliged to differ from him, 
 but we thank him for such thoughts as these, which 
 are gleaned from the New York Independent : 
 
 The discovery of a statue, a vase, or even of a 
 cameo, inspires art-critics and collectors with en- 
 
162 Appendix. 
 
 
 thusiastic industry, to search whether it be a copy 
 o • an original of what age, and by what artist. 
 But I think that a heart-hymn, sprung from the 
 soul's deepest life, and which is, as it were, the 
 words of the heart in those hours of transfigi 
 tion in which it beholds Grod and heavenly angels, 
 is nobler, by far, than any old simalcrum, or carved 
 ring, or heathen head, however exquisite in lines 
 and feature ! To trace back a hymn to its source, 
 to return upon the path along which it has trod- 
 den on its mission of mercy through generations, 
 to witness its changes, its obscurations and re-ap- 
 pearances, is a work of the truest religious enthu- 
 siasm, and far surpasses in importance the tracing 
 of the ideas of mere art. For hymns are the ex- 
 ponents of the inmost piety of the Church. They 
 are crystalline tears, or blossoms of joy, or holy 
 prayers, or incarnated raptures. They are the 
 jewels which the Church has worn : the pearls, 
 the diamonds and precious stones, formed into am- 
 ulets more potent against sorrow and sadness than 
 the most famous charms of wizard or magician. 
 And he who knows the way that hymns flowed, 
 knows where the blood of piety ran, and can trace 
 its veins and arteries to the very heart. 
 
 Xo other composition is like an experimental 
 hymn. It is not a mere poetic impulse. It is not 
 a thought, a fancy, a feeling threaded upon words. 
 It is the voice of experience speaking from the 
 soul a few words that condense and often represent 
 a whole life. It is the life, too. not of the natu- 
 ral feelings <>Towin2; wild, but of regenerated feel- 
 ing, inspired by God o a heavenly destiny, and 
 
Appendix. 163 
 
 Hymns. 
 
 making its way through troubles and hinderances. 
 through joys and victories, dark or light, sad or 
 serene, yet always struggling forward. Forty 
 years the heart may have been in the battle, and 
 one verse shall express the fruit of the whole. 
 One great hope may come to fruit only at the end 
 of many years, and as the ripening of a hundred 
 experiences. As there be flowers that drink up 
 the dews of spring and summer, and feed upon all 
 the rains, and only just before the winter comes, 
 burst forth into bloom, so is it with some of the 
 noblest blossoms of the soul. The bolt that pros- 
 trated Saul gave him the exceeding brightness of 
 Christ ; and so some hymns could never have been 
 written but for a heart-stroke that well-nigh 
 crushed out the life. It is cleft in two by bereave- 
 ment, and out of the rift comes forth, as by res- 
 urrection, the form and voice that shall never die 
 out of the world. Angels sat at the grave's mouth ; 
 and so hymns are the angels that rise up out of 
 our griefs, and darkness, and dismay. 
 
 Thus born, a hymn is one of those silent min- 
 isters which God sends to those who are to be heirs 
 of salvation. It enters into the tender imagina- 
 tion of childhood, and casts clown upon the cham- 
 bers of its thought a holy radiance which shall 
 never quite depart. It goes with the Christian, 
 singing to him all the way. as if it were the airy 
 voice of some guardian spirit. When darkness of 
 trouble, settling fast, is shutting out every star, a 
 hymn bursts through and brings light like a torch. 
 It abides by our side in sickness. It goes forth 
 with us in joy to syllable that joy. 
 
164 Appendix. 
 
 Hymns. 
 
 And thus, after a time, we clothe a hymn 
 with the memories and associations of our own life. 
 It is garlanded with flowers which grew in our 
 heart.-. Born of the experience of one mind, it 
 becomes the unconscious record of many minds. 
 AVe sang it perhaps the morning that our child 
 died. We sang this one on that Sabbath evening 
 when after ten years, the family were once more 
 all together. There be hymns that were sung 
 while the mother lay a dying : that were sung 
 when the child, just converted, was filling the fam- 
 ily with the joy of Christ new-born, and laid not 
 now in a manger, but in a heart. And thus, 
 sprung from a wondrous life, they lead a life yet 
 more wonderful. When they first come to us 
 they are like the single strokes of a bell ringing 
 down to us from above : but. at length, a single 
 hymn becomes a whole chime of bells, mingling and 
 discoursing to us the harmonies of a life's Chris- 
 tian experience. ^^^^^*^* 
 
 And oftentimes, when in the mountain coun- 
 try, far from noise and interruption, we wrought 
 upon these hymns for our vacation tasks, we al- 
 most forgot the living world, and were lifted up 
 by noble lyrics as upon mighty wings, and went 
 back to the days when Christ sang with His disci- 
 ples, when the disciples sang too. as in our 
 churches they have almost ceased to do. Oh ! 
 but for one moment even, to have sat transfixed, 
 and to have listened to the hymn that Christ 
 sang, and to the singing ! But the olive-trees did 
 not hear his murmured notes more clearly than, 
 rapt in imagination, we have heard them ! 
 
Appendix. 165 
 
 Hymns. 
 
 There, too, are the hymns of St. Ambrose 
 and many others, that rose up like birds in the 
 early centuries, and have come flying and singing 
 all the way down to us. Their wing is untired 
 yet. nor is the voice less sweet now than it was a 
 thousand years ago. Though they sometimes dis- 
 appeared, they never sank : but, as engineers for 
 destruction send bombs that, rising high up in wide 
 curves, overleap great spaces and drop down in a 
 distant spot, so God, in times of darkness, seems 
 to have caught up these hymns, spanning long pe- 
 riods of time, and letting them fall at distant eras. 
 not for explosion and wounding, but for healing 
 and consolation. 
 
 There are crusaders' hymns, that rolled forth 
 their truths upon the oriental air. while a thousand 
 horses' hoofs kept time below, and ten thousand 
 palm-leaves whispered and kept time above ! 
 Other hymns, fulfilling the promise of God that 
 His saints should mount up with wings as eagles, 
 have borne up the sorrows, the desires, and the 
 aspirations of the poor, the oppressed, and the per- 
 secuted, of Huguenots, of Covenanters, and of 
 Puritans, and winged them to the bosom of God. 
 
 In our own time, and in the familiar experi- 
 ences of daily life, how are hymns mossed over 
 and vine-clad with domestic associations ! 
 
 One hymn hath opened the morning in ten 
 thousand families, and dear children with sweet 
 voices have charmed the evening in a thousand 
 places with the utterance of another. Xor do I 
 know of any steps now left on earth by which one 
 may so soon rise above trouble or weariness as the 
 
166 Appendix. 
 
 Hymns 
 
 verses of a hymn and the notes of a tune. And 
 if the angels that Jacob saw sang when they ap- 
 peared, then I know that the ladder which he be- 
 held was but the scale of divine music let down 
 from heaven to earth. * * * 
 
 A Hymn-book is the popular doctrine-book. 
 We suspect that it would be found that even edu- 
 cated and reflective men are more indebted to 
 hymns for their knowledge of Scripture truth 
 than to all the prose writers and commentators 
 upon the Bible. And in regard to the higl 
 truths of Scripture, there are no commentary 
 safe, so full, so identical in spirit and temper, as 
 are the best hymns of Christendom. It is wor- 
 thy of remark, too. that almost every topic of 
 Scripture has been gloriously translated through 
 the heart into the English tongue by a hymn- 
 birth. 
 
 The sublime representations of the Old Tes- 
 tament of Jehovah have touched and kindled the 
 sacred singers of our day, as really as of the an- 
 cient Hebrew periods. The grandeur of God, His 
 wisdom, power, croodne^ universal presence: 
 His providence, mercy, and love: His creative 
 works and His redemptive tforks, are set forth in 
 the voices of hundreds of hymns. The Bible stands 
 uneclipsed. nor can ever any human effusion sup- 
 plant it. any more than art can ever disj 
 overlay and hide the natural world. But hymns 
 may be used in setting the Bible, as pearls are 
 made to hedge in diamonds upon a golden ground. 
 
 If the Bible should perish out of our lang 
 it could almost be gathered up again, in substance. 
 
Appendix. 167 
 
 Hymns. 
 
 from out of our hymns — that take wins: from the 
 veiy period of creation, and fold their wings only 
 when they touch the crystal battlements. When 
 the birds begin to look from the north southward, 
 in autumnal weather, a few. springing from the 
 reeds and shrubs of Labrador, begin the aerial 
 caravan, and. as they wind southward, out of 
 every tree and every copse, from orchard and gar- 
 den, come forth new singers, increasing in num- 
 bers at every furlong, until at lenoth. comino; 
 down from their hio-h pathways in innumerable 
 flocks, they cover provinces and fill forests, and 
 are heard triumphing through unfrosted orchards, 
 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 in the 
 air. And so it has pleased us often, in thought. 
 to liken the rise, and spread, and flight, and mul- 
 titude of hymns that have come down from the 
 beginnings of time into God's pleasant gardens 
 and vineyards, in our days, increasing as they 
 flew. Only there is no bird that can sing like a 
 hymn. There are no meanings in all the mingled 
 sounds of all the singers of the grove, or hedo-e. 
 or lawn, like the voices of hymns that utter all 
 the mysteries of Christ s love in the human soul. 
 Is it wrong to believe that God gave forth a 
 subsidiary inspiration, and taught men to - 
 hymns for the Church, as He had inspired holy 
 of old to speak and to write for her ? They 
 are not equal to Scripture nor clothed with its 
 authority, nor to be accepted as an unerring rule 
 
168 A P PEN MX. 
 
 Hymns. 
 
 of faith andpractic the Bible : but I would 
 
 fain believe that in their lower sphere they were 
 
 born of the Bame divine inspirations as the origi- 
 
 in Scripture; and though the hymn-boo 
 
 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-book. 
 
 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 them, 
 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. 169 
 
 * Hymns. 
 
 greenness. And that grievous evil has turned the 
 longings of some wise and good men to liturgical 
 forms. That the congregation may be enabled to 
 speak, and to utter its own feeling, it has been 
 proposed that every church should make selections 
 of Scripture to be recited, and responses to be ut- 
 tered, and articles of faith to be repeated every 
 Sabbath, until around these great Scripture truths 
 should cluster such hallowed associations as should 
 make them powerful for one's whole life. 
 
 But powerful associations will not form upon 
 literal sameness. Verbal repetitions stale upon 
 the ear. and at length heap it up with mere words. 
 A reciting of the very same things, in the same 
 places, over and over again, will not add. but take 
 away sacred influence. God's Word is to be a 
 light to our feet and a lamp to our path, but it is 
 not to be laid down as stepping-stones in our path, 
 worn with perpetual treadings and recalcitrations. 
 
 It is not familiarity that breeds contempt, but 
 sameness, and this is the marrow of that proverb. 
 And thus it came to pass, when God would teach 
 the world — not forgettino; what He had done in 
 the outward world — where seeds and plants are 
 true to their species, but never identical, varying 
 with amazing versatility, through leaf, flower. 
 fruit, and seed, so that individuality is clothed 
 with diversity, and external differences hide inter- 
 nal sameness and identity — by this same rule He 
 created the sacred Scriptures, whose truths are 
 one and the same in the long revelation of four 
 thousand years, but never alike in expression, 
 One substance endlessly varied in expression ia 
 
 15 
 
170 Appendix. 
 
 Hymns. • 
 
 Go v 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, 
 wore employed, that the Divine truth, like a 
 mighty 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 
 God appointed men in every age to dissolve 
 the Bible into their own hearts again, and gave 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 form, this is the 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 
 experiment hitherto, it is better to seek some 
 method which shall give the most various utter- 
 ance in the cono;re£;ation to the sam atial 
 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 spring play. 
 death and resurrection in glorious rounds, forever 
 tging, but never altering the truth. The 
 hymn-book is the liturgy of the congregation. 
 It gives to us history, biography, doctrine, expe- 
 rience. It furnishes the essential truths 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 Gods people not to 
 accept this sacred language of worship ! It is a 
 grievous blindness that we do not accept this won- 
 derful liturgy of hymns framed 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 our 
 days, and are filling the boughs of our churches, 
 like trees in the garden of the Lord, as with birds 
 from heaven, flitting from 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 yea)' It called forth considerable 
 
172 Appendix. 
 
 Oratorial 
 
 •ussion 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 creating 
 excitement and irritation. Still the facts and 
 arguments they present are worthy of the most 
 serious consideration. We give the article en- 
 tire : 
 
 QUESTIONS. 
 
 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 amateurs, singers or 
 auditors, are interested in the right disposal of 
 them. The first in order is — 
 
 How 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 were so. we might dispose of it 
 
Appendix. 173 
 
 Influence. 
 
 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 part 
 of his library. But the question before us is a 
 practical one. We are to speak of relative in- 
 fluences as they are. and hare been upon psalm- 
 ody : and in this respect, there is sufficient room 
 for honest differences 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 artistic views, 
 habits and associations : and in the other, those 
 who are mostly controlled 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 classes, and see what are their bearings 
 on the question here at issue. 
 
 1. Those who are under the bias of artistic 
 
 15* 
 
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, which 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 would 
 find its views most promoted by joining in the re- 
 hearsals of an oratorio — for here, artistic views, 
 arrangements, habits and susceptibilities, 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 affirm 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 in which singers are obtained and 
 instructed ; and in the irreligious character of 
 many a teacher 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 requires indispensably, a 
 schooling of the affections in the persons of the 
 
Appendix. 175 
 
 Influences. 
 
 performers. Here again, it is not difficult to de- 
 cide which class wid find its views and habits pro- 
 moted by oratorial singing ; especially, as many 
 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 the rank 
 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 seeing the impropriety of such management, 
 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 affections, 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. But who will pretend that 
 
176 Appendix. 
 
 Oratorial 
 
 oratorial rehearsals, such as are usually witness- 
 ed, could exert any congenial influences, upon the 
 views, and habits, and cherished associations of this 
 class of singers, when the words of the drama are 
 strictly and decidedly religious ? They would be 
 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, will 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 are appropriate 
 to dramatic personation. This is evinced by the 
 existing methods of training and management; 
 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 members 
 of a choir. Every thing which 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 addressed to Dagon or Allah. 
 It suffices with this class, that sensibilities can be 
 enlisted, though perchance, the worship of the 
 emotions be offered to the singers themselves, or 
 at the shrine of a fals .- deity. 
 
 But the other class in church music, endeavor 
 
Appendix 177 
 
 Influences. 
 
 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 important sense, as real 
 worshipers. They expect to find, especially in 
 the leading talent of a choir, the evidences of 
 decided religious influence. They are watchful 
 and prayerful. They exercise the same suspicious 
 care over imaginative influences in the songs 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 efficacy, that they 
 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 church 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. 
 
 Oratorial 
 
 in the habit of giving utterance to words which, 
 are adapted to the solemn use -of the church, in 
 the midst of thoughtless hilarity, and in connec- 
 vith artistic difficulties and embarrassments in 
 execution, is more than they can do, without ex- 
 periencing in their own case, a decay of spiritu- 
 ality in the exercises of praise in the solemn as- 
 sembly. Of this they feel assured. 
 
 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 is capable of securing legitimate results, and 
 that mere musical susceptibility, or at most well 
 conceived efforts at personation will secure the 
 ends contemplated in the -office of praise — will of 
 course hail oratorial rehearsals and performaii 
 skillfully sustained and conducted, as every way 
 beneficial in their influence upon psalmody. 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 by 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 not 
 to recognize in the prevalence of oratorial rehearsals 
 of the usual kind, a class of influences which are 
 
Appendix. 179 
 
 Influences. 
 
 strongly antagonistic to those which they desire to 
 cherish. 
 
 Thus the two classes stand, honestly, if not 
 strenuously, maintaining opposite opinions in re- 
 gard to this subject. Which of the two may he 
 found at the present time the most numerous or 
 influential it is not so material to inquire as which 
 is nearest right 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 fear, 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 
 to religious considerations, the evangelical class 
 have nothing to relinquish. Whoever attentively 
 considers the nature of true religion, carefully ex- 
 amines the hallowed themes of salvation which 
 constitute the basis of church-music, and duly re- 
 flects upon the character of the numerous precepts 
 and exhortations which have been given in regard 
 to this matter by the great Master of Assemblies 
 Himself, will be constrained to admit, that in the 
 practice of this class of singers, as described above, 
 there are no works of supererogation, no species 
 of religious effort which can properly be termed 
 superfluous. 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 pro- 
 
180 Appendix. 
 
 Oratorial 
 
 motion of music as an art ; and 
 
 are great and numerous. To what extent they 
 
 have influence upon psalmody in particular. 
 impossible to determine with any exactness. Dif- 
 ferent views, as we have seen, will be entertained 
 of this matter. We would be far from undervalu- 
 ing the merits of classical music : or the efforts of 
 those who are ssfully engaged in making 
 
 it understood and felt by the community at lai 
 In some important respects, their efforts 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 
 
 _ :ng 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 
 ►ration ; and this most surely is a reasonable 
 demand. 
 
 There are religious subjects found in the Jew- 
 ish history, which seem fitted for this speck- 
 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 
 irresistible. The same may be said of particular 
 in oratorio-, such as supplications ad- 
 dressed without meaning to the Supreme Being : or 
 
Appendix. 181 
 
 Influences. 
 
 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 deprecated. Nor 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 are 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 strains of surpassing 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 w^hich infuses the religious 
 element. When this element is wanting, the songs 
 of the sanctuary are but as ' i 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 
 secure 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 Concerts. 
 
 Christian experience and Christian principle, will 
 continue to be agitated, till the truth of the mat- 
 ter can be ascertained. It will then be well for 
 
 us. as cultivators, patrons, and friends of the art. 
 if we have not been found guilty 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 sub] 
 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. Cone 
 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. 
 i them. But on those special occasions, 
 when we strive to become musically effective in 
 the language of praise, the temptation to artist- 
 ical irreverence and display are so great, that we 
 can 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 d 
 Let secular music be given for secular purpos 
 
Appendix. 183 
 
 Influence of Concerts. 
 
 and religious music for religious purposes. This 
 we think should be adopted as a general rule. 
 The rule, however, as above intimated, does not 
 j 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 selection 
 and performance ; but the rule apph ruth 
 
 and emphasis to such pieces as are sacred in the 
 nighest 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, be entirely discarded. These, 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- 
 why the friends of improvement in church 
 music, find such difficulty in awakening a pr< i 
 interest in the subject, among the mass of evan- 
 gelical Christians. The two classes above d 3 
 have not understood each other, nor have indi 
 uals in either class, well understood the 
 
 red and secular maxims, habit* 
 have been improperly blended. Artists, and 
 ateurs by claiming too much in some respc 
 have gained too little in others : and. by neg] 
 ing things essential to Christian edification, t 
 highest efforts in religious music, hav 
 proved fruitless. Of what avail is it to the a 
 itual worshiper, to listen to fine music i 
 not be really edified by it? The fault in this 
 may in part be his own : but it is not chiefly his ; 
 
184 Appendix. 
 
 ►ifficnlty." 
 
 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. 
 
 MISCELLANEOUS EXTRACTS. 
 
 We here subjoin a few gleanings of a more 
 miscellaneous character, which may be allowed 
 to speak 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 
 
Appendix. 185 
 
 A - Serious Difficulty/' 
 
 worshiping assemblies, are. after all. so deficient 
 in their acquirements as we 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 difficulty 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 uniiitelliffi- 
 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, by every fair principle of inferential argu- 
 ment. I would say the difficulty ought to be 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 (rod. 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 impunity ? 
 
 But let us approach this difficulty, and see 
 
 36* 
 
186 Appendix. 
 
 A "Serious Difficulty.' 
 
 if it can not be fairly met. What is the amount 
 
 of it? Why. simply this, that because some are 
 •• for ever Learning without corning to the knowl- 
 
 ! • of the truth." the rest who have not 
 studying may as well despair of finding it. ai 
 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 the 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- 
 >ts, fundamentally at variance 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 : the other 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 Difficulty. 11 
 
 to do with words except as furnishing occasion for 
 music. 
 
 The points of difference relate not merely to 
 composition and execution 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 with 
 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. VTitness 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. I 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 I icion of imperfec- 
 
 tion or fallibility ! Who c ■; in the 
 
 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 doubl 
 continue to be cultivated extensively as a secular 
 art. And why should it not? What should 
 hinder ? As well might 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 which 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 h 
 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 talented declaimer who wins upon 
 the public favor. Keal improvement it can in- 
 deed derive from ahnofi - rarce imagine 
 without departing from fundamental princij 
 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 lil Form a system of its 
 own in reference to religious associations and 
 principles. And surely this is no unreasonable 
 demand. Let this be vork of 
 
Appendix. 189 
 
 Case Supposed. 
 
 reform will no longer be deemed impracticable. 
 Difficulties of every 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 those 
 which are already developed, and which appear 
 to be of a higher order. Out of the thousand 
 
190 Appendix. 
 
 supposed. 
 
 members of the congregation, some twenty or 
 thirty are selected, who happily are professors of 
 religion: the rest are dismissed, as having at p 
 ent no further concern in the undertaking. 
 
 2. He adopts the maxim, too prevalent among 
 men of the secular school, that ; * psalm-singing 
 injures the voice." Secular songs, therefore, are 
 adopted, for a time at least, as the best means of 
 disciplining 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 choirs 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 singing. But this is not to 
 sing after the most approved method. 
 
 •i. But at length the work of cultivation has so 
 fir advanced that the rest of the church 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 the solemn atten- 
 tion of the performers. The little band of vocal- 
 ists desire to feel the full import of the words, 
 that their performance may be truly impressive ; 
 but their teacher aims only at decent formality : 
 
 ' ; Pious orgies, pious airs, 
 Decent worship, decent pray* 
 
 They desire to feel religiously the full import of 
 
Appendix. 191 
 
 Case supposed. 
 
 what they sing, and would be ashamed of luke- 
 warnmess in such a service. He desires not to 
 feel religiously, and would secretly scorn to be 
 suspected of any such thing. Their emotions 
 would incline to kindle and interchange with the 
 varied current of thought suggested by the text 
 before them : his emotions would have constant 
 reference to the abstract features of the tune, ex- 
 cept here and there in descriptive passages, where 
 something like stage effect might seem to be indi- 
 cated. At length, then, the parties are quite at 
 issue. The highest expression of sentiment, there- 
 fore, must now be virtually abandoned, or the 
 teacher must be discharged. Yet as the latter 
 has been faithful in his way. and his pupils are 
 making fine progress, it seems a pity to dismiss 
 him. His school continues, t and most of his 
 habits and maxims, and associations of thought 
 and feeling ultimately prevail. 
 
 5. Another period of instruction has elapsed, 
 and the teacher and 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 third heavens. All that 
 is lofty or imposing, sublime vr beautiful in de- 
 scription, is skillfully illustrated by the perform- 
 ers. They act their part well, and the audience 
 are deeply interested. Some are even in rap- 
 tures. --What music!' 5 " What fine music / ; 
 every one exclaims. "What wonderful skill; 
 what an excellent teacher : what fine pupils ! ' ' 
 And. professionally speaking, this is correct. 
 
192 Appendix. 
 
 ipposed. 
 
 We have an exhibition of masterly skill and ex- 
 quisite taste, if not of refined sensibility. One 
 thing is wanting: and that the teacher has never 
 intended to supply. Other matters have occupied 
 the exclusive attention of his pupils : and 
 while themes of the most momentous import are 
 tailing from their lips, they are but " acting a 
 part'" for the public gratification. The words of 
 prayer and praise dwell on their tongues, but no 
 one suspects them of pretending 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 
 during 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 singers 
 thus trained, and thus commended for their pro- 
 ficiency, will all at once assume new habits in 
 favor of strict devotional influence ? This thing 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, will continue to wander from the 
 subject-matter of song, and their affections to be 
 
Appexdix. 193 
 
 Case supposed. 
 
 either languid or irrelevant. To tltem at least \ 
 the exercise of singing will not be remarkable for its 
 spirituality : and. to the congregation at large, it 
 will savor more of tasteful gratification than of 
 religious 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 against 
 
 tublic performances. Nevertheless, the results I 
 ave 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 habits and cur- 
 rent maxims of professed Christians — to the per- 
 sonal experience of thousands of the devout who 
 fail to be truly edified, either as hearers or per- 
 formers, though ignorant of the real 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 our schools of sacred music. 
 
 And suppose that a majority of the little band 
 of pupils above mentioned hod not been Christian 
 professors : 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 
 pastor 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 their own teacher, and from first 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 am sorry to say, are not merely sup- 
 posititious cases, nor cases of rare occurrence ; nor 
 are they by any means the most adverse that 
 could be named. Very far from 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 been 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. 195 
 
 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 way 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 with 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, will 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. 
 
 WAXT OF TEACHERS. 
 
 But where shall suitable teachers be obtaine 1 ? 
 and how shall they be supported ? Here are two 
 very important inquiries. 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 sufficiently 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 workman 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 fearful amount of respons- 
 ibility is resting upon those who lead our devo- 
 tions in the songs of praise. Xor 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 Avell 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 
 
 Spiritual Preparation. 
 
 secrated themes with that which is usually em- 
 ployed in social prayer. 
 
 We 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-first Psalm, and in the 
 hymn 
 
 •• Mercy, thou Son of David." 
 
 We often pray for conformity to God and for the 
 spirit of obedience, as if doubting of our own de- 
 sires and motives ; but in song unhesitatingly ex- 
 claim. 
 
 11 how I love thy holy law.'' 
 
 On occasions of thanksgiving we make moderate 
 professions of gratitude in prayer, and acknowl- 
 edge our deficiency in the offering, but in song, 
 we break forth in the fullest emphasis of meaning, 
 
 ;: Bless the Lord. my soul"' — or 
 11 Yes, I will bless thee, my God." 
 
 We pray for fixedness of thought : but the Psalm- 
 ist exclaims — "My heart is fixed. 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 call 
 upon every thing that breathes — upon nature ani- 
 mate and inanimate — 
 
 i; for a shout of sacred joy. • 
 
 To God the sovereign King." 
 17* 
 
198 Appendix. 
 
 Spiritual Preparations. 
 
 We call on the rocks, and the hills, and the val- 
 leys, and the waves, and islands, and depths of the 
 sea to join in the anthems of praise, and rejoice 
 in the holy sovereignty of (rod. 
 
 Now let these deep supplications and acknowl- 
 edgments, and these high ascriptions of praise, in- 
 volving such unreserved commitment of soul, be 
 transferred to the office 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 meditate upon 
 it chiefly in regard to oratorical effect or imagin- 
 ative sentimentality. What would be thought of 
 such conduct ? Hypocrisy ! hypocrisy ! would 
 be the universal cry. The disclosure of such 
 conduct would excite a general burst of holy in- 
 dignation. 
 
 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 harmonic 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 from it. They will have 
 the opposite tendency, unless the mind is prepared 
 by solemn meditation and deep searehings of 
 heart. A few general hints from the teacher in 
 connection with formal irrelevant supplications 
 
Appendix. 199 
 
 Verbal Utterance. 
 
 will be nothing to the purpose. The important 
 habit of uniting holy affections with such hallowed 
 themes of religious song, will never be acquired 
 without a more thorough and consistent course of 
 religious training. The man who leads in prayer 
 is allowed in some sense to speak a-s he feels : but 
 those who lead in praise are required to feel what 
 in the whole circle of religious topics they may 
 be suddenly called upon to speak. Which of the 
 two parties, according to this view of the subject, 
 should seem to need the highest measure of re- 
 ligious preparation ? Let the churches answer 
 this question. 
 
 RIGHT USE OF WORDS IN SINGING. 
 
 There are those standing high in the ranks of 
 cultivation, who either deny the importance of 
 verbal themes, or depreciate their value in re- 
 ligious music. Music has an expressive language 
 of its own. Without the aid of words it can often 
 speak to the heart, if not to the understanding. 
 It can call forth emotions of sorrow and joy : it 
 can encourage hope, kindle the feelings of 
 solemnity, and arouse the entire sympathies of a 
 congregation. This, we shall be told, is the high- 
 est pride of the art, and what constitutes its chief 
 excellence. 
 
 But who shall assure us that such appeals of 
 sentimentality will generally meet with an intelli- 
 gent response from the listener, and that in refer- 
 ence to legitimate objects? Sorrow, joy. hope, 
 solemnity, and other kindred emotions, may fail to 
 
200 Appendix. 
 
 Verbal Utterance. 
 
 be excited, or they may be called forth by wrong 
 objects. There is a sorrow of the world that 
 worketh death, a joy of the hypocrite which is but 
 for a moment, and a hope of the self-deceived 
 which is as the spider's web. There is a solemnity 
 too, which is as really unproductive as if it came 
 from the temples of idolatry. The language of 
 musical expression has its importance. But gen- 
 erally speaking, it is of a nature too ambiguous 
 and indefinite to answer the ends of religious de- 
 votion without the aid of an interpreter. 
 
 We have also to meet an objection which comes 
 from the opposite quarter. The consecrated 
 themes, it is averred, are too solemn and momen- 
 tous in their import to be made the bases of musi- 
 cal practice. It is as if the rhetorician or the 
 orator were to exercise his pupils scholastically in 
 the language of prayer. This objection is en- 
 titled to the utmost respect, for it is not the off- 
 spring of a captious disposition. The endless 
 repetition of solemn words in the drilling exer- 
 cises, has doubtless a tendency to lessen their im- 
 portance in the mind of the pupils ; and great 
 injury has often arisen from this kind of manage- 
 ment. To prevent such an evil, two different 
 courses have been occasionally pursued. The one 
 has been to select such words as are comparatively 
 unimportant for the themes of song ; and the 
 other to publish the tunes entirely without words. 
 The first of those methods seems inconsistent with 
 true adaptation ; and the other leaves the subject 
 without any suitable provision. 
 
 But the questionable practice referred to, is 
 
Appendix. 201 
 
 Mental Associations. 
 
 not the one we are advocating. Music-syllables, 
 and not the themes of song, should for the most 
 part be employed in the drilling exercises. Even 
 in the practice of enunciation we need not be 
 constantly resorting to the consecrated themes. 
 The latter must be occasionally used, if pupils 
 are to be duly disciplined : but exercises of this 
 nature should in general be short, always earnest 
 and definite, and free from every appearance of 
 levity. To such a restricted use of the themes, 
 there can be no solid objection. 
 
 IRRELEVANT MENTAL ASSOCIATIONS. 
 
 In circles where there is but little taste or cul- 
 tivation, the principle of association will not be 
 extensively recognized. Hence the most unfor- 
 tunate adaptations of music to sacred words which 
 can well be conceived, bring to certain classes of 
 worshipers no irrelevant ideas: while to other 
 classes they convey every thing which is offensive 
 to taste or revolting to pious sensibility. The old 
 amatory ballad i; saw ye not my lather?" for 
 example, was some forty years ago furnished with 
 a miserable parody, setting forth Lady Washing- 
 ton's lament for her absent husband. •"Saw ye 
 not my hero ?" and was thenceforth associated with 
 all the small peddling of training days throughout 
 the nation. But in process of time a second poet- 
 aster furnished to the same silly music a parody 
 upon the parody, in the shape of a hymn : and 
 thenceforth " Saw ye not my Saviour?'* must be 
 
202 Appendix. 
 
 Mental Associations. 
 
 admitted into religious circles, with its double 
 relish of amatory and gingerbread associations ! 
 
 In circles where there is cultivation, however, 
 the influence of this principle will be manifest 
 The finest tunes as well as the poorest may be 
 supplied with unfavorable associations. Those 
 which have been too frequently connected with 
 drilling exercises, that would try the patience of 
 the teacher and the perseverance of his pupils, 
 will necessarily suggest to the latter thoughts of 
 weariness and feelings of lassitude in the hours 
 of devotion. Those which have been connected 
 with thoughtless indifference, or levity, or social 
 amusement, will in seasons of worship call forth 
 other emotions than those of a devotional nature ; 
 and the same is true of tunes which in practice 
 have generally excited no better feelings than 
 those of musical exhilaration. The kindred mel- 
 ody is sure in such cases, to bring back its scenes, 
 its pleasures, its pains, or its levities, with suffi- 
 cient vividness to hinder meditation, and dimin- 
 ish if not destroy religious enjoyment. This is 
 doubtless the reason why. in seasons of special 
 religious interest, recourse has been so often had 
 to tunes which to every cultivated ear seem so 
 strangely inappropriate. To the mind of those 
 who introduce them, they convey no irrelevant 
 associations : while the current psalm and hymn 
 tunes are strongly identified with ideas of impa- 
 tience, dullness, languor or formality, or perhaps 
 with sentiments of unseasonable exhilaration. 
 The change brings relief and enjoyment to the 
 
Appendix. 203 
 
 MeDtal Associations. 
 
 innovators : but to those who have discrimination, 
 only that which is irrelevant and disgusting. 
 
 On the other hand, amateur and practical mu- 
 sicians of the secular school have, in regard to 
 devotional music, unfavorable associations, which 
 they themselves are the last to discover. The 
 strongest appeals from the art to which they have 
 been accustomed to respond, are those which arise 
 from imaginative personation. The pathos, beauty, 
 or sublimity which they habitually recognize, 
 even in religious pieces, is at best but the off- 
 spring of tasteful sentimentality, held out to the 
 listener for the purpose of braving his censure or 
 extorting his commendation. When under the 
 influence of such habits the intelligent Christian 
 comes into the solemn place of worship, where 
 the pure affections of the heart are to be drawn 
 forth, he feels the need of an entirely different 
 class of associations to aid him in his devotions. 
 And he feels this the more deeply in proportion 
 to the depth of his religious experience. His 
 cherished habits of musical enjoyment are now 
 against him. The enchantments of harmony and 
 rhythm and melody and executional display which 
 in other circumstances would awaken enthusiasm, 
 would now be impertinent and mischievous, and 
 he flies to the other extreme for relief. He re- 
 quires only a few plain harmonic combinations, 
 almost without rhythm, and with melody so re- 
 duced, subdued, and chastened, as to make little 
 impression upon the mass of the community ; and 
 this, judging from his own peculiar experience, 
 he very naturally mistakes for the suggestions of 
 
204 A p p s ar d i x . 
 
 Mental Associations. 
 
 refined taste and critical discrimination. But 
 others, who will have formed different habits and 
 dissimilar associations, will, with just as good 
 reason, dissent from his decisions. 
 
 Now there is an obvious remedy for the evils 
 to which we have alluded, a remedy which is full 
 and efficient. It is found in a rectified applica- 
 tion of the very principle which produces them. 
 Let all the kindred melodies of religious music 
 which are worthy of the name, be supplied in 
 practice with relevant associations. Let music 
 for ordinary religious occasions be cultivated in 
 connection with that kind of Christian influence 
 which it will be required to exert in the house of 
 worship, and it will be found to do its proper 
 office. Let revival songs be cultivated in a re- 
 vival spirit, and the occasion for mal-adaptation 
 will have been removed. And finally, let Chris- 
 tians who have been long subjected to secular as- 
 sociations, so far relinquish their former habits, 
 as to pursue the practice of religious song under 
 the full influence of a devotional spirit. This in 
 due time will supply them with new associations 
 and new inferences with regard to style. The 
 principle in question is as powerful as it is simple. 
 It operates almost with the force of instinct. It 
 never mistakes its end. The cultivators of devo- 
 tional song therefore should remember that what 
 they sow in this respect they will assuredly reap. 
 Especially if in such a field as this they persist 
 in sowing tares, must they make up their mind 
 to receive tares as the fruit of their labors. 
 Christian worshipers, who will not be persuaded 
 
Appendix. 205 
 
 Mental Associations. 
 
 to connect devotional habits and associations with 
 the practice of devotional music, will be as sure 
 to have irrelevant thoughts and feelings in the 
 house of Gfod. as if they had been negligent of 
 religious influences in connection with prayer. 
 How can such persons fail to see that the oblation 
 they are offering is as empty as the idle winds ! 
 •• Take thou away from me the noise of thy songs/' 
 says the prophet. " for I will not hear the melody 
 of thy viols." 
 
 We have spoken of a full and efficient remedy : 
 but how is it to be applied ? Public sentiment is 
 dilatory in its operations, and the teacher is called 
 into immediate action. Here is a difficulty which 
 demands affectionate forbearance and patient ap- 
 plication. Let the teacher be right himself, and 
 he will be likely to exert the required influence 
 upon others. If in the religious revival he is 
 sometimes saluted with a parody upon "Mol 
 Brook." or " Auld Lang Syne." let him not com- 
 plain, but bow his head in secret prayer till the 
 agony is over. If a favorite tune has been spoiled 
 by wrong associations, let him drop it and try 
 another in connection with better influences : and 
 if the fastidious amateur is ready to make undue 
 accusations of deficiency in refinement, let him 
 bear it patiently. There will be no use in mur- 
 muring. In these minor matters let him become 
 in some sense " all things to all men." but let him 
 hold on to the great leading principle of exerting 
 religious influences : and. by the blessing of God 
 his labors will not be in vain. Xew associations 
 will be gradually forming, and in proportion 
 is 
 
206 Appendix. 
 
 Ill-ordered Rhapsody. 
 
 as these prevail, the difficulties will be obvi- 
 ated. 
 
 But what shall be said of the management of a 
 teacher whose whole manner is adverse to re- 
 ligious influences ? who neglects discipline, or ex- 
 ercises it with irritating severity; who at one 
 moment chafes the mind of his pupils by the indulg- 
 ence of peevishness, and at another seeks to allay 
 irritation by sallies of wit or efforts at pleasantry ; 
 whose whole mind is a tempest of conflicting emo- 
 tions, and these at variance with the spirit of the 
 consecrated themes ? 
 
 ILL-ORDERED RHAPSODY OF THE MASTERS. 
 
 The attention of choirs is not confined to psalm- 
 ody. Sacred themes have been extensively 
 employed as the bases of solos, duetts, trios, 
 quartettes, choruses, sentences, collects, anthems, 
 motets, cantatas, and oratorios, and all this osten- 
 sibly, for the purpose of illustrating and enforcing 
 their meaning. Yet many of these pieces, em- 
 bracing much musical talent, are very far from 
 being devotional in their tendency : others will 
 prove so only in circumstances favorable to the 
 design of the piece : and others still, only when 
 they can secure a specific class of hearers, and a 
 corresponding style of execution. These distinc- 
 tions, important as they are, have, for the most 
 part, been imperfectly understood. They do not 
 generally appear in the title of the piece, or the 
 peculiar texture of the composition : nor yet in 
 the amount of interest which the music is found 
 
Appendix. 207 
 
 Ill-ordered Rhapsody. 
 
 to secure. Indeed, some of the most ingenious and 
 fascinating pieces which can be named, are. of all 
 others, the furthest removed from a true devotion- 
 al tendency. 
 
 A single example may here serve as an illus- 
 tration. That favorite theme of the great masters, 
 " Glory be to God on high," &c., when effective- 
 ly uttered with Christian feeling, in the music of 
 some appropriate chant or psalmoclic strain, is felt 
 to be devotional. Also, when it forms the subject 
 of a short anthem which neither surprises us by 
 its novelty, nor fascinates us by its musical attrac- 
 tions, we may receive from it the same appeal 
 And in places where there is much taste and cul- 
 tivation, or on occasions of special interest, or 
 among denominations of worshipers accustomed 
 to loud exclamations and responses, such an an- 
 them might possess more musical attractions, with- 
 out hazarding the loss of its devotional character. 
 But when the same theme is made the basis of 
 such rich, elaborate, vehement, enthusiastic strains 
 as Haydn or Beethoven often apply to it in mass- 
 es for the Catholic service, we feel at once the 
 presence of another class of influences. The per- 
 formers are no longer the simple-hearted worship- 
 ers as before : for their attention is engrossed by 
 the details of execution, and misled by the fas- 
 cination of the music. The composer himself, 
 perchance, had been no better employed when he 
 produced the piece. He was a> mere personator of 
 religious worship, and mistook the nature of exper- 
 imental religion ; or, what seems most probable, he 
 regarded himself in the light of a grand, moral 
 
208 Appendix. 
 
 Ill-ordered Rhapsody. 
 
 painter. The worshipers were sitting for the 
 canvas, and he could flatter them at his pleasure. 
 He could make them as frantic as he chose in 
 their devotions, without involving in his own prop- 
 er person any real commitment of soul. He could 
 fill them with all the vehemence of military en- 
 thusiasm, or the wild uproar of an infuriated mob, 
 without appearing, in the eye of ordinary observ- 
 ation, to surpass the limits of scenic propriety. 
 That which in oratory would be censured as ' ' over- 
 stepping the modesty of nature/' or stigmatized as 
 sheer rant or fanaticism, must here be regarded as 
 the "fine frenzy" of the artist; and if there is 
 really more of the spirit of earth than of heaven 
 in the composition, the circumstance will scarcely 
 be noticed in the presence of so much that is 
 " divine" in the music. The music is so grand, 
 so imposing in its character — so learned, so full 
 of genius — so exhilarating, and at times even play- 
 ful in its character — who can help admiring it ! 
 It is the composition of a great master, powerful- 
 ly applied to sacred words ; and is found suscep- 
 tible of strong effects. This suffices for the 
 generality of executants ; and were one to raise a 
 single doubt as to the religious tendencies of 
 such productions, he would be regarded, in some 
 quarters, as worse than a musical heretic. 
 
 But we have counted well the cost. We are 
 willing to brave all censure of this kind, and ex- 
 press our deepest conviction, that the frequent and 
 habitual application of such noisy and exhilarat- 
 ing movements to sacred themes, has of necessity 
 with respect to most minds a desecrating tendency. 
 
Appendix. 209 
 
 Tune 
 
 amounting in thou distances to the sin of 
 
 profanation ! In saying this, we know that we 
 speak the experience of multitudes who feel the 
 evil, without sufficiently apprehending the cause. 
 Every inviting theme is liable to the same species 
 of abuse — and there is therefore the most urgent 
 necessity of enlightened discrimination. Public 
 concerts and oratorios as usually conducted, will not 
 supply the desideratum, or lessen the existing evil. 
 While sacred themes habitually are made the 
 mere pretext of musical enjoyment or display, 
 they will, of necessity, be abused : but when they 
 are carefully taken up in a truly Christian spirit, 
 and the music is applied to them for legitimate pur- 
 poses, it will be easy to discover, by actual experi- 
 ment, what strains of music can best illustrate and 
 enforce their meaning. The difference between mu- 
 sical rhapsody and devotional song, is as great as 
 that which distinguishes poetic enthusiasm from 
 the pure love of religion : but an adequate knowl- 
 edge of this difference will be gained only by ex- 
 perience, where the circumstances are favorable. 
 
 DISCRIMINATION IN PSALMODY. 
 
 Among the current psalm and hymn tunes there 
 are endless diversities which pass unnoticed by 
 the ordinary observer ; but which are of great ac- 
 count in the true process of adaptation. To those 
 who have paid little attention to this subject, such 
 tunes, for example, as Old Hundred. Luther's 
 Hymn. Winchester. London. St. Ann's, &c., pre- 
 serving a similar appearance in notation, will be 
 18* 
 
210 Appendix. 
 
 % in Families. 
 
 regarded an almost entire uniformity 
 
 of character : while to the better informed, every 
 good tune in the catalogue will be seen to pose 
 its own distinctive attributes : and no two, per- 
 haps, among the whole would be regarded 
 equally appropriate to the same psalm or hymn. 
 
 The kind of discrimination here referred to is 
 of great importance to the interests of church 
 music. When it is wanting, a psalm or hymn, 
 though sung in a faultless manner, will often, as 
 by mechanical necessity, be deprived of its pe- 
 culiar interest : while to the singers and to the 
 congregation at laro-e, the real cause of failure 
 will not be suspected. But this discrimination is 
 the result, not so much of genius or native sus- 
 ceptibility, as of practical observation. It is gained 
 by actual experience of results where circum- 
 stances are favorable: and never, perhaps, in a 
 solitary instance, in schools where religious music 
 is cultivated in connection with irrelevant 'associa- 
 tions. Unless our general position in favor of 
 devotional influences, therefore, is to be sustained, 
 we must make up our mind to forego in psalmody, 
 all that is sweet and hallowed and delightful in 
 musical adaptation. The generality of teachers 
 and leaders will remain, in this respect, what we 
 now find them, as destitute of delicate discrimina- 
 tion, almost, as if nature had denied them all 
 power of conception. 
 
 SINGING IX FAMILY WORSHIP. 
 
 Devotional singing in the family, exerts a 
 happy influence upon the piety of a Christian 
 
Appendix 211 
 
 Singing in Families. 
 
 household. TTe refer not here to mere excellence 
 in music : that may be found where there is no 
 devotion. But there is such a thing as the utter- 
 ance of some chosen hymn, with the mind fixed 
 upon God and Divine things, while devotion 
 kindles into a sweet and heavenly flame. The 
 mind thus expresses itself with emotional energy, 
 while the music adds power to the sentiment, and 
 the sentiment adds sweetness to the music. 
 
 Mere musical practice, however conducted, is a 
 different thing. Such familiar lines, for example 
 as 
 
 <: Lord, thou wilt hear me when I pray ; 
 I am forever thine, " 
 
 may, while sung as a lesson to some plain tune, 
 appear quite common-place and deficient in inter- 
 est. But how full of meaning are they, when the 
 heart seizes upon them in the act of solemn wor- 
 ship ! Then they imply entire confidence in a 
 prayer-hearing God. to whose service the soul is 
 irrevocably and forever devoted. Many a familiar 
 hymn is full of meaning. The mind should 
 fix upon it : the heart should be schooled in rela- 
 tion to it. till we can make it our own in the sin- 
 cere utterance of devotion. Such a practice, under 
 the Divine blessing, would not foil to increase our 
 piety, and add interest to family worship. 
 
 Primitive Christians understood this subject ; 
 the Reformers understood it. and in their days. 
 whole villages, at morning and at evening, would 
 become vocal with hymns of praise. Similar 
 scenes have been occasionally witnessed in later 
 times. Wherever such a practice has prevailed. 
 
212 Appendix. 
 
 Singing in Families. 
 
 its influence has been felt and acknowledged. It 
 is a sweet source of comfort and of edification. 
 This affectionate union of hearts and voices within 
 the family circle, has seemed like "heaven begun 
 below.'* Its advantages are manifold : it is one 
 of the best remedies against dullness and formali- 
 ty ; it is a check upon wandering thoughts and 
 unseasonable emotions : and it sheds a hallowed 
 influence upon the reading of the Scriptures, and 
 upon our supplications and acknowledgments in 
 the exercise of prayer. So many advantages 
 ought not to be lost. In a world like ours, and 
 at a period like the present, we need every help 
 against the strong tendencies to religious declen- 
 sion. Activities in social life are not diminishing ; 
 the spirit of enterprise is awake : claims of bus- 
 iness are becoming more urgent : and temptations 
 to worldliness are waxing stronger and stronger. 
 Here, however, is one of the methods Divinely 
 constituted, which may assist us against every en- 
 tanglement. 
 
 Some of its advantages are peculiar. Selec- 
 tions of Scripture are too often ill-chosen, or read 
 indifferently, or too rapidly to be appreciated. 
 Our voluntary language in prayer often becomes 
 the index of comparative indifference. But the 
 sweet themes of inspiration, as they flow in song 
 with measured accents from our lips, will bear 
 testimony against us, if we are not sufficiently 
 spiritual to make them really our own in the 
 presence of Omniscience. They thus may. in the 
 apostolic sense, become our daily teacher- and ad- 
 monishers. 
 
Appendix. 213 
 
 Singing i:i Families. 
 
 The practice we are recommending has still 
 other advantages. It will of necessity lead us to 
 acquire some measure of musical knowledge : for 
 otherwise our singing would be comparatively in- 
 effective. With a little instruction, all the young- 
 er members of a family would learn to unite in 
 the songs of praise. The influence would soon 
 extend itself, and the hallowed sentimentalities 
 thus clustering around the domestic altar would 
 accompany us to the house of God. and add sweet- 
 ness, solemnity, and spirituality to our vocal ut- 
 terances in the congregation. Habit has great 
 influence upon our devotions : and lips which are 
 perpetually sealed at home, will seldom be opened 
 to much purpose in the solemn assembly. 
 
 What has occasioned such an extensive neglect 
 of singing in family worship ? and what can be 
 done to revive the practice ? To have shown the 
 importance of the duty, or the preciousness of the 
 privilege, will be of little service, unless we go a 
 step further, and point out the cause and the rem- 
 edy for this neglect. 
 
 1. We might refer to the general neglect of the 
 study of music in Christian families. Music has 
 not been made a general branch of religious edu- 
 cation. More attention is now paid to it than for- 
 merly, yet we do not witness, as might be expect- 
 ed, a corresponding revival of the practice we are 
 considering. The question reaches further back. 
 Why has there been such a general neglect of 
 musical knowledge? 
 
 2. We might refer to the general error as to 
 musical capabilities : for the want of physical pow- 
 
214 i> i x. 
 
 ers discourages effort, and annihilates obligation. 
 But how came this error to prevail ? It could not 
 have arisen in times of culture, against the dic- 
 tates of practical experience. It did not always 
 exist; it is comparatively a modern prejudice. 
 And further, since much has been done of late for 
 the removal of this error, why is it so slow to 
 yield? and even where it has been abandoned, 
 why do we not witness a corresponding change of 
 practice ? 
 
 3. We might also refer to the defective experi- 
 ence of Christians in this matter. Reading of the 
 Scriptures, and prayer, and religious conversation, 
 all are profitable exercises, and have an enlivening 
 tendency : but praise, when uttered in song, often 
 seems to savor of dullness or formality. Hymns, 
 too, have become familiar and common-place. 
 Tunes, sung indifferently, have a deadening influ- 
 ence : or. sung skillfully, attract to themselves 
 the attention which is due to the sentiment of the 
 words. Such experiences are discouraging, and 
 excuses are easily found for the relinquishment 
 of a practice which seems detrimental to devo- 
 tion. But again, we must look further back. 
 What has been the cause of all this defective 
 perience? And why does not experience imp] 
 with the general increase of musical cultivation ? 
 Great changes are being effected in the public 
 taste for music : but perhaps the practice we are 
 advocating was never less prevalent than at the 
 present time, while musical conventions are being 
 held in almost every portion of the country. 
 
 We are driven to the conclusion, therefore, that 
 
Appendix. 21 5 
 
 Sinsdtae in Families 
 
 the cause for which we arc seeking is to be found 
 in the modern methods of musical cultivation. 
 Music was designed by the Creator as a means to 
 certain important ends, and should be cultivated 
 with strict reference to those ends, whether social, 
 moral, or religious. But this is not done. Wit- 
 ness our schools, rehearsals, concerts, oratorios, 
 conventions. Art is the great desideratum, as 
 ministering to the pleasures of taste. For mere 
 social purposes, this might answer, provided the 
 sentiments excited were always such as we may 
 innocently cherish. But to say nothing as to the 
 frequent violations of this rule in social gather- 
 ings, and on public occasions, the rule in the cul- 
 tivation of devotional singing is. and has been for 
 a long time, extensively disregarded. 
 
 In this species of music, the mind should be 
 trained by precepts, by examples, and by its own 
 frequent, unembarrassed efforts to fix itself, in mo- 
 ments of devotion, upon the great object of Chris- 
 tian worship, and upon the solemn truths and 
 motives of our holy religion. But instead of it. 
 instruction usually serves to confine the mind rig- 
 orously to the details of art and the sentimentali- 
 ties of taste. The mind is literally bound, and 
 fettered, and drilled into this servitude, without 
 being allowed to break loose from its confine- 
 ment till the unfortunate habit is established. 
 
 Go almost where you will, and the same gen- 
 eral practice is manifest. Even where religious 
 principles are inculcated, practice is at variance 
 with them : the mind is pre-occupied by artistic 
 considerations, so that it can not disentangle itself, 
 
21 6 A P PB N P IX. 
 
 _- in Familiea. 
 
 when it c i make the attempt. Compara- 
 
 tive insensibility to Divine things, and forma 
 
 in exercises of praise, inevitably result from - 
 instructions. It can not be otherwise. We need 
 
 [ no further for the cause of general indiffer- 
 
 to the claims of devotional singing, either in 
 
 family or elsewhere. The results we deplore 
 
 arc just such as ought to have been anticipated 
 
 from such a course of musical training. 
 
 it\ then, we would see the right innuenc 
 stored to devotional singing, either public or pri- 
 vate, we must supply the only remedy. The mind 
 must be taught, not only by precepts and illustra- 
 tions, the nature of praise as a religious exercise. 
 but it must also be made, by constant practical 
 efforts, capable of disentangling itself at any time 
 from the trammels of art. and the fascinations of 
 taste : while in the act of singing sweetly, it can 
 employ itself in heavenly contemplations. 
 
 THE END. 
 
Uf, 
 
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