FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON, D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY DMato* SCB Section /WW PSALMODIA, PASTOR'S PLEA FOR SACRED PSALMODY. Digitized by the Internet Archive in 2012 with funding from Princeton Theological Seminary Library http://archive.org/details/psalpastoOOfree " NOV 2 1932 * ,IA, .^v pastor's $lra for satrrtr Jisafmols. " Psalmody is the exercise and worship of heaven ; and there is just so much of heaven on earth, as there is of the true spirit of psalmody." — Ev. Mag. 'GIXG COd's PRAISE. Chap. 1. God requires our worship, 19 " 2. Music of divine institution, 24 " 3. Continued in the New Testament, - 32 PART III. THE 3UXXER IX WHICH THE DUTY SHOULD BE PERFORMED. Chap. 1. There must be music in the song, - 39 2. The voice must be cultivated, - 46 3. The ear must be improved, 50 4. The singing should be congregational, 54 5. The sentiment appropriate, 60 6. Expression, 70 7. Tunes, 7S 8. Instrumental accompaniment, - 93 9. The deportment, - - - - 100 10. The heart engaged, - - - 102 11. The duty to be performed to God, - 106 12. The Holy Spirit's influence, - - 110 PART IV. Conclusion, - - - - 115 Appendix, 127 " Next unto theology, I give THE PLACE AND HIGHEST HONOUR unto music." — Martin Luther. PLEA FOR PSALMODY. PART I. INTRODUCTORY REMARKS. " Sing praises to God, sing praises ; sing praises unto our King, sing praises ; for God is the King of all the earth, sing ye praises with un- derstanding." — Ps. xlvii. 6, 7. David was not only an inspired prophet, but a divine poet and an eminent musi- cian. His Psalms, which were originally written in Hebrew, appear to have been designed for the stated use of God's people in public worship. The words of the Psalm- ist above recited are a part of a hymn which he composed to celebrate in prospect, the 14 PLEA FOR PSALMODY. ascension of our blessed Redeemer. Fore- telling that glorious event, the Psalmist says, "God is gone up with a shout— the Lord with the sound of a trumpet;" and then, as if with ecstacy of devotion, he exclaims in the words before us, " Sing praises to God, sing praises; sing praises unto our King, sing praises; for God is the King of all the earth; sing ye praises with understanding.'' 1 That the celebration of God's praise, in sacred psalmody, is a divine institution, there can be no reasonable doubt; and we have good reason to believe that it has been from the commencement of social worship in the world. As when creation was first launched from its mighty Maker's hand, "the morning stars sang together, and all the sons of God shouted for joy,"* * Job xxxv iii. 7. PLEA FOR PSALMODY. 15 so it would seem that this primeval exam- ple was early imitated on earth. If we go back to the time of Israel's de- livery out of Egypt, we find that whole people, in one great congregation, on the shores of the Red Sea, celebrating in the song of Moses their wonderful deliverance, and the signal overthrow of their enemies.* And although this is the first instance on record, by which we have certain evidence of the early use of sacred psalmody in the worship of God, we may well suppose that since it is not mentioned by the sacred penman as then first practised, it was not the first time that the Church so worship- ped. Scripture, it is true, is silent on the subject; but it is not unreasonable to sup- pose that from the time of Jubal, the grandson of Methusael, who " was the fa* * Exodus xv. 16 PLEA FOR PSALMODY. ther of all such as handle the harp and organ,"* music has been cultivated, not only as a polite art and accomplishment, but as a mode of social worship, if not from the very creation of man. It is the worship of the heavenly world ; and why should it not from the very begin- ning have been the expression of adoring gratitude, and love and praise, by the ra- tional inhabitants of earth? That to which we have already advert- ed, before a note could have been tuned by mortal lips, is not the only instance in which the holy intelligencies of heaven are represented as celebrating the praises of God in holy song. When God appeared on earth in fashion as a man, " a multitude of the heavenly host" came down, and in anthems sweet, sang "Glory to God in the * Genesis iv. 21. PLEA FOR PSALMODY. 17 highest, and on earth peace, good will to- ward men."* And so they are represented by the Revelator as praising God in hea- ven, f "Their golden harps they take, Harps ever tuned :" redeemed and angels join In harmony ;»" and with preamble sweet Of charming symphony, they introduce Their sacred song, and waken raptures high : No voice exempt — no voice but well can join Melodious part." The numerousi^tances of praise offer- ed to God in sacred melody, recorded both in the Old Testament and in the New, it may be impracticable here to mention. The Holy Scriptures abound with these instances, and show that music has ever found a place in the public worship of God in every period of the Church. But that the obligation to worship God in this way, * Luke ii. 13, 14. t Revelation v. 9—13, & xiv. 1—3. 18 PLEA FOR PSALMODY. and that the manner of worshipping him with acceptance, may be the more obvious, we may advert to other instances whilst we consider the duty of singing God's praise, and the manner in which this duty should be performed. PLEA FOR PSALMODY. 19 PART II. CHAPTER I. GOD REQUIRES OUR WORSHIP. " If a man is grateful to his benefactor, he will tell him so ; if no acknowledgments are made, and no outward signs of gratitude manifest themselves, he will be chargeable with ingratitude. But if expressing our gratitude and praise from time to time, in words, is by the Deitt required of us as a duty, if it is beneficial to ourselves, and if, as an example, it has good effects on our fellow men, no argument can be necessary to prove the propriety of the practice of public worship." Br. Beattie. That social and public worship of the infi- nite fountain of all being and blessedness, 20 PLEA FOR PSALMODY. in some form, is a duty of perpetual obli- gation, is taught even by the light of na- ture, and the voice of reason, as well as by the authority of revelation, and is ad- mitted by almost all people. Its important relation to the interests of society has been felt and confessed even by infidels, whilst the true worshipper finds in the perform- ance of this duty, the most sublime plea- sure and satisfaction. The worship which he offers as a duty, he realizes also as the highest privilege, the principle of obedi- ence being always found the source of all true enjoyment. In the spirit of true devotion, uniting our homage to our Maker, with the offerings of others, we practi- cally recognize one common origin — one Father in heaven — ourselves sustaining the same filial relation — brethren and children of one family — acknowledging the same dependence— having the same interests— PLEA FOR PSALMODY. 21 feeling the same obligations — needing the same mercies — engaged in the same ser- vice — seeking the same salvation — looking forward to the same eternity — hoping for the same heaven; and we find that it is good thus to worship. We become attach- ed to the employment, and as the love of God warms in our hearts, our affectionate and adoring thoughts of Him increasing with the elevation of our devotion, we feel a nearness of affection one to another. Such thoughts and feelings possessed the soul of the pious Psalmist when he exclaim- ed, " I was glad when they said unto me, Let us go into the house of the Lord;"* and similar views and feelings, in relation to this duty, possess the heart and influence the conduct of all who truly worship God. They can say with David, " One thing * Psalm cxxii. 1. 22 PLEA FOR PSALMODY. have I desired of the Lord, that will I seek after ; that I may dwell in the house of the Lord all the days of my life, to behold the beauty of the Lord, and to inquire in his temple."* He who is the former of our bodies, the father of our spirits, and the preserver of our lives, will be glorified by the works of his hands. He requires our worship, and knows what is for our good, delighting in the prosperity of his servants, and wonder- fully and graciously adapting his worship, as a means of grace, to our necessities. That the worship of the true God has, from time immemorial, been generally con- ducted, among all Christian people, with the aid of music, history furnishes full evi- dence. From this fact that the public worship of God by music has always been ♦Paalm xxvii. 4. PLEA FOR PSALMODY. 23 practised by the Church, receiving the di- vine sanction in the blessings which have been poured upon her in every age, we might naturally infer the duty. There can be no room for doubt, however, if it be found by direct evidence to be of divine institution. That it is we shall show in the next chapter. 24 PLEA FOR PSALMODY. CHAPTER II. DIVINE INSTITUTION OF MUSIC, UNDER THE OLD TESTAMENT DISPENSATION. " Let all the people praise thee, O God ; yea, let all the people praise thee." — David. That singing the praise of God was an or- dinance enjoined upon, and practised by the Church under the Old Testament dis- pensation is evident from the many inspired psalms or songs which were given to be used by the Church in solemn acts of wor- ship. We have already adverted to that which "Moses and the children of Israel" sang, when Pharoah and his host were drowned in the Red Sea. Just before Moses received the summons from God to view PLEA FOR PSALMODY. 25 the promised land and die, he was directed of God to write a song, "and teach it to the children of Israel, and put it in their mouths,"* which we are told he did as he was commanded.f We find also conspicu- ous in the Old Testament-scriptures, "the song of Deborah,"J and of Hannah.§ And in the days of David we find appointed in the Church, by divine direction, an order of persons called " Singers," who were to preside over and lead in this part of public worship. || These "whom David set over the service of song in the house of the Lord," kept up that service, it appears, in the tabernacle, until the first temple was built by Solomon. This service being con- tinued by Solomon in the temple, they then "waited on their office" there, as in the * Deut. xxxi. 19. t Deut. xxxi. 22 ; & xxxii. 1—43. t Judges v. $ 1 Samuel ii. HChron. vi. 31 ; & xvi. 4 — 43. B 26 PLEA FOR PSALMODY. tabernacle afore.* The same worship was re-established by Ezra, as soon as the foun- dation of the second temple was laid.t Those whom David appointed especially to superintend and lead the service of the sacred song, in the tabernacle, were " He- man, Asaph, and Ethan, one of each of the three houses of the Levites ;" and such was the order observed in this honour and ser- vice, that each must know his place, * "And they ministered before the dwelling-place of the tabernacle of the congregation with singing until Solomon had built the house of the Lord in Jerusalem ; and then they waited on their office, according to their order." 1 Chronicles vi. 32. See also 2 Chronicles v. 12, 13, 14. Bishop Patrick considers part of this passage, viz. that " when the trumpeters and singers lift up their voice, and praised the Lord, the house was filled with a cloud so that the priests could not stand to minister," as an " intimation that the Levitical priesthood would cease, and stand no longer to minister when the Messiah should come;" the sacrifices of praise and thanksgiving being still accepted. tEzra iii. 10, 11. PLEA FOR PSALMODY. 27 Asaph standing on the right hand of He- man, and Ethan on their left;* whilst Aaron and his sons, as priests, must offer "upon the altar the burnt-offering, and on the altar of incense, and were appointed for all the work of the place most holy, and to make an atonement for Israel, according to all that Moses, the servant of God, had commanded," in giving the ceremonial law.t The singing of Psalms, as an act of re- ligious worship, we have seen " was used in the Church before the giving of the cere- monial law,J and therefore is to be consi- dered as neither a part of it, nor abolished with it."§ Nor should it be ; for, as a dis- * 1 Chron. vi. 33, 39, 44. 1 1 Chron. vi. 49. \ Exodus xv. §Mr. Henry says that David " was raised up, qualified, and spirited for the establishing of the ordinance of singing Psalms in the Church of God, as Moses and Aaron were in their day for the settling of the ordinances of sacrifice. 28 PLEA FOR PSALMODY. tinguished commentator has justly remark- ed, "singing is as much the language of holy joy, as praying is of holy desire."* The Psalms of David,t which were given Theirs is superseded ; but his remains, and will to the end of time, when it shall be swallowed up in the songs of eternity." * Mr. Matthew Henry. t These Psalms are entitled in the Hebrew, CrVnn *13D (Sepher Tehillim,) which signifies the Book of Hymns, or Praises ; the praises of God constituting their chief subject-matter: and as they were set, not only to be sung with the voice, but also to be accompanied with mu- sical instruments, the Septuagint version, (so called be- cause it is said to have been translated by 72 Jewish Rab- bies at the appointment of Ptolemy, King of Egypt,) the most authentic Greek translation of the Old Testament, de- signates them BIBA02 YAAM.QN, the Book of Psalms, which name is retained in our English Bibles. They are generally termed the Psalms of David, that Hebrew monarch being their chief author. Several of the ancient fathers, among whom are Origen, Chrysostom, Au- gustine, Ambrose, Euthymius, and others, believe that he was the sole author. It is very certain that he was the author of most of them. It is also equally certain that these Psalms, though composed at different times, and on PLEA FOR PSALMODY. 29 by divine inspiration evidently for the use of the Church, that she might be at no loss ever as to the subject-matter of praise in this ordinance; and which, together with the regular and noble form which he gave to the musical part of the Jewish service, obtained for him the name of " the sweet Psalmist of Israel,"* have been the ma- nual of the Church in her praises from age to age. In this inspired " epitome of the Bible," we not only find the whole congre- gation, and all people exhorted to sing various occasions, and put together apparently without any reference to, or dependence on one another, in readiness for the service of the Church, are a part of " the oracles of God," and given by inspiration of the Holy Ghost. Nearly fifty of the Psalms are quoted, or referred to, in the New Testament. Our Lord himself introduces a passage from the Psalms, saying, "David himself said by the Holy Ghost." St. Paul, quoting from them, says, " Wherefore, as the Holy Ghost saith, To-day, if ye will hear his voice." * 2 Samue! xxiii. 1. b2 30 PLEA FOR PSALMODY. praises to God, u Sing unto the Lord, O ye saints of his, and give thanks at the re- membrance of his holiness :"* u Sing aloud unto God our strength; make a joyful noise unto the God of Jacob:" but it is added, " For this was a statute for Israel, and a law of the God of Jacob."! Some- times the whole Church are represented as calling and exciting one another to this duty; as in the anthem at the commence- ment of the usual morning praise of the Church in the sanctuary, " O come, let us sing unto the Lord ; let us make a joyful noise to the Rock of our salvation. Let us come before his presence with thanks- giving, and make a joyful noise unto him with Psalms: for the Lord is a great God, and a great King above all gods ;"J and again, in a subsequent part of the morning * Psalm xxx. 4. t Psalm lxxxi. 1, 4. t Psalm xcv. 1—3. Venite exultemus Domino. PLEA FOR PSALMODY. 31 praise, " Make a joyful noise unto the Lord, all ye lands;" (showing that the duty belonged not only to the Jews, but to all nations,) "serve the Lord with glad- ness ; come before his presence with sing- ing."* In another place it is more than in- timated that ceremonial offerings under the law, were not so important a part of public worship as that of praise: — "1 will praise the name of God with a song, and will magnify him with thanksgiving. This ALSO SHALL PLEASE THE LORD BETTER THAN * Psalm c 1,2. Jubilate Deo.~$Cr In this, and the pre- vious quotation, it has been thought proper, for the sake of uniformity, to have reference to the version of the Psalms in our common English Bible, as made by the translators em- ployed by king James the 1st., rather than to that in the book of Common Prayer, which, executed in 1539, is more an- cient; but, " being very excellent, and familiarized by cus- tom, is retained in the Liturgy." t Psalms lxix. 30, 31. 32 PLEA FOR PSALMODY, CHAPTER III. MUSIC A DIVINE INSTITUTION, CONTINUED UNDER THE NEW-TESTAMENT DISPENSATION. " The singing of Psalms as an act of religious wor- ship, was used in the Church of Christ before the giv- ing of the ceremonial law, and therefore is no part of it, nor abolished with it." — Matthew Henry, If we appeal to the New Testament, we shall find that the continuance of this branch of divine worship enjoined and practised under the Old-Testament dispen- sations, is confirmed by the example of our Lord and his disciples, as also particularly by the instructions of St. Paul. Not to refer particularly to the songs of Mary, and Zacharias, and Simeon, to show that the practice of divine psalmody was, PLEA FOR PSALMODY. 33 continued in the New-Testament Church, we find our Saviour, at the close of the ordinance of the holy Supper, at the time of its institution, singing an hymn with his disciples.* At another time, we find a " multitude of the disciples" of our Lord, rejoicing and praising God "with a loud voice," saying, " Blessed be the King that cometh in the name of the Lord : peace in heaven, and glory in the highest." They were not, it is true, in the temple — nor in the synagogue — nor yet indeed in that "upper-chamber" where the sorrowing dis- ciples afterwards worshipped ; they were ♦Matthew xxvi. 30. Mark xiv. 26. This hymn " is gene- rally supposed, and that upon good grounds," to have been taken from the Book of Psalms. The hymn usually sung by the Jews, at the conclusion of the Paschal supper, and to which custom our Lord seems to have respect here, was what the Jews called " the great Hallel," consisting of the psalms from the 113th to the 118th inclusive. — See Biskop Home. 34 PLEA FOR PSALMODY. "nigh to the descent of the Mount of Olives," and nature was their temple: it was a solemn act of religious worship how- ever, and an offering approved hy our Sa- viour, as appears by his reply to the offend- ed Pharisees.* "Paul and Silas prayed and sang praises unto God," when, " at midnight," God appeared in so wonderful a manner for their deliverance.f In writing to the Church at Corinth, the Apostle Paul recognises this duty as of di- vine authority, reproving the Corinthians for a disorderly mode of worshipping, in that "every one" of them had " a psalm — a doctrine — a tongue — a revelation — an interpretation." each worshipping in his own way. J They could not, after this * Luke xix. 38, 40. t Acts xvi. 25. X Perhaps the whole assembly were wont to worship in various ways at the same time. 1 Corinthians xiv. IB, 26. PLEA FOR PSALMODY, 3d manner, worship with the understanding, if they might with the spirit; and such confusion and disorder were, surely, of a tendency to prevent edification and spiri- tual worship. The Apostle, therefore, would have them so regulate their worship that it might be both acceptable to God, who, he declares, "is not the author of confusion, but of peace, as in all Churches of the saints," and profitable for them- selves. He neither discourages them in the proper performance of the duty, nor does he withhold the benefit of either pre- cept or example. "I will sing with the Spirit," he says; " and I will sing with THE UNDERSTANDING ALSO." This duty the Apostle Paul also enjoins in writing to the Church at Colosse : " Let the word of Christ dwell in you richly in all wisdom ; teaching and admonishing one another in psalms and hymns, and spi« 36 PLEA FOR PSALMODY. ritual songs; singing with grace in your hearts to the Lord."* And, again, in writ- ing "to the saints at Ephesus, and to the faithful in Christ Jesus," he exhorts and commands, "Be filled with the Spirit: speaking to yourselves in psalms and hymns and spiritual songs — Singing and making melody in your heart to the Lord ;"t showing not only that this is a gospel-ordinance, but that it is not neces- sarily confined to praise alone, having also something in common with prayer and re- ligious instruction and admonition. And that this ordinance is to be used for these purposes as well as for praise, appears from the subject-matter of many of the psalms of David, some of which are prayers with confession and thanksgivings, while others are exhortatory, or admonitory, as • Colossians in. 16. t Ephesiana v. 18, 19. PLEA FOR PSALMODY. 37 well as declaratory of God's greatness and goodness and mercy.* It would be easy here also to show how the practice of sacred psalmody has sub- * ' Psalms' is a general term, which may mean " all me- trical composures fitted to be sung, which may as well be historical, doctrinal, or supplicatory, as laudatory. Though singing be properly the voice of joy, yet the intention of the songs is of much greater latitude, to assist the memory and both to express and to excite all the other affections, as well ns that of joy." " It cannot be denied that the Psalms of David are called indifferently by the three names, psalms, hymns and songs." — Ridgley's Body of Divinity. Says Hooker, " It was for the raising up of men's hearts and the sweetening of their affections towards God, that the prophet David having had singular knowledge, not in poetry alone, but in music also, judged them both to be things most necessary for the house of God, and left be- hind him to that purpose a number of divinely indited poems ; and was further the author of adding unto poetry, melody in public prayer, in which consideration the Church of Christ doth likewise at the present day retain it as an ornament to God's service, and an help to our devo- tion." — Eccl. Polity. 38 PLEA FOR PSALMODY. sisted through every succeeding age, from primitive times, to our own, " not more to the delight than to the edification of the Church of Christ. In this respect, there ever has existed, and there still exists, a wonderful communion of saints." But more on this subject is unnecessary. From what we have seen, whether under the Old Testament dispensation, or under the New, it naturally and rightly follows that we ought to regard sacred music in the public worship of God, as an ordinance of divine appointment, in which the Church should ever seek to glorify God, and " set forth his most worthy praise." PLEA FOR PSALMODY. 39 PART III. THE MANNER IN WHICH THE DUTY OF SING- ING god's PRAISE SHOULD BE PERFORMED. CHAPTER I. THERE MUST BE MUSIC IX OUR SONG, " Constituted as man is, there is no vehicle like sound for lifting the soul upward to the eternal source of glory and harmony ; and viewing ourselves as bound to praise God with such powers as he has given us, we are equally bound to give him our best and most appropriate service.*' — The ^Missionary. God has bestowed on our race, in addition to the faculty of speech, the gift of music, as a medium of communion with each other 40 pl[ea for psalmody. and with himself; and has appointed it as a means of the suhlimest exercises of de- votion, as if with special intent that " the praises of his Church on earth may ap- proximate as near as possible to the spiri- tual and refined worship" of the Church in heaven. Through the influence of mu- sic, the very senses become, as it were, hand-maidens of devotion. By the har- monious combination of a few notes, with their various modulations, the mind, through the organs of hearing, and the sympathy of the nervous system, not only receives peculiar pleasure — sometimes exquisitely refined sensations of delight — but exciting the affections to the sublimest exercises of devotion and praise, we are prepared for more lively and extatic enjoyment of di- vine communion, and are thus assisted in near approaches to the throne of grace: " On eagle-pinions borne, We scale the mount of God." PLEA FOR PSALMODY. 41 Music, it has been well said, "is a re- fined species of elocution; and, as such, its office is to enforce upon the heart the sentiment which is sung. "Who has not felt the words of Divine truth sink deep into his heart, when they have been accompanied with the thrilling and irresistible tones of an earnest and commanding elocution ? Music has a si- milar power ; it can move or melt an audience, and ought therefore to be made a powerful auxiliary to the faithful preacher."* " Music speaks the heart's emotion, Music tells the soul's devotion ; Music heavenly harps employs; Music wakens heavenly joys." * Lowell Mason-, Esq., of Boston, President of the Handel and Hayden Society, and the compiler of their se- lections, who has devoted a large portion of his time to the improvement of Church music, and is better acquaint- c2 42 PLEA FOR PSALMODY. In order that it may accomplish its end, sacred music must be properly conducted, that we may rightly direct, or join with propriety, in this part of worship, all things in the services of God's house being done decently and in order, reason and common sense, as well as the spirit of holy Scrip- ed with the subject probably than (we may almost venture to say,) any other person in the country. We are not un- mindful, however, of the great service rendered to the de- partment of sacred music by a Hastings, a Wainwright, and others. Mr. Mason further remarks, " It must do this," (that is, singing must enforce upon the heart the sentiment which is sung,) " more effectively than the simple reading of the same words can do, otherwise it is useless ; and better that music should not be introduced at all into public worship, if it fail to accomplish this end. Indeed, its influence in the Church cannot be of a more negative character; and musical taste is much more intimately connected with re- ligious feeling than is generally supposed. It cherishes on the one hand, or destroys on the other, those pious emo- tions which public and social worship is designed to call into exercise. PLEA FOR PSALMODY. 43 ture and the genius of our holy religion, suggest the importance of some acquaint- ance with the theory and practice of the musical art. We may consider it as a first principle, therefore, that in engaging in this part of the public worship of God, we should so sing as to make melody to THE EAR. The effect of discordant and unharmo- nious sounds, is sensation of uneasiness and distress, tending to prevent, if not utterly extinguish, rather than aid, a spirit of de- votion. Such penance we have no right to inflict on those who worship with us. Jarring discord neither becomes the holy nature of our worship, nor can it fail to disturb the devotion of others whilst we derive no benefit from it ourselves. It is a painful concession, but perhaps as just at the present day, as at the time when 44 PLEA FOR PSALMODY. Dr. Watts first uttered it, that " Of all our religious solemnities, psalmody is the most unhappily managed. The very ac- tion which should elevate us to the most divine and delightful sensations, doth not only flatten our devotions, but too often touches all the springs of uneasiness within us."* Keeping in view, therefore, the end of music in social worship — the elevation of the feelings and increase of a spirit of true devotion, music must be cultivated. As it is proper and necessary that the minister of * " Often and often have we had occasion to regret our unfortunate sensibility of ear, (though by no means exces- sive or fastidious,) when chained by propriety to our seat in the house of prayer, during the vociferations of a graceless band. Often has the (indignant) exclamaiion of good old John Ryland, of Northampton, on one occasion' occurred to us, ■ Do ye call that singing ? if the nngels in heaven were to hear ye, they would come down and wring your necks off.' "—Eclectic Review. PLEA FOR PSALMODY. 45 the gospel should cultivate the art of elo- cution, that in public speaking he may be the better qualified to enforce the truth and move the heart; so should they who sing the praises of God attend to the im- provement of themselves in the depart- ment of sacred music, if they would either awaken devotional feelings in themselves, or aid in the devotions of God's people- Music should be cultivated for the pur- pose of religious worship, and from a sense of religious duty. 40 PLEA FOR PSALMODY. CHAPTER II. THE VOICE MUST BE CULTIVATED. " It is one thing to give an impulse to breath alone ; another thing to vocalize that breath." — Holder. That much depends on the natural voice is true. A good voice, however, and skill in its management, is not altogether a na- tural gift. It is said by those who are skilled in the science of music, that whilst " the organs of some are undoubtedly much more favourably constructed for the production of agreeable tones, than those of others; the very best natural voice ''needs to be, and may be greatly improv- ed by cultivation ;" and that " there are few voices naturally so bad as not to be PLEA FOR PSALMODY. 47 rendered, at least, tolerable, by a proper attention to them." We will not say with nature's great poet, that "The man that hath no music in himself, Or is not moved with concord of sweet sounds, Is (it for treason ;" but we can hardly doubt that all persons endowed with the gift of speech, may so qualify themselves as to engage in this holy duty with satisfaction and benefit; whilst many who are now totally negligent of the duty, might not only find great be- nefit and comfort in its performance, but might also greatly encourage others and assist in this delightful part of worship. The reason why all are not singers, is doubtless found either in the fact that the proper opportunity of learning has not been enjoyed; or in this, that the duty was neglected in the morning of life. Often, 48 PLEA FOR PSALMODY. those who attempt to sing, and do not at once manifest a musical voice, are dis- couraged by the officious ignorance of those that assure them that they cannot learn. They cannot at once modulate the voice so as to strike with precision every note in the octave, and therefore it is taken for granted that they are incapacitated by nature for praising God in sacred psalmody, at least upon earth ; and the sage decision is taken for truth, and no further attempt is made. This is a very common error, and a lamentable evil. Where the vocal organs exist in perfection, evidenced by proper compass, variety, and inflection of voice in speaking, there is no physical ina- bility to learn to sing. Instruction and practice only are necessary to enable the individual to assume his proper rank among those who enjoy the high honour of wor- shipping the Most High in holy song. PLEA FOR PSALMODY 4flf The leader in these devotions, it is con- ceded, needs peculiar and pre-eminent qua- lifications; and so the several members of the choir as assistant leaders, need to be well prepared for their place: but it should also be borne in mind that since all are endowed with the organs requisite, it is the duty of all to s'ing the Lord's praise; and that since we cannot fulfil this duty by delegating it to others, every individual ought to be so far prepared for this part of devotional service, that entering into the spirit of it, he may enjoy the privilege, and as occasion permits, follow those whose province it is to lead, joining in the praises of a whole people with decency and pro- priety. 50 PLEA FOR PSALMODY. CHAPTER IH. THE EAB MUST BE IMPBOYED. " As it is with the voice, so it is with the ear : its very best natural condition is imperfect, and needs cul- tivation." — Mason. What is ordinarily called a correct musi- cal ear, and on which correct intonation, or an ability to sing in tune,* is princi- pally dependant, is no more, in all cases, a natural gift, than is a good voice. It has been well remarked, "the most which na- * " By intonation is meant the faculty of forming the voice to the notes of the scale with clearness and precision. — When a person's intonation is correct, he is said to sing in tune ; when false that is, too sharp or too flat, he is said to sing out of tune " — Turner. PLEA FOR PSALMODY. 51 ture ordinarily does, is to give the capacity to learn." Indeed, both the ear and voice are always in a measure imperfect, need- ing cultivation, in some instances in a greater, and in some a lesser degree. A correct ear, and a competent voice, are acquired by practice.* By application and perseverance, many who, at first, were scarcely able to appreciate musical sounds, *" The truth of the above position stands upon the clear evidence of facts. Experiments have generally been per- fectly conclusive and satisfactory. Among the Germans and Moravians, all without exception are taught to sing ; the same is true of the Indians of every tribe, and the peo- ple of eolour every where ; and of the children of our in- fant schools. Having visited many infant schools in differ- ent parts of the country, we have never yet found a child who was unable to sing after he had been in the school a proper length of time. We would say, then, let every person, young and old, be encouraged to learn to sing ; his duty will soon become his delight, and the languid lire of devotion will be lighted up to a flame by the music of the skies." — Christian Spectator. 52 PLEA F OR PSALMODY. or to sing with accuracy even the natural scale of music by the aid of an instructor, have at length arrived at very commend- able perfection in the science and its per- formance. It would be very difficult to find a person in the possession of the na- tural senses, who has not a general fond- ness for musical sounds : all who have this fondness — all who are capable of receiv- ing pleasure from musical combinations ? may, doubtless, improve the talent that is in them, and learn to worship God in songs of praise.* * Sacred music ought to be considered a part of the re- ligious education of Children. It has been well said by a master of the musical art, that " if no more attention were bestowed upon the art of reading, than upon the art of music, good readers would be as scarce as good singers." Even where attention is paid to music, it is in almost all cases to secular music exclusively ; the " parlour must be furnished with a piano, and the family must have the services of a teacher — the sonata, the song, the march, PLEA FOR PSALMODY. 53 the waltz, must be made familiar, even in Christian fa- milies • but the music of the Church is left to take care of itself, or committed to unskilful hands." — See Mason's Address. D2 54 PLEA TOR PSALMODY. CHAPTER IV. 3CHE SINGING SHOULD BE COXGHEGATION AL, " From the first and apostolic age, singing was al- ways a part of divine service, in which the whole body of the Church joined together." — Bingham. The singing of the primitive Church was evidently Congregational. Unlike that of the theatre, which is merely an exhibi- tion, or thrown in to give variety to the performances and relieve the mind from too constant attention to the subject — the music of the Church, instead of being de- signed as an interlude to religious worship —a recreation from the tediousness of an hour's devotion, was a solemn act of public praise offered by the congregation assem- PLEA FOR PSALMODY. 00 bled. Sometimes, it is said, indeed, that " a single performer sung in solo" whilst at other times, " the whole congregation united in full chorus;" and that "some- times the congregation were divided into separate choirs, singing in alternate succes- sion, whilst at other times, a single person commencing the verse in solo, the full choir closed in chorus." But, notwithstand- ing these variations, the primitive singing, as we have said, was by the whole con- gregation. And so it should be now.— There should, indeed, be a choir well in- structed in the musical art, and of supe- rior qualifications for leading in religious praise, in every congregation; and this clioir should be directed by a competent leader: and unless the music be led by such a choir, and the direction of the per- formance be submitted to such a leader, the best effects of music cannot be pro- 56 PLEA FOR PSALMODY. duced : but the whole congregation should join. And all should be prepared to join not only without offence, but with good effect, if possible — assisting in the devotions of others, and enkindling in devotion their own souls. This, a congregation surely may do, without either greatly increasing the quan- tity of sound, or preventing the appro- priate direction of the music by the choir. Great loudness of voice cannot be consi- dered indispensable either to true devotion, or to good music* Indeed, there will be * " Loudness, produced by an overstrained exertion of the organs of the voice, is noise, not music. The overstraining of the voice, or even keeping it up constantly to its full stretch, is a decided mark of ignorance and vulgarity. — Loudness requires mere physical or brute power, but sweetness and mellowness, combined with as much power as nature will admit of, require taste and discernment, and can only be acquired by a close attention to the rule* of art." — Turner's Vocal Guidt PLEA FOR PSALMODY. 57 very many instances in a congregation, where, in the present state of musical im- provement, caution must be used by indi- viduals lest their voice be conspicuous, and where it is greatly proper and expedient that it be scarcely audible; and, in all cases, the congregation should observe that softness which a proper regard to the edifi- cation and comfort of each other demands. Nothing can be more improper, or ruinous to good music, than the falling upon the parts, by individuals promiscuously, with undue elevation of voice, in different parts of the congregation. Even among the choir, there should be no emulation of loudness of voice, although the music of the choir should predominate and lead the devotions of all. There are almost always in a choir some individuals who, conscious of their supe- 58 PLEA FOR PSALMODY. rior qualifications, or urged by a mistaken estimate of their abilities, offend against good taste by an undue elevation of the voice. " Persons who sing together, in parts, should take special care that their voices be so balanced and adjusted, that no one voice obtrude itself above its fellows ; but that the whole be so blended and com- bined, like the tone of a full organ, as to produce one rich harmonious sound." It has been suggested by a Professor of the art, that "if every performer would make a point of listening to the voices of his neighbours as well as to his own, — it would materially assist in the attainment of this important object." The importance of this last suggestion — that of harmony in congregational sing- ing — is a subject which cannot be too deeply impressed upon the mind of the perform- PLEA FOR PSALMODY. 59 er. As melody consists in a succession of single musical sounds, so harmony is a com- bination of those sounds according to the rules of composition. What may be me- lody in a single voice alone, may be most unharmonious where several voices are united. In congregational singing, musi- cal concord is indispensable. The harmo- ny should be perfect; like " sound Symphonious, of ten thousand harps that tune Angelic harmonies." 60 PLEA FOR PSALMODY. CHAPTER V. THE SEXTIMEJJT. " How many tears have I shed when I heard hymns and canticles sung in the Church to thy praise, my God ! While the sound thereof struck my ears, thy truth entered my heart, it drew tears from my eyes, and made me find comfort and delight in those very tears." — St. Augustine. It need hardly be remarked here, that the subject matter, or sentiment of our music, should be appropriate to the solemn duty and occasion and place. As suited to this duty, the Psalms of David and other ap- propriate portions of the Holy Scriptures, should have precedence. Besides their incomparable fitness to express proper thoughts, feelings and desires, the fact that PLEA FOR PSALMODY. 61 they were indited under the special di- rection of infinite wisdom and holiness, and have been employed in the Church in every age, should greatly influence our choice. "Me thinks it is a great comfort to us," says the excellent Matthew Henry, " when we are singing David's psalms, that we are offering the same praises to God, that were offered him in the days of David and the other godly kings of Judah. So rich, so well made are these divine poems, that they can never be exhausted, never worn threadbare." And says the learned Bishop Home, "In the language of this divine book, the prayers and praises of the Church have been offered up to the throne of grace, from age to age."* Thus " one *Our Saviour pronounced, on the cross, the beginning of lh« 22d Psalm, " My God, my God, why halt thou fonak- E 62 FLEA FOR PSALM OH Y. generation" has praised the " works'' of God " to another," and declared his " mighty- acts,"* A practice has in some instances prevail- ed of incorporating with the solemn worship of God, in the place of praise to God, hymns or songs in which there is scarcely any reference to Deity whatever, and which, if they do not directly inculcate error, are destitute of evangelical sen- timent; and in some instances, these are a mere medley of fulsome praise ad- en me ?" and expired with a part of the 31st Psalm in his mouth — " Into thy hands I commend my spirit." Thus he, who had not the Spirit by measure, in whom were hid all the treasures of wisdom and knowledge, and who spake as never man spake, yet chose to conclude his life, to so- lace himself in his greatest agony, and at last to breathe out his soul, in the psalmist's form of words, rather than his own. No tongue of man or angel, as Dr. Hammond justly observes, can convey a higher idea of any book> and of their felicity who use it aright." — Bp. Home. * Psalm cxlv. 4. PLEA FOR PSALMODY. 63 dressed to man. However proper it may be to celebrate the virtues or heroic deeds of distinguished men, it cannot be proper, we think, to substitute the praise of mortals for the praise that is due to God, in his sanctuary ; nor can compo- sitions which have nothing in them of the life and soul of the gospel, but are desti- tute of any sympathy either with the doc- trines, duties, or graces of Christianity as if designed for the special accommodation of the skeptic, be considered the most suit- able for the use of a congregation of Chris- tian worshippers. There are other weighty objections, however, which ought to be considered in reference to matter sometimes employed in sacred psalmody ; and these lie against the poetry. Whilst it is true that poetry alone will not, of course, constitute good and suitable hymns for the use of worship- 64 PLEA FOR PSALMODY. ping assemblies, it is equally true that hymns are not adapted to the end of pub- lic psalmody unless they are capable of being combined with musical expression. Lyric poetry — or poetry which is to be sung, should be the simple language of the heart; and especially if designed for the sanctuary, should be dignified both by the sentiment and symbols employed, and every way calculated to elevate and purify the feelings; while at the same time it is suited by the aid of music to awaken, and ex- press, and quicken to a holy ardour the emotions of the soul. For this purpose, its structure must be such as to render its adaptation to musical movement easy, na- tural and impressive. Some of the lyric poetry, so called, of the present day, is of such rhythm as to set all attempts at mu- sical accentuation and expression at de- fiance; whilst much is either so argumen- PLEA FOR PSALMODY. 65 tative, didactic, or hortatory, that it cannot answer the purpose for which it was in- tended. With " the lyric garb," it is des- titute of " the lyric character and spirit."* In the use of such matter, either the har- mony or the sense must ordinarily be sa- crificed — often, nay, generally, both are necessarily destroyed in the performance. In a poem, designed only to be read, an * " Music addresses itself wholly to the feelings ; but many of the hymns in common use are addressed almost exclusively to the understanding, and are argumentative, or didactic, or narrative in their character. Such hymns, perhaps, are not as unfit for musical expression as a de- monstration of Euclid, or Edwards on the Freedom of the Will, or Hume's History of England, but it is not unfre- quently the case that by an injudicious selection of this kind, the good effect of singing is wholly lost. Probably one third or even more of the hymns in common use are unfit for musical purposes j and perhaps in no other way can ministers of the gospel do more to advance the cause of Church music, than by an attention to this subject."— L. Mnson. e2 66 PLEA FOR PSALMODY. irregular accent, parentheses, complicated expressions, forced inversions of thought, and the like, may be unobjectionable, since a varied intonation may render all per- fectly intelligible ; but not so in a hymn to be sung : the language must be direct and simple — the sentiment plain to be perceiv- ed — and the construction " such that the important words and accented syllables may fall upon the accented notes of the tune. What action is to the drama, that, in a great measure, is music to the hymn or song ; and a peculiar adaptation is as es^ sential in the one case as the other."* The sentiment or language of our de» votional songs, is an object of great im* portance viewed in another light. Sacred psalmody, whilst it elevates the soul to * See Review of Church Psalmody, in Christian Spec talor, 1831. PLEA FOR PSALMODY. G7 God and is to the pious heart a source of the most exalted and refined pleasure, is also the vehicle of much instruction. He who said that he could rule a nation, if he might direct the composition of its popular ballads, was not a novice in the knowledge of human nature. The sentiments which we are accustomed to sing with pleasure, will soon become our own. The leaders and abettors of divisions and schism in the Church, have understood this, and acted upon it — the spread of new doctrines hav- ing been generally aided by the introduc- tion of a new collection of psalms and hymns. It ought, therefore, to be a mat- ter of great moment to adhere as nearly as possible to " the good old ways" of Scrip- ture, and not to encourage frequent changes in the language of our praise. If we have not now fallen on times when it may be said to those of the same congregation, 68 PLEA FOR PSALMODY. "How is it, then, brethren? when ye come together, every one of you hath a psalm, hath a doctrine!" it may be said that every denomination of Christians has its favourite selections, and that different selections often divide the worship of those of the same denomination, so that among these " one may not worship without the pale of his own Church without hearing new and strange hymns !" It is not our business here to determine how far this practice has contributed to promote dif- ferences and separations and alienations among professing believers, nor to assume that no alterations are ever admissible; but we may assert that a change of the kind should be a subject of grave, solemn, prayerful deliberation. In addition to the importance of correct PLEA FOR PSALMODY. 69 music, and appropriate sentiment, we may also mention as qualifications which de- mand attention, distinctness of articula- tion, with proper accent, and correct em- phasis, which we will notice in the next chapter.* * By articulation is meant such distinctness and accu- racy, as gives every syllable and sound with truth and perspicuity. Accent is a stress of voice upon some one syllable in a word. Emphasis is a peculiar force of enun- ciation, by which the more important words in a sentence are distinguished above the rest. 70 PLEA FOR PSALMODY. CHAPTER VI. EXPRESSION. ■" To sing with good effect, let every singer read well, express every vowel, syllable, and word clearly, and distinctly place the accent according to the most approved method of pronunciation." — Tamsur. Nothing connected with the subject of sa- cred music in point of propriety, can be viewed in reason as unimportant. As ne- cessary as these qualifications are to the public speaker, so important are they to the singer. Too much are these proper- ties of suitable devotion disregarded, or treated as of little moment. The senti- ment, it would seem, is hardly considered — the words which should be addressed to PLEA FOR rSALMOBY. 7! Deity, or uttered to his praise, are often suppressed in the throat or shockingly mu- tilated between the teeth, and every thing is sacrificed to mere musical sound / as though the sound were the great essential, and the sentiment nothing — whereas it is only as subserving a religious purpose that we are authorized to employ music in the house of God, at all. No religious end can be attained by mere sound without sentiment. Even could we suppose each individual to have a correct and feeling apprehension of the sentiment which is stifled in the utterance, the effect must be in a great measure lost, and the practice can in no wise be considered as indicative of a suitable sense of the nature of the exercise, or of true reverence for God. Surely, no laboured argument is ne- cessary to show the very great impropriety 72 PLEA FOR PSALMODY. of this slovenly practice, which has so much obtained in many instances. We would not thus address an earthly potentate — the orator would not thus sacrifice matter, sa- tisfied with having made the sound; for even though by some means the sentiment which he would express might be perceiv- ed by all, his doing so would not be consi- dered respectful. Every word should be as distinctly uttered in singing the praises of God, as every note is correctly sound- ed.* And to lose sight of the sentiment? * In his rules for the management of the voice, Turner remarks, " The first object will be to obtain a natural tone of voice in its purest state. A pure voice is that which comes forth neat and clean from the cheat, passing freely through the mouth. To produce this, great care must be taken that the mouth be kept moderately open. If it be too much closed, the voice will strike against the teeth and lips, and be thereby vitiated or enfeebled ; or it will cause that peculiar action of the nose, which renders the tone naial." If this rule were strictly observed, all that annoy PLEA FOR PSALMODY. 73 and suppress or illy express the words by which alone the sentiment can be uttered, can be little better than an insult to Je- hovah. It certainly is little better than mummery in an unknown tongue, for the edification of any who hear.* Jirticulation, however, is not alone im- portant — we have said there must be pro- per accent and correct emphasis. To unite the three properties in one term, we would say that an essential to Church-sing- ance, which is the frequent practice of some, of humming the tune, instead of singing, would not be perpetrated, and one great hindrance to suitable expression would be avoided. *St. Paul reproves the Corinthians for singing and pray- ing in an unknown tongue ; and declares he had rather speak five words with his understanding, whereby others might be edified, than ten thousand words in an unknown tongue, from which they could receive no benefit. Such is the in-articulation in singing, of many, that, as respects all around them, they speak in an unknown tongue, and fall under the same condemnation with the Corinthians. F 74 PLEA FOR PSALMODY. ing, is expression. " I will sing with the spirit," said the great Apostle to the Gen- tiles, " and I will sing with the understand- ing also ;" meaning by " the spirit," the heart — that inward religious sensibility which ought ever to accompany the melody of the voice to give it force and expression, and by " the understanding," not only a sense of the solemnity of the act, but a due mental appreciation of the sentiment. We should doubtless employ in aid of this duty the best judgment and skill of which we are capable ; and it cannot reasonably be expected that He who has bestowed the gift of music, and has given us understanding, will accept a service from those who are capable of worship- ping appropriately, which is destitute either of the right spirit, or appropriate design and attention to correct style and manner. The psalm may be sung with distinct- PLEA FOR PSALMODY. 75 ness of articulation, and every note in the tune may be correctly sounded, and yet there may be a want of expression, and the music may therefore be without effect The expression of the voice should be ac- commodated to the nature of the senti- ment expressed ; and for this purpose the sentiment must be understood. With our mind fixed on the subject, and with the idea or sentiment strongly impressed on the imagination as well as the heart, we ought so to sing as to give effect to the sen- timent uttered. " Should a preacher deli* ver his sermon, in an unanimated, mono- tonous manner, not varying the movement, or quantity, or tone of voice, nor even ob- serving the pauses — be his sermon ever so good, or his pronunciation ever so exact — - his hearers might sleep, and his labour be lost. That performance of psalmody, .and that only, is entitled to be called good, 76 PLEA FOR PSALMODY. in which the movement, quantity, and tone of voice, are well adapted to the general subject, and so varied as justly to express the different thoughts, sentiments, and pas- sions."* It is greatly to be feared that music is too often conducted even in the Church, merely as an amusement, and pursued from * This is, it is true, an attainment which requires judg- ment, taste, attention and practice. To aid in this part of psalmody, some have published editions of psalms and hymns marked with symbols indicative of the requisite variations of movement, quantity, and tone of voice ; which are of essential service and highly approved. As general rules accordant with common sense and the dictates of nature, all who appreciate the sentiment sung, will ob- serve, for instance, in the pathetic, the slow and soft — in the beautiful, the quick and soft — in the spirited, the quick and loud — in the grand, the slow and loud — whilst other pas - eages will be considered as requiring no considerable change from the common movement or quantity, but a pe- culiar distinctness of utterance, or some distinction in the tone or modulation of the voice, expressive whether of PLEA FOB PSALMODY. 77 week to week for mere sensual gratifica- tion. Dr. Adam Clarke remarks, too truly, " The spirit and the understanding are sel- dom united in congregational singing : those whose hearts are right with God, have generally no skill in music, and those who are well skilled in music, have seldom a devotional spirit." abhorrence, indignation, scorn, or any other sentiment. A good judgment and proper attention to the sentiment, espe- cially where is the heart of true piety, will generally dic- tate the proper expression. Great improvement, however, may be made in this department by careful practice, and essential aid derived to a choir, or congregation, from the above referred to keys of expression. F2 78 PLEA FOR PSALMODY. CHAPTER VII. THE TUXES MUST BE APPIIOPHIATE. " In assigning particular tunes for the several psalms and hymns, regard (must be) had, not merely to the different key, but also to the peculiar air and charac- ter of each tune, and its appropriate adaptation to the psalm or hymn." — Worcester. Another particular which claims special attention, that we may worship aright in this ordinance, is the choice of appropriate TUNES. They who direct in this matter for a whole worshipping assembly, and for so important an act of devotion, should feel a solemn responsibility, and have sacred re- gard to the holy nature of the use to be PLEA FOR PSALMODY. 79 made of the music which they select. — Leaders of choirs, in their selections, as the choir in their performances, should feel that the devotions of the congregation, so far as this part of sacred worship is con- cerned, depend greatly on the manner in which they discharge their duty. They should also remember that their perform- ances exert an important influence on every other part of public worship — quick- ening the feelings to greater devotion in prayer — preparing the mind to attend with greater solemnity and reverence of God's holy word — and deepening the im- pressions which divine truth may make ; or diverting the thought and dissipating the feelings which the solemnity of the place and occasion requires, and which other parts of our holy worship are calcu- lated to produce. If the tune selected be not appropriate and proper, an error is 81) PLEA FOR PSALMODY. committed at the very beginning which must necessarily exert an unfortunate in- fluence through the whole performance. Neither a fondness for novelty, nor an undue desire for a multiplicity of tunes, will best accommodate the circumstances of the congregation, who, ordinarily, should be permitted to unite both their hearts and their voices in the praise. Not that due improvement in this matter should be dis- couraged ; but frequent and unnecessary changes should be avoided. The adoption of a few well chosen tunes for permanent use, is greatly preferable to a great variety and a frequent change. In proof of this, it should be sufficient to reflect how often, in some Churches, the congregation whose duty it is "to join as well in the public praise as the public prayer," are " debar- red from the due performance of this duty," PLEA FOR PSALMODY. 81 by frequent changes or highly scientific music; and how generally "when an old and well-known tune is sung, one universal song of praise breaks from the whole con- gregation." Besides, " good tunes, to be performed with any adequate effect," must be " familiar to the performers." Without a familiar acquaintance with the tune, ex- pression — that very important part of good musical performance — will be wanting. And it has been well observed by one who has done much for the promotion of good sacred music, that " good tunes must be familiarized by use, before their beauties and excellencies will be in any good degree perceived and felt. The longer and better they are practised, the more will they be loved and admired ; and when they are lightly esteemed, or willingly exchanged for others, it must be owing not to a fami- 82 PLEA FOR PSALM OPT. liar acquaintance with them, but to the want of such acquaintance."* Nor, as a general thing, is that kind of music sometimes caUedfuging, best adapt- ed to the ends of public worship.! Music for the worship of Jehovah, should be sim- ple, easy, and solemn. Repetitions should be sparingly used in public worship, and never without evident propriety. It is not contended that there is any thing sacred in mere sound, or in any ar- rangement of notes, or order of expression * Mason. t " There are two things which I could never reconcile to common sense. One is, singing the same words ten times over ; the other, singing different words by different persons, at one and the same time ; and this in the most so- lemn addresses to God, whether by way of prayer or of thanksgiving. This can never be defended by all the mu- sicians in Europe, till reason is quite out of date." — John Wesley. PLEA FOR PSALMODT. 83 even of sentiment. But " that there is something in certain transitions and modi- fications of sounds, less calculated than others to excite seriousness and devotion, and therefore not so proper to be used in the solemn exercises of divine worship, can- not be denied. And that flighty, unserious airs form the best medium of our commu- nion with heaven, and the most suitable in which to address our direct and solemn homage to the King Eternal, in the temple of the living God," none will pretend. A lightness and want of solemnity in the tune, is very apt to banish seriousness of mind, and to beget levity of feeling and manners. To these things there has not always been suitable attention. A better taste prevailed in olden times. Queen Eliza- beth, who seems to have had correct views 84 PLEA FOR PSALMODY. of appropriate music for solemn worship, "in the 49th of her injunctions respecting public worship, says, that she ' willeth that there be a modest and distinct song- used in all parts of the Common Prayer in the Church, that the same may be under- standed as if it were read, without sing- ing. ' * To the same purpose is the judi- cious Hooker: " In Church music, curio- sity and ostentation of art, wanton or light or unsuitable harmony, such as only pleaseth the ear, and doth not naturally serve to the very kind and degree of those impressions, which the matter that goeth with it, leaveth, or is apt to leave in men's minds, doth rather blemish and disgrace that we do, than add either beauty or fur- therance to it. On the other side, these faults prevented, the force and efficacy of the thing itself, when it drowneth not ut- terly, but fitly suiteth with matter altoge- PLEA FOR PSALMODY. 85 ther sounding the praise of God, is in truth most admirable, and doth much edify, if not the understanding, because it teacheth not, yet surely the affection, because there- in it worketh much. They must have hearts very dry and tough, from whom the melody of the psalms doth not sometime draw that wherein a mind religiously af- fected delighteth."* A modern writer has * " Such also was the opinion of Archbishop Parker, who published a metrical version of the Psalms in 1557, and em- ployed Tallis to compose eight tunes, which were syllabic and for the most part in a minor key, and to which his ver- sion might be sung. Indeed the whole character of the mu- sic of the Church from the earliest period, seems to have been fully accordant with these views. It was designed to be congregational, and so plain, simple and grave in its me- lody, that all the people might sing as well with the under- standing as the spirit. It has been reserved for modern days to substitute the changing variety of airs and mea- sures in Church music for the plain, yet rich and majestic psalmody of the Apostolic age ; and by the translation of the lighter airs of the parlour to public worship, to carry G 86 PLEA FOR PSALMODY. remarked, " It has been reserved for mo- dern days to substitute the changing va- riety of airs and measures in Church music for the plain, yet rich and majestic psal- mody of the Apostolic age." A change, however, is being effected : in numerous instances where such music predominated for a time, worshipping assemblies, of va- rious denominations, are returning to a more appropriate style, and evincing at the one, by the irresistible laws of association, to secular scenes and thoughts. These abuses deserve to be scourged from the temple, and the syllabic music of other days restored to our congregations. Constituted as man is, there is no vehicle like sound for lifting the soul upward to the eter- nal source of glory and harmony, and viewing ourselves as bound to praise God with such powers as he has given us, we are equally bound to give him our best and most appropriate service. * * We will only add the advice of a distinguished prelate of the English Church to his sovereign upon the subject of the music of public worship. " In my opinion, the song that shall be made thereunto, should not be full of notes, but as near as may be for every P L E A F R P S A L M O D Y. v 87 same time a more correct musical taste, and a more correct apprehension of the deco- rum which becomes the solemn worship of the great God. Great regard should also be had to the appropriate adaptation of the tune to the psalm or hymn to be sung. Care is necessary in this duty not only in re- spect to the proper key, but to the pecu- syllable a note, so that it may be sung distinctly and de- voutly, as be in the Matins, Even-song, Venite, the Hymns, Te Deura, &c, and all the Psalms." — Missionary. ••The rule laid down for Church music in England, nearly a thousand years ago, was ' Simplicem sanctamque melodiam, secundum morem ecclesiae, sectentur.' Let them observe'a simple and sacred melody, after the manner of the Church. 1 " — Spelman. Concil., as quoted by Mason. Dr. Adam Clarke, contrasting the music of the primitive Church, the practice of Christ's early disciples, with the practice prevalent in modern times, remarks, "I rather suppose their singing consisted in solemn, well-measured recitativo, than in the gingling and often foolish sounds which we use when a single monosyllable is shivered into thirty-six demi-semi-quavers." 88 PLEA FOR PSALMODY. Harity of the air and character of the tune. Even where all light and improper tunes are repudiated, the effect of public psalmody may be greatly injured by the words being sung to an ill-adapted tune.* * This is a subject of so much importance that we will here insert at length, the remarks on adaptation of one well qualified to speak to this point. " The subject of adapting music to works in metrical psalmody, seems to be in its infancy. The musician has done but very little by his compositions to enforce the sen- timent of the poet — if we except some few cases of parti- cular adaptation. On the one hand, the poet has written without reference to musical effect ; and on the other, the musician has composed without any attention to rhetorical effect. And it is difficult to see how much progress can be made in this department while we are obliged to sing so many different hymns to the same tune. Time does not per- mit us to pursue this subject. The principle of adaptation, however, to which we now allude, and the difficulties attending it in the present state of Church music, may be illustrated by one or two familiar examples. " If we attend to the well-known doxology of Dr. Watts, • To God the Father, God the Son/ &c. PLEA FOR PSALMODY. 89 That plan is a good one which has been pursued by some, not only of furnishing in connexion with the words rules for musical expression, but of referring each psalm sung to the tune of Old Hundred, as it very commonly and appropriately is in the present state of musical im- provement, we shall find that the particles to and the, are quite as conspicuous as the principal words of the line. — The evil in this case is that the very words, as sung, have a tendency to obscure the sentiment. Example,— ^ Bg j To God the Father. God the Son, ** Now suppose we employ a different melody — a melody adapted to the comparative emphatic force of each word ; the advantage will be apparent : HE f^ \ To God the Father, God the g2 Son. 90 PLEA FOR PSALMODY. and hymn to a proper key and suitable tune. Choristers, or leaders, may not in all cases be ready at a moment to fix upon the tune best suited to express the senti- ments of the portion to be sung. But, by " Again — Suppose we sing to the excellent old tune of Winchester the following lines : ' Go preach my gospel, saith the Lord, Bid the whole earth my grace receive ;' we shall find that, from the prolonged notes and inappro- priate melody, the significance of the words will be wholly lost. Go preach my Gospel, saith the ZgT -B— I Lord. . m grace 3£2 Bid the whole earth my mwmm re - - ceive. PLEA FOR PSALMODY. 91 this arrangement the most skilful may often be relieved from much embarrassment, and those whose judgment and taste is deficient may be saved from inflicting on the con- gregation inappropriate music* " Whereas, if we employ a melody written with reference to the sentiment, the music may be made to perform its office with effect: For. Pia. Mez. Bid the whole earth my grace re - - ceive. " These examples are by no means striking ; but they are sufficiently so to give some idea of the importance of par- ticular adaptation." — L. Mason. * In respect to the adaptation of the music to the senti- ment, perhaps filial veneration and partiality may not un- duly influence the judgment, if we say that in the Protes- tant Episcopal communion there is much less liability to 92 PLEA FOR PSALMODY. err than elsewhere : for so great a portion of this service of the Church is made up of Scripture to which there is a particular adaptation of good music composed expressly for the sentiment and very words to be sung, that we are furnished with peculiar facilities for well-conducted praise. And so great would be the contrast between these portions of the liturgy sung in their appropriate music, and psalms or hymns sung in the lighter airs of the parlour, or ball- room, or theatre, that we may safely assert that where the stated services of the Church are enjoyed, that music which is greatly objectionable would hardly find a taste so perverse as to tolerate it. PLEA FOR PSALMODY. 93 CHAPTER VIII. INSTRUMENTAL ACCOMPANIMENT. " Why instrumental music should be abolished as a legal ceremony, and vocal music, which was as much so, should be retained, no good reason can be assign- ed." — Bishop Home. The advantage of instrumental accom- paniment is generally conceded. To in- strumental music objections are sometimes urged, and conscientious scruples in respect to its use are sometimes cherished ; but the fact is indisputable that, from the time of David at least, psalmody, conducted by the aid of various kinds of instruments, has 94 PLEA FOR PSALMODY. found a prominent place in the daily wor- ship at the sanctuary, under the Old Tes- tament dispensation, and received the ap- probation of God. Nor was any instruc- tion given at any time that a different practice ought to prevail under the New. The best masters have considered that u it is impossible in ordinary cases for good vo- cal music to exist without the support of instruments." On this subject, Mr. Mason speaks to the purpose, whose words we will quote : " In every choir of singers, a judicious accompaniment seems to be indispensable to complete success. Such an accompani- ment guides, sustains, strengthens, and re- lieves the vocal parts. It promotes good tone and correct intonation, and renders vocal music pleasing and effective. But the art of accompaniment seems to be as little understood and as much abused by PLEA FOR PSALMODY. 95 instrumentalists, as is the art of singing by- vocalists. Instead of accompanying the singing, instrumental performers often take the lead of it. Instead of playing in a very soft and simple manner, and in exact unison with the voice, they will, for the sake of distinction, make as much noise as possible, raise their instruments an octave above the pitch, and introduce a multitude of shakes and flourishes and graces [falsely so called] which are wholly out of place, and are equally offensive to correct musi- cal taste and religious propriety. * * # When instruments are employed, they should be made in every respect subordi- nate to the vocal parts, with which they should combine in a harmonious and deli- cate manner. " The Organ is certainly the most valua- ble instrument for accompanying Church 96 PLEA FOR PSALMODY. music* Its fixed intonations, its facilities for harmonic combinations, its lofty and so- lemn tones, its adaptation to the perform- * Other instruments are employed in the public worship of God, to advantage. The Flute, as an instrument 'of great softness and sweetness of tone, and perhaps more nearly resembling the human voice, than any other instru- ment, is an unexceptionable accompaniment. Its power, however, is not equal to the task of affording any very considerable or sensible assistance in a large choir. The Clarionet has compass greater than that of the flute, and its tones are full and mellow ; but it is an instrument which requires great skill in the performer, before it can with any safety be introduced in public worship, and even then is liable to some serious objections. The Violin, in the hands of a skilful performer, has superior qualities. A large body of tone may be drawn from it, or it may be soft- ened to the lowest piano ; but this instrument requires the closest attention and a most correct ear, or its notes will be imperfect, and mislead and embarrass. The Violincello is greatly useful, and liable to but few objections. The Bassoon and Hautboy are better adapted to martial mu- sic, than to the Church. The loudness and shrillness of their high notes, and the roughness and harshness of the low, render them unfit for an accompaniment in a choir. PLEA FOR rSALMODY. 97 ance of soft and loud, and the circumstance of its always being in order and ready for use, give it a decided advantage over every other instrument. The organ has also the benefit of strong favourable associations ; as it belongs almost exclusively to the Church, and is seldom employed in any other than sacred music. * * When under the hand of a man who understands his art, and feels his subject, the organ pos- sesses a charm that is irresistible, and at the same time subordinate to sentiment. It even renders enunciation more distinct, and the interest and expression of the sub- ject more exalted and refined. * * * These instruments are all liable to unhallowed associa- tions, and generally require much time and attention to keep them in order. The tuning of them in Church, which is generally deemed necessary, is often exceedingly annoying to those of the congregation who, whilst the con- gregation is assembling, would be left to undisturbed se- rious reflection. H 98 PLEA FOR PSALMODY. But valuable as the organ is, how seldom do we find it well managed ! • * An ability to play well, is not the only qualification needed in an organist. * * He should be a pious man, or at least one who has a deep sense of the solemnity of public wor- ship. He should be a man of quick sen- sibility, or he will neither enter into the spirit of the words sung, nor of the other exercises. He must be a man of good judgment, or he will make the most fatal mistakes in accompanying such hymns as call forth, in different stanzas, emotions of a different character. He should under- stand the nature of his instrument and the object of its introduction into the Church, as an accompaniment to the voices — sub- servient to vocal effect, or rather designed to promote it. * * Were such organists employed, there would be fewer complaints of loud and unmeaning playing — of long, TLEA FOR PSALMODY 09 flourishing and fanciful interludes, foreign to the subject and unfit for the Church."* * An Organist " must not drown or overpower the sing- ers by an unremitted loudness and violent intonations of the full organ, but merely conduct and regulate and sus- tain the voices in a low and soft accompaniment. * * * Simplicity is the greatest excellence he has to aim at ; and that end for which he is employed will be best answered, when the congregation are least aware of the assistance they derive from him."— Bishop Porteus. 100 PLEA FOR PSALMODY. CHAPTER IX. THE DEPORTMENT MUST BE REVERENT. "Surely — our external posture, and our serious at- tention, should indicate the reverence of our hearts, when we assemble to worship this glorious God." — Br. Scott. Need it also be said that the deportment should in this duty, as in prayer and every act of worship, be decent, solemn and re- gular? Not only should no improper, light, or trivial gestures be indulged, or conversation more than in the time of prayer; and the smile of levity, too irre- verent at such a moment, to be contem- plated without sensations of horror, be un- known; but the posture of the body PLEA FOR PSALMODY. 101 should be reverent — not that of apparent sloth or indifference. The attitude which the Church generally practices, and in re- spect to which uniformity is to be desired, it appears to us should be greatly pre- ferred. As kneeling or bending forward in the posture of supplication, is an ap- propriate position in prayer — so rising to sing the praises of the Most High seems greatly appropriate and worthy of univer- sal observance. " In heaven," says a late learned divine,* "prostration is used;" "surely," he adds, "on earth less than standing cannot be deemed due rever- ence."! * Dr. Collyer. t Turner, in his vocal guide, recommends standing in an erect, but easy posture, as a means of keeping the chest expanded. 102 PLEA FOR PSALMODY. CHAPTER X. THE HEART MUST BE ENGAGED IJT THE DUTY. " Singing with grace in your hearts unto the Lord." St. Paul. Here is another requisite, and indeed the great essential in acceptable public wor- ship, which remains to be considered. There may be the utmost attention to outward form — to external deportment, and yet all our attempts at worship may be no better than a sounding brass, or a tinkling cymbal. True and acceptable worship pre-supposes the heart engaged. It were a great and lamentable error, and a very gross idea, to suppose the Most High pleased PLEA FOR PSALMODY. 103 with sound without the sincere and humble sacrifice of the heart. " God is a Spirit just and wise; He sees our inmost mind : In vain to heaven we raise our cries, And leave our soul behind." " The Lord taketh pleasure in them that fear him, and in them that hope in his mercy." David says, " I will praise the Lord with my whole heart in the assembly of the upright and in the congregation." Let the melody of the heart ascend with the melody of our voice, and it will make music in the ear of God, and our praises come up before him with acceptance. It is greatly to be feared that this delightful harmony of heart and voice is often want- ing, even where a 1 appears right to the eye and ear. When piety is enjoying the most elevated devotion, and is ready to say, 104 PLEA FOR PSALMODY. of the praises of those around, who appear to worship with her, * This " harmony divine So smooths her charming tones, that God's own ear Listens delighted," ' even then there may be in the worship of many, a lamentable and fatal deficiency. Without the melody of the heart, our wor- ship is vain. Tranquillizing the passions, elevating the affections to a devotional frame, and pre- paring the heart through the operations of divine grace for the enjoyment and more ready perception of moral beauty, music is well calculated as a means to effect a most desirable and gracious end; and happy they, who, in their worship, entering into the spirit of the duty, find the means sub- servient, and enjoy the fruition — their PLEA FOR PSALMODY. 105 hearts lifted up to the true source of all harmony and glory. " My willing soul would stay In such a frame as this." This indispensable qualification for ac- ceptable religious praise should be seriously considered, and the consideration should lead to serious self-examination and fervent prayer. 106 PLEA FOR PSALMODY CHAPTER XL THE DUTY MTTST BE PEnrOKMED DIRECTLY TO OOD. " To God, the great, the ever-blest, Let songs of honour be address'd." — Watts. The duty is not performed aright by mere- ly conducting our several parts of worship so as to secure the approbation of our fel- low-men, but it must be performed as in the presence of the all-seeing, every -where present, and heart-searching God. An unmindfulness of Him in their songs, is that which God so pointedly condemns in his people of old, by his holy prophets: PLEA FOR PSALMODY. 107 " They regard not the work of the Lord, neither consider the operation of his hands;" and again, " They chant to the sound of the viol, and invent themselves instruments of music like David, * * but they are not grieved for the affliction of Joseph. * * Take thou away from me the noise of thy songs, for I will not hear the melody of thy viols;" plainly showing that in the use of music for our own gratification merely, or for sensual ends and purposes, there is no- thing truly pleasing to God, even although the sentiment we utter may be unobjec- tionable, nay, truly evangelical. Music may not indeed be confined to the public worship of God, and to the imme- diate act of private devotion; but it ought, like all other enjoyments, to be improved with reference to the glory of God — either with ultimate reference to his glory, as in 108 PLEA FOR PSALMODY. private or in the social circle to unbend and relax the mind from corroding cares — to refreshen and enliven the animal spirits, and to raise the mind from dejection, or to relieve it from the effects of too great in- tensity of mental exercise, and to fit it the better for the various duties of life ; or with immediate reference to his glory, in the noblest use of music, to enkindle a spirit of devotion in the soul, to worship and mag- nify the Lord God of our salvation. And it may be considered one of the melancholy evidences of the depravation of our race, that there is so general a propensity in mankind to pervert and abuse the musical art to a wrong end. The highest end which many propose in the melody of sounds, is the excitement of carnal mirth, and a keener relish to scenes of conviviali- ty, if not of riot and intoxication ! A merry -song over their wine, or to beguile the in- PLEA FOR PSALMODY. 109 sipidity of misspent time, and to banish se- rious thought, is the chief use which they ever make of this noble gift of God I 110 PLEA FOR PSALMODY. CHAPTER XII. THE HOLT SPIRIT'S INFLUENCE MUST BE SOUGHT. " Let thy kind Spirit in my heart For ever dwell, O God of love, And light and heavenly peace impart — Sweet earnests of the joys above." — Steele. Were we to embody in a word the whole exhortation which, as a minister of the Lord Jesus, we would deliver on this important part of the subject, it should be in the lan- guage of the Apostle's charge, " Be ye FILLED WITH THE SPIRIT." The instructions of the Holy Spirit can- not be too highly valued, nor the conviction that "God is greatly to be feared in the as- PLEA FOR PSALMODY. Ill sembly of his saints, and to be had in re- verence of all them that are about him," too deeply impressed on every mind and heart. To be " filled with the Spirit" is to know the genuine effects of the Spirit's sanctify- ing operations upon the soul, yielding "the fruits of the Spirit," which are " love, joy, peace, long-suffering, gentleness, goodness, faith, meekness, temperance." Where these virtues are found in heavenly concert, God is well pleased. Where there is neither discord in the heart, nor on the lips, there is melody indeed. It is the prelude to the exercise of angels — to the transports of heaven. Where the influences of the Holy Ghost are truly felt, and " Tune our lips to sing God's praise " 112 PLEA FOR PSALMODY. there cannot fail to be a meek and quiet spirit, which in the sight of God is of great price. Differences will never arise amongst true worshippers who rightly consider the solemnity of the duty, and fully imbibe the humble spirit of true devotion, either in regard to the place they shall occupy, or in respect to any supposed superiority of mu- sical talent. Where the several members of a choir shall stand to praise God, whe- ther in this position, or that, will be consi- dered a matter of comparative indifference so that God may be glorified. Would there be a spirit of prayer where there is con- tention for the highest and most honourable place in view of men, on which to kneel before God ? Neither are they in the spirit of true worshippers, in singing the praises of God, who have not the spirit of little children, willing to serve God in any posi- tion. The heart-burnings and difficulties PLEA FOR PSALMODY. 113 which have sometimes existed in choirs, all cease under the influence of a truly devo- tional spirit — that meek and heavenly spi- rit which prepares us to join the choir of the redeemed and angels above. Could we make our voice heard by every choir in our land, we would charge and entreat "Let not these things ever be once named among you." Deeply should we feel our dependence on the Holy Ghost for that grace which enables us to offer the worship which is acceptable to God. Acknowledging this de- pendance, let us look earnestly to him for the necessary and promised assistance. Without it, " In vain we tune our formal songs — In vain we strive to rise — Hosannahs languish on our tongues, And our devotion dies." i2 114 PLEA FOR PSALMODY. It is God alone who has given us a voice to praise him ; it is he who enables us to modulate it aright ; it is he who gives us skill in using it melodiously, and permits us the high honour of sounding forth his praise; and it is he alone who must give us the grace and prepare our hearts to har- monize with the spirit of our song. PLEA FOR PSALMODY. 115 PART IV. CONCLUSION". " Methinks, when we are singing the praises of God in great assemblies, with joyful and fervent spirits, I have the liveliest foretaste of heaven upon earth ; and I could almost wish that our voices were loud enough to reach through all the world, and to heaven itself. Nothing comforts me more in my greatest sufferings, or seems more fit for me while I wait for death, than singing psalms of praise to God ; nor is there any ex- ercise in which I had rather end my life." Richard Baxter. 1. It is desirable that this duty be deeply impressed on our minds, and fully realized as of divine authority, that our obliga- tions to its performance may be felt. 116 PLEA FOR PSALMODY. That worship is no better than will- wor- ship that does not recognize the authority which enjoins it. And if singing the praises of God be a divine institution, it ought to be diligently and reverently observed. Presi- dent Edwards, the younger, has said, "As it is the command of God that all should sing, so all should make conscience of learn- ing to sing — as it is a thing that cannot be decently performed at all without learning. Those, therefore, where there is no natural inability, who neglect to learn to sing, live in sin, as they neglect what is necessary in order to their attending one of the ordi- nances of God's worship." And is this lan- guage too severe ? Is not singing as much a part of divine worship as prayer, and was it not instituted by the same authority, and for the same great purpose? Can it then be safely neglected ? And yet there is no duty of religious life PLEA FOR PSALMODY. 117 in which mankind generally, professing to worship God, are more essentially deficient, and which they perform.with so little con- scientiousness and respect for divine autho- rity, as singing the praises of the Most High ! In how many instances is the duty entirely neglected? How often is its pro- fessed performance without any suitable regard to the things that are the necessary constituents of music? And how often, when the ear is charmed with the music, is the heart untouched with the sentiments, and even frozen with unbelief? When it should be esteemed our highest honour, and privilege, and delight, to " Join our cheerful songs With angels round the throne," how ungrateful and unnatural to treat the duty with neglect! How irreverent to 118 PLEA FOR PSALMODY. offer a sacrifice for the acceptable offering of which we are neither qualified, nor have cared to be, and which, by reason of our want of preparation, offends against the very first principles of the duty in which we vainly assay to engage ! And how pre- sumptuous and impious to mock the great Jehovah with solemn sounds upon a thought- less tongue! Mr. Mason well inquires, " In what esti- mation would a congregation be supposed to hold the other exercises — prayer, for example — if instead of listening with re- spectful attention, and endeavouring to lift up their hearts unto God, they were to look upon it as a mere exhibition of elocution ; or improve the opportunity to look around and see who is and who is not at Church ; or make it a signal for restlessness and noise ? But how frequently," he remarks, ; FLIA FOR PSALMODY. 119 " is it the case that although the most pro- found silence and attention prevail during all the other parts of service, even while the minister is reading the hymn or psalm, the subject is forgotten the moment the singing commences ! * * The mind which was attentive during the reading of the words, is withdrawn from the subject the moment that exercise commences whose express design it is, by giving additional force to what has been read, to deepen the impression already made, and quicken emo tions already enkindled." This, which is a picture drawn to the life of a large portion of the congregations among some denomi- nations, is more or less correct in its appli- cation to nearly all worshipping assem- blies. Nor can the professed worship of God with sound, without the heart, be viewed 120 PLEA FOR PSALMODY. in a more favourable light. Music, without the sacrifice of a broken and contrite spi- rit, can find no acceptance with God, the great Master of assemblies, more than the music of those in Israel, whom the Lord, by his prophets, reproved. And they who, regardless of the nature of the duty, so sing as to disturb the devotions of others, whilst they offer unto the Lord "the maim- ed, the halt, and the blind," cannot surely be considered as free from the condemna- tion. 2. With what seriousness, then, and with what solemnity should we engage in this duty! How conscientiously, in the fear of the Lord, with an eye to his glory, and from a fixed principle of obedience to his authority, should the duty be discharg- ed! "Who hath required this at your hands V 7 PLEA FOR PSALMODY. 121 is an inquiry which might well fill with confusion and cover with shame all that en- gage in this part of sacred devotion with- out endeavouring to attain and to cherish the views which the Holy Scriptures incul- cate, and which the Spirit of God inspires. Professing to sing the praises of God, they incur the guilt of drawing nigh unto God with the mouth and honouring him with the lips while the heart is far from him. With little conscientiousness, with little thought of the divine authority, and with no true desire to please and honour God, their whole soul is alive, it may be, to the music, and the ear of others is charmed : but the heart is untouched by the spirit of true devotion — alike unmoved by, and re- gardless of the sentiment uttered. Unbe- lief itself is not more cold than the heart often as to all religious affection, when the ear is ravished, and the mind moved by sen- 122 PLEA FOR PSALMODY. sations of the most exquisite delight ! In the very exercise which nearest resembles the worship of heaven, how inexcusable unmindfulness of God, or coldness and dull formality ! Dr. Adam Clarke has said, "A good singer among the people of God, who has not the life of God in his soul, is ' vox, et praeterea nihil:' " but it is more than this; for "whatsoever is not of faith, is si?i." Singing the praises of God, our souls should be filled with holy reverend awe — our hearts warmed with love of his infi- nitely glorious perfections — every affection harmonized with the expression of our lips. Then, truly considering the nature of the duty, and that we address our homage to the every-where present and omniscient God, and cherishing those feelings of rever- ence and filial awe which become us, our PLEA FOR PSALMODY. 123 deportment will be dictated by the reve- rent and affectionate feelings of the heart, and correspond with our professed devotion. Thus will our worship be accepted, God honoured, and our souls saved. 3. Finally, let us not be inattentive to this duty, or insensible of our obligations to worship God in sincerity and in truth. Join in the praise of God in his public worship. Keeping the Majesty of heaven in view, and deeply impressed with a sense of his infinite greatness and goodness, and of our obligations, unite with the music of the voice, the melody of the heart. Then, " making melody in our hearts unto the Lord," we may hope for the approbation of conscience, and the high approval of our God. " Whoso offereth praise, glo- sifieth me :" — and what are the plaudits 124 PLEA FOR PSALMODY. of dying men, to the approbation of our final Judge? As often as it is said, in the expressive language of our service, " O Lord, open thou our lips," let the full and fixed deter- mination of every heart be, " And our mouth shall show forth thy praise." And as often as the exhortation falls upon the ear, " Praise ye the Lord," rejoicing in the grateful and heavenly employment, let the whole hea'rt respond, " The Lord's name be praised." Say, "Awake up my glory; awake, psaltery and harp." " O God, my heart is fixed ; I will sing and give praise even with my glory" — " While I live will I praise the Lord ; I will sing praises unto my God while I have any being ;" — " every day will I bless thee, and I will praise thy name for ever and ever." — " Praise ye the Lord: praise the Lord, my soul." Blessed be Jehovah God, God of Israel, alone performing wonders; And blessed be his name of glort, And let his glort fill the whole earth— Amen and amen. [Bishop Horsletfs translation of Psalms. K Z PSALM 62 From the 8\st Psalm of David ]■ To God, our never-failing strength. With loud applauses sing : And jointly make a cheerful noise To Jacob's awful King. 2. Compose a hymn of praise, and touch Your instruments of joy ; Let psalteries and tuneful harps Your grateful skill employ. 3. Let trumpets at the festival Their joyful voices raise, To celebrate th' appointed time, The solemn day of praise. 4. For this a statute was of old, Which Jacob's God decreed, To be with pious care observ'd By Israel's chosen seed. APPENDIX. After what has been said in the foregoing 4 Plea for Sacred Music,' it may not be amiss to add a brief notice of the history of music in the world to the present time. It has already been suggested that mu- sic is very ancient. Although we may not be able to define the time and manner of its first introduction by proof positive, yet it is clearly evident that from the time when the first mention of it is made, the Holy Scriptures, both of the Old and New Testaments, and also ancient profane his- tory, with the writings of later times, have borne uninterrupted succession of testimo- ny to its use, and have united in commend- 128 APPENDIX. ing its influence in soothing the evil pas- sions, animating the affections, refining the senses, or contributing to devotion. It is clear that among the Hebrews, mu- sic has been in general use, from the time of Moses. In their religious services, in their public and private rejoicings, at their feasts, and in their mournings, it has ever found a distinguished place. In these per- formances both sexes have borne a part, as have also legislators and prophets, judges and kings. Of the precise nature of the Hebrew music, we may not speak with confidence, since it is admitted on all hands that, at the most, all modern theories concerning it, are little better than conjec- ture. From its effects, its magnificence, its majesty, and the lofty and beautiful senti- ment of their songs, however, we naturally infer the great excellence of the music. APPENDIX. 129 Ancient heathen testimony shows the practice and influence of music in the ear- ly ages both of Greece and Rome. Among the ancient Greeks, music and poetry, for a long time, constituted an important part of national education, and were the grand medium of instruction in policy, morality, and virtue. Their youth were made fami- liar with the lyre and song, as an appro- priate recreation and important discipline tending to all that is amiable, ennobling, and praiseworthy in mind or manners. The statesman, the warrior, the man of general science, and the bard, were alike interested in the exercise, while the priest regarded music as an important part of the religious service in their heathen rites. And al- though, among the ancient Romans, music seems to have been less understood and re- fined than even in the fabulous ages of Greece, yet as the arts and sciences ad- 130 APPENDIX. vanced among them, their melody and songs improved. That the immemorial practice of the Hebrew church, in chanting psalms and hymns in their sacred worship, was conti- nued by our Lord and his disciples, is also evident. It is not indeed improbable that some parts of the music of the primitive church may have been in some instances, as has been conjectured by some, "an ad- mixture of the music of the heathen tem- ples," since there were converts from these; but it is more than probable that it was chiefly formed on the model of that used by the Jewish church. Coming down to the 4th century, we find it ordained by the Council of Laodicea, that none shall sing in the churches but the canons or singing-men ; others having evi- APPENDIX. 131 dently been accustomed afore to join in this part of the service, and probably in a very rude and inartificial manner, which circumstance may have led to the decree of exclusion. In consequence of this decree, the practice and cultivation of music be- came henceforward the exclusive and ap- propriate business of ecclesiastics; and the musical science for a long time was under the almost entire direction of priests and monks. Among the distinguished promoters of sacred music at this age, were those celebrated fathers of the church, St. Basil, St. Ambrose, St. Jerome, and St. Chrysos- lom. At this period, the "Ambrosian chant," or antiphonal mode of singing, that is of verses alternately by the choir, was introduced and extensively adopted in the church. In the 6th century, we find among the 132 APPENDIX. most distinguished patrons and efficient promoters of the science, the name of one of the Bishops of Rome, Gregory I. In- venting the simple notation by the seven first letters of the Roman alphabet, he also " increased the number of tones from four (the tetrachord,) to eight, (the octave,) and also introduced the " Gregorian chant," or plain song, in which the choir and people sing in union. A school for sacred music was established and richly endowed by this profound master of the musical science, and was for some time directed by himself in person. It continued and flourished for three hundred years after his death. At this period Rome was for a long time the " school of the prophets," for perfection in the art of music, and many of the clergy repaired thither from distant countries for improvement in this branch of science. At the close of this century a school for musi- APPENDIX. 133 cal instruction was established at Canter- bury by St. Austin. Near the close of the 9th century, Al- fred the Great, himself excelling in music, founded a professorship of music at Oxford. Great encouragement was given to im- provement in the art, the practice was re- commended to general notice, music was considered an important part of polite edu- cation, and the science was greatly ad- vanced. At the dawn of the Reformation, the effect of music, in connexion with the of- fices of religion, was grand and imposing; and it became a question of moment with the Reformers, in what way the art might be rendered most important, as an aux- iliary in effecting their purposes. On this point they differed. Luther had imbibed 134 APPENDIX. and cherished from his verv childhood, a fondness and taste for music ; and he held it in very high esteem for its capability of moral influence upon the human heart and life. It might, he believed, "make the people gentler, milder, more moral, and wiser." He was led, therefore, to pursue a very different course in respect to church music, from that of his coadjutor, the great Genevan Reformer. Calvin showed his hostility to the pretensions of Rome, by an utter and complete rejection of all the usages of her church ; and for more than a century after the Reformation, " not a mu- sical instrument was suffered within the walls of Geneva. Music, except his own plain metrical psalmody, was proscribed wherever the doctrines of Calvin were re- ceived." Luther was restrained from this proscription, by at least his own skill and proficiency in the musical art. Although, APPENDIX. 135 bold and fearless in the great work of re- form, he attacked the errors of doctrine in the Romish Church without compromise, yet he says that he " never meant to abo- lish all external forms of worship, but to purge that which had hitherto been used, and to show what was the true christian way." Anxious to avail himself of the melody then in use, for carrying forward his purposes, he directed and caused a re- ligious service in his own language to be adapted to the ancient and noble music al- ready in use, proposing also a variety of newly versified psalms and hymns, together with additional music. Some of these tunes, supposed to be composed by himself, are among the best in use at the present day. Zuingle joined with Luther in his views of sacred music, of which he was extravagantly fond, and which he never ceased to cultivate while he lived. 136 APPENDIX. In England the desire was that of Lu- ther in Germany, to purify religion of all that was corrupt, carefully retaining all that was good. The appropriate music of the church, was, therefore, retained, " re- duced nevertheless, to that state of purity and simplicity from which it had devi- ated." Henry VIIL, having been himself educated with some reference to ecclesias- tical life, was thoroughly skilled in music ; and it was his pleasure, as it was that of Wolsey, and others of the royal family and nobility, to have this part of public service preserved in its most solemn and appro- priate form. Edward VI., Mary, and Elizabeth, "in succeeding reigns, were all practical mu- sicians, and cherished a great fondness for the musical art." Queen Elizabeth, call- ing to the work one pre-eminently qualified APPENDIX, 137 for the task, in the person of Archbishop Parker, was enabled to effect in this part of divine service great improvements, to which we have referred in the body of this work. Under the usurpation of Cromwell, the progress of sacred music was interrupted, Music was banished from the church, and even in a great measure from private fa- milies. Organs in churches and chapels were ordered to be taken down, and it has been well remarked, that " the fury of the populace was not less conspicuous in the demolition of these instruments, than in the impious zeal with which they disfigured whatever else had been used in the service of God." " On the restoration of Charles II., and the return of the clergy to the station and 1,2 238 APPENDIX. property of which they had been despoil- ed, the next measure, after the establish- ment of the liturgy, was the revival of sacred melody." This was accomplished not without diffi- culty, since few persons could be found who were competent to lead and sustain the parts of this service, those who had formerly been engaged in this duty having been scattered as were their instruments of music. Efforts, however, were made, corresponding with the importance of the object and the necessity of the case; books of instruction were written; services and anthems composed, to supply the place of those which were lost ; able persons were appointed to teach and conduct the choir ; and by the help of the musical taste and science of the king and the direct encour- agement given by him to the work, this APPENDIX. 139 portion of the service of God was ulti- mately redeemed, "and established very nearly upon the footing on which it stands (in the church) at the present time." Previous to the turbulent period which followed the days of Charles I., the office of clerk was one of great importance in the musical department of the church. As an ecclesiastic, (being literally an as- sistant to the clergyman in the ministerial duties of his office, as the title clericus im- ports.) his education was suited to the sa- cred nature of his calling, and the impor- tant duties of his station. After this pe- riod, the office was neglected or deserted, and the musical art lost ground. To the discontinuance of this office, or to the low estimate which prevailed in respect to the requisite qualifications for it, which either led to its abandonment, or introduced in- 140 APTENDIX. competent and unworthy persons to its duties, has been attributed by many, in great measure, the miserable minstrelsy which has prevailed in so great a degree in public worship in more modern times. The leaders and their choirs beingaltogether un- fitted to enjoy the beautiful simplicity, and to produce the happy effect contemplated by appropriate music, fuges and other la- boured pieces have been introduced which are as inappropriate to public worship, as they are generally badly performed and calculated to move contempt for the per- formers and leader and destroy the true feeling of devotion. It is here worthy of remark that the interests of true religion have generally been most advanced when sacred music has been most esteemed and cultivated ; or, perhaps it were better to say, the ad* APPENDIX. 141 vancement of the art has always followed the revival of correct views and truly sound religious feeling. Appropriate sacred mu- sic has, also, generally found its chief ad- vocates and promoters among those " to whom the church has ever been accus- tomed to look up, as to her guides and in- structors in the worship of God." There is great occasion, however, for regret, that the clergy are not more generally and deeply interested in this subject and skilled in music. It was formerly required, by certain of the English Universities, that those who would aspire to a fellowship, should to a certain degree, be proficients in the art of music : the statutes directing that such shall be " bene nati, bene vestiti, et mediocriter docti in piano caatu.' 9 It were well if this were required, at least in Theological Schools, at the present day. Then might many of us who are called to 142 APPENDIX. minister at the altar, be saved from the misfortune of conscious deficiency in the performance of this important duty, and might find ourselves in a situation to do more in encouraging the well-disposed, and assisting in the psalmody of the church. At the present day, that music which has been cherished and most approved by the church in every age, and for which she has suffered reproach, we have already intimated, is gradually com- ing into use amongst almost all the va- rious denominations into which Christen- dom is divided. Much, however, remains to be done to perfect this part of divine service, in all our churches. The spirit of psalmody is abroad in the churches; but much is to be done to raise and establish this part of worship, as the best good of the church and the holy service of God re- APPENDIX. 143 quire and demand. Every Pastor should feel his responsibility in this matter, every pulpit should plead the cause of sacred psalmody, and every family should have the means in their hands of a better know- ledge of their obligations in respect to the public praises of God. ** It shall be the duty of evert mi- nister, WITH SUCH ASSISTANCE AS HE CAN OBTAIN FROM PERSONS SKILLED IN MUSIC, TO GIVE ORDER CONCERNING THE TUNES TO BE SUNG AT ANT TIME IK HIS church; AND ESPECIALLT IT SHALL BE HIS DUTT TO SUPPRESS ALL LIGHT AND UNSEEMLT MUSIC, AND ALL INDECENCT AND IRREVERENCE IN THE PERFORMANCE, BT WHICH VAIN AND UNGODLT PERSONS PROFANE THE SER- VICE OF THE SANCTUART." Canon of the Protestant Episcopal Church. I