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FROM THE LIBRARY OF 
 
 REV. LOUIS FITZGERALD BENSON, D. D. 
 
 BEQUEATHED BY HIM TO 
 
 THE LIBRARY OF 
 
 PRINCETON THEOLOGICAL SEMINARY 
 
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<0' ™*oi 
 THE SERVICE OF S0W AY 8 iw 
 
 A TREATISE ON SINGING 
 
 IN PRIVATE DEVOTION, 
 
 IN THE 
 
 FAMILY AND IN THE SCHOOL, 
 
 AND IN 
 
 %\z parsjnping tappta. 
 
 EY 
 
 REV. A. G. STACY, A. M. 
 
 PRAISE YE THE LORD. 
 
 SECOND, REVISED, EDITION. 
 
 A. S. BARNES & COMPANY, 
 NEW YORK AND CHICAGO. 
 
 1874. 
 
Entered according to Act of Congress, in the year iS7(j by 
 
 A. G. STACY, 
 in the Office of the Librarian of Congress at Washington. 
 
EDICATION 
 
 TO THE 
 
 COMPILER OF SEVERAL COLLECTIONS 
 
 o F 
 
 HYMNS AND SONGS, 
 
 REV. THOS. O. SUMMERS, D. D., 
 
 WHOM THE AUTHOR OF THIS VOLUME IS 
 
 PERMITTED TO CLAIM AS HIS PERSONAL FRIEND 
 
 AND HIGHLY ESTEEMED BROTHER IN 
 
 CHRIST, THIS BOOK IS AFFECTION- 
 
 ATELY INSCRIBED. 
 
PREFACE 
 
 The Author of this unpretending volume has long looked 
 in sadness upon the indifference manifested by many in the 
 service of song. Thousands who have the ability to sing 
 maintain a careless silence in the church ; and of those who 
 sing, many are evidently destitute, to a very great extent, of 
 the spirit of worship. Even ministers are but too frequently 
 seen burying their own talent for song, while they allow 
 habitual remissness in others without uttering a word of 
 instruction, encouragement or warning. Observation of this 
 inattention to a matter of prime importance convinced the 
 writer, several years ago, that something should be done to 
 bring up the practice of the Church to the Scriptural rule. 
 
 Supposing that there were already extant books and tracts 
 on the subject of Praise in Song, we searched many private 
 libraries, but could find no works of the kind. Special 
 inquiry was then made at sundry book-stores and publishing 
 houses, but with little success. From Columbia and Charles- 
 ton, S. C, Nashville, Tenn., and 200 Mulberry street, New 
 York, and other cities, nothing could be obtained but a few 
 books on Psalm-singing, Hymnology, and Musical history. 
 
VI PREFACE. 
 
 A few other valuable publications of the same character 
 were procured from the private library of David Creamer, 
 Esq., of Baltimore, most of them imported by him from 
 England about twenty-five years ago. 
 
 None of these volumes are in general circulation in this 
 country; and in none of them is the general subject of 
 singing so fully discussed as to meet the desideratum. 
 Hence, we reached the conclusion that one more book was 
 greatly needed. Friends were consulted, and among them 
 an eminent scholar and minister of the Gospel, at 
 Nashville. Their views coincided with our own, and we 
 were encouraged to undertake the work. Urged by a sense 
 of duty, we took up our pen, determined to publish or 
 suppress what should be written, as judicious advisers might 
 suggest The present volume is the result. 
 
 We have paid due respect to the productions of both 
 ancient and modern writers; but have steadily kept in view 
 our own plan, and have fearlessly expressed our own views. 
 Above all, we have made the Bible " the man of our counsel." 
 
 To have written in the absence of all books save the 
 Holy Scriptures, would have cost us only about a tithe of 
 the time and labor devoted to the work, but we thought 
 conclusions reached after free discussion preferable to 
 dogmatism. 
 
 It is hoped that the book will be found to be Christianly 
 liberal. There is here no doctrinal controversy to offend 
 
PREFACE. VII 
 
 those whose creeds differ from that of the author. In what 
 is said of Church usage we have written freely, but kindly. 
 Our aim has been to prepare a manual for the edification 
 and comfort of Christians generally, and which may interest 
 and profit those who are without the pale of the Church. 
 
 At every step we have desired that a theme so transcend- 
 ently important should be treated by an abler hand ; and, 
 without the kind words and favorable opinion of those upon 
 whose judgment we could rely, the work had never been 
 finished. In this connection we take pleasure in mentioning 
 the names of the Rev. T. O. Summers, D. D., and the 
 Rev. W. A. Gamewell. The latter now sings in heaven. 
 
 Being especially solicitous to reach the heart, we converse 
 with the reader as friend would talk to friend. 
 
 The preparation of the work has been a blessing to us, 
 and if its perusal shall be alike beneficial to the reader, we 
 shall be a thousand times compensated for the time and 
 effort expended. 
 
 May we meet in the land of light and love. There we 
 shall forever behold and worship " The King in His 
 beauty." But "who can show forth all His praise?" 
 
 Our offering, humble though it be, is laid upon the altar 
 of Him " who is above all blessing and praise." May it be 
 graciously accepted. The Author. 
 
 Lexington, Mo., Ja?iuary 14, 187 1. 
 
PREFACE 
 
 TO THE 
 
 SECOND (REVISED) EDITION. 
 
 It is with unfeigned gratitude to our Heavenly Father that we 
 revise the " Service of Song " for a new edition. The work has 
 been received with a degree of favor transcending our most san- 
 guine expectations, and we look upon the history of the past as an 
 encouraging prophecy of the future. 
 
 A few points seem to be definitely settled : 
 
 1st. It is a new book. There is nothing like it in any library — 
 no other volume in which the topics embraced in this are fully and 
 satisfactorily discussed. 
 
 2d. It is a book for the people. It has been read by ministers 
 and members of all the leading Churches, who have united in 
 expressing a most favorable opinion in regard to it. 
 
 3d. It is a book which is calculated to do good. While the 
 opinion has been repeatedly expressed by those who have examined 
 it, that it cannot be read without profit, the author has received, 
 from various sources, positive and cheering evidence of the benefit 
 derived from its perusal. 
 
 4th. It is not a local or ephemeral production: it suits all times 
 and all latitudes. The importance of the great subject of the Praise 
 of God in Song will be more fully appreciated as days and years 
 roll away. The lapse of time can scarcely impair the plan and style 
 of the work. 
 
 The book, when first issued, went forth to the reading public as a 
 youthful stranger: it now goes abroad with greater assurance, 
 indorsed as it is by many of the most eminent authors, scholars, 
 and ministers, as well as by those who are unknown to fame. 
 
 To those who have aided in the dissemination of the work, we 
 return our sincere thanks, while, at the same time, we would gladly 
 enlist them, and thousands more, as active agents for its wider cir- 
 culation both in Europe and America. 
 
 Thine, O Lord, is the kingdom, the power, and the glory. 
 
 Austin Female College, Austin, Texas, ) AGS 
 
 August 20th, 1874. J • »• ». 
 
CONTENTS 
 
 GENERAL SCRIPTURAL VIEW. 
 
 The Angels Delight to Sing their Maker's Praise — Our First Parents 
 in Eden — Their Worship — The Atonement Furnishes new Cause 
 for Praise — Music after the Fall — Vocal music must have Pre- 
 ceded Instrumental — Instruments invented — The first Sacred 
 Song — Two Choirs — The Tabernacle set up — Moses composes 
 a Song just before his Death — The Song of Deborah, the 
 Prophetess — The First and Best Poets were Hebrews — The 
 Song sung at the First Attempt to Bring the Ark to the 1 1 ill 
 of Zion — The Song sung when the Ark was brought up — 
 The Arrangement made by David for the Service of Song 
 when the Worship in Jerusalem was Established — Women 
 Singers as well as Men Singers in the Temple Choir — Why 
 David is called "the Sweet Psalmist of Israel" — The Golden 
 Age of Hebrew Poetry and Song — Singing at the Dedication of 
 Solomon's Temple — The Style of Singing in the Tabernacle and 
 in the Temple — Illustration — " His mercy endureth forever" — 
 The Captives in Babylon hang their Harps upon the Willows — 
 The Captives on their Homeward March — Praise at the Laying 
 of the Corner-stone of the Second Temple — The Advent of 
 the Messiah, and the Song of the Angels after a long season 
 of Gloom — Christ and the Apostles Sung a Hymn before going 
 out to the Mount of Olives — The First Century of the Christian 
 Era — Paul and Silas at Phillippi — Teachings and Injunctions 
 of the Apostles in regard to Singing — The Song Heard by 
 St. John the Divine — This Scriptural Review shows Praise to 
 be an Integral Part of Worship 27 
 
X CONTENTS. 
 
 PART FIRST. 
 
 SINGING IN PRIVATE DEVOTION. 
 
 Religion should be made a Personal Matter — Singing should have 
 a place in Private Devotion — David and the other Psalmists — 
 The Devout Laborer — Numerous Occasions of Gratitude and 
 Praise — "O, Weep not for the Joys that Fade" — Death, 
 only, considered Inexorable by the Ancient Grecians — The 
 Albigensian Christians — Margaret Wilson — Charles Wesley — 
 John Wesley — The Little Girl in the far Southwest — Bishop 
 Capers — The Rev. William Hoge — The Rev. W. G. 
 Caples , 53 
 
 PART SECOND. 
 
 SINGING IN THE FAMILY AND IN THE SCHOOL. 
 
 CHAPTER I. 
 
 SINGING IN THE FAMILY. 
 
 Home — A Christian Home — Praise as well as Prayer should be 
 Heard in the Habitations of the Faithful — Benefits of House- 
 hold Praise — Why it is especially Beneficial to Children — We 
 need Sacred Songs as an Offset against Bacchanalian or Ribald 
 Songs — The Early Christians — The Westminster Assembly — 
 Matthew Henry's Remark — The Author's Reminiscences — 
 " Come to the Place of Prayer " — Family Choirs 66 
 
 CHAPTER II. 
 
 SINGING IN THE SCHOOL. 
 
 Music should be Taught in all our Literary Institutions — Pupils can * 
 usually learn Music with ease — General Conference Action — 
 Bishop Andrew on the same subject — Singing in the Schools in 
 
CONTENTS. XI 
 
 Prussia — "What Luther says — President J. M. Bonnell — Dr. 
 Thomas Hastings — N. D. Gould — Dr. Rush Recommends 
 Vocal Music — Horace Walpole — Instrumental Music in Female 
 Colleges — Bishop Andrew desires Sacred Songs — Singing in 
 the Sabbath-school — The Singing of Children — A Musical 
 Theology for Children 75 
 
 PART THIRD. 
 
 SINGING IN THE WORSHIPING CONGREGATION. 
 
 SECTION 1.— WHO SHOULD SING? 
 
 CHAPTER I. 
 
 ALL SHOULD SING. 
 
 The Object of Congregational Singing— Many of our Hymns are 
 Prayers — Singing takes its stand with Preaching and Praying — 
 Congregational Singing the Oldest Style of Music in the Chris- 
 tian Church — The Transition to the Clergy — Luther Restored 
 Music to the People — Singing a part of Divine Worship — White- 
 field's Preaching and the Singing — The Hibernian in the Sack at 
 Wexford — The Tavern-keeper — Musical Works issued by the 
 Wesleys — Rules in the Methodist Discipline — But few, com- 
 paratively, Sing — Preachers must Lead in the Reformation... 92 
 
 CHAPTER II. 
 
 all should sing. — {Continued.) 
 
 The Great Power of Song in the Reformation — Luther — Clement 
 Marot and Theodore Beza — Priests Sung Down by the Peo- 
 ple — Papists Imitate the Protestants — Reformation in England — 
 Influence of Minister — All should Sing — Dr. Olin — Bishops 
 Coke and Asburyon Sinking — dcrge Dougherty in Charleston, 
 
XII CONTENTS. 
 
 S. C. — Felix Neff — What Chrysostom says — Augustin — Mel- 
 vill — Luther — Cotton Mather's Remark — What McCheyne 
 says — Furber's Remarks to Ministers — The Orator — The Ant — 
 The Word of God— His Works 109 
 
 SECTION II.— HOW SHOULD WE SING ? 
 
 CHAPTER I. 
 
 CHOIRS. 
 
 Definition of a Choir — Choirs obtained under the Jewish Dispensa- 
 tion — Choirs not Popish in their Origin — Not necessarily of 
 Judaizing Tendency — Paid Choirs Bearing Burdens — Of the 
 Members of the Choir — Place for the Choir — Illustrative Nar- 
 rative — Putting the Singers in the Gallery — Mostly Plain Tunes 
 should be Sung — Aelredus' Description — Singing of the Col- 
 ored People in Cities — Science in Music— The Precentor — The 
 Effect of Discord — The Choir should Lead while all Sing — 
 Productive of Great Good 142 
 
 CHAPTER II. 
 
 MELODY AND HARMONY. 
 
 Definition — Origin of Counterpoint — Harmonizing in Germany — 
 Mr. Weber's first Objection to Harmony — His second, third, 
 and fourth Objections — The Power of Harmony a Divine Gift — 
 Treble should Predominate — Female Voices — Male Voices — 
 Variety of Voice — The Music of the Spheres — Harmony in the 
 Universe — Distinguished Advocates of Harmony I J2 
 
 CHAPTER III. 
 
 FUGUE TUNES AND ANTHEMS. 
 
 Definition — Origin — Billings introduced Fugue Tunes into American 
 Churches — Objection to this style of Music — John Wesley on 
 
CONTENTS. XIII 
 
 Intricate and Undevout Singing — Description by Rector of St. 
 Bardolph's — General Conference of 1792 — Plain Tunes — Dr. 
 A. Clarke's Objection — What has been said in favor of An- 
 thems — To what extent they should be used — Vain Repetitions. 187 
 
 CHAPTER IV. 
 
 ADAPTATION ARTICULATION ACCENT ATTITUDE. 
 
 Tune must be Adapted to the Words — The Song must be Adapted 
 to the Time, Place and Occasion — Bishop Pierce — Remarks by 
 X. D. Gould — Another Illustrative Instance — Spirit which Per- 
 vades the Singing — Want of Feeling in Singers — Importance 
 of a Good Articulation — Management of the Voice — No Music 
 without Accent — Management of the Breath — A Standing Posi- 
 tion Preferable — Dr. Guthrie's Remarks 1 96 
 
 CHAPTER V. 
 
 INSTRUMENTAL MUSIC. 
 
 Invention of Musical Instruments — Egypt Claims Precedence — Also 
 the Chinese — Devotion of the Grecians to Music — Romans — 
 Music in Great Britain — The Organ — Dr. A. Clarke on Instru- 
 mental Music — Richard Baxter's View — Home and Richmond — 
 What Richard Watson says — David — Silence of Christ and 
 the Apostles on the subject — J. Wesley's advice as to Organs — 
 Portrait of a Good Organist — Various kinds of Instruments — 
 We should always Sing Spiritually — Church Service should be 
 Attractive — Objections Neutralized — The best Arrangement.. . 223 
 
 CHAPTER VI. 
 
 SPIRITUAL SINGING. 
 
 The Young Convert — Are we Prepared to Sing in Heaven? — 
 Indifference — The Psalmist Praised God Heartily — Ardor of 
 the Apostles and Early Christians — Heartfelt Song should 
 Celebrate the later Triumphs of the Cross — Formality in Sing- 
 ing the Great Evil — Science in Singing should be Recognized . . 245 
 
XIV CONTENTS. 
 
 SECTION III.— WHAT SHOULD WE SING? 
 
 CHAPTER I. 
 
 SHOULD WE SING PSALMS EXCLUSIVELY? 
 
 Presumption in favor of Compositions of Uninspired Poets — View 
 of the Seceders — The Title of the Psalms — " Song of Songs " — 
 Ralph Erskine's View and Conduct — Suitableness of Matter for 
 Praise — Testimony of Isaiah — Offering Strange Fire — 
 "Psalms, Hymns and Spiritual Songs" — Example of Simeon, 
 Anna the Prophetess, etc. — Early Christians — Common Version 
 and Rous' Compared — General Assembly of the Church of 
 Scotland 254 
 
 CHAPTER II. 
 
 UNINSPIRED SACRED LYRICS. 
 
 Watts and Wesley — Opinion of John Wesley — Dr. Abel Stevens' 
 estimate of Charles Wesley — Hymns on Holiness — Life -long 
 Devotion of the Wesleys to Sacred Song — Reservoirs of Sacred 
 Poetry — Review of Songs for the Sanctuary — Merits of the 
 Hymn-book of M. E. Church, South— Singing Hymns 
 of Praise — Hymns and Songs too little Read and Studied — 
 Brief Sketches of Hymn Writers — Great Volume of Sacred 
 Song not yet Complete , 282 
 
 SECTION IV.— WHY SHOULD WE SING? 
 
 CHAPTER I. 
 
 WE SHOULD PRAISE GOD FOR WHAT HE IS IN HIMSELF 
 AND FOR WHAT HE IS TO US. 
 
 What constitutes the Glory of God ? — The work of Creation proves 
 God to be Omnipotent — His power as great in the Moral as in 
 the Natural World — The Wisdom of God commensurate with 
 
CONTENTS, XV 
 
 His Tower — God is Love — The Mercy of God the most at- 
 tractive form of His Goodness — We are overwhelmed with 
 emotion when we consider what God is to us 308 
 
 CHAPTER II. 
 
 THE POWER OF SONG. 
 
 I» banishes the evil Spirit from Saul — Tyrtaeus — What Terpander 
 did with the Spartans — Alexander — Amabeus, the Harper — 
 The Abyssinian Trumpet — William the Conqueror — Effect of 
 Music on Murad IV. — Music at the battle of Quebec in 1760 — 
 Haydn moved to tears — The Theatre — The Starving Lion 
 Charmed — The Singing of Cookman — Singing by Soldiers in 
 Mexico — Effect of a Song on an Actress — Song at Camp- 
 meeting The Grey-headed Gambler The Nobleman's 
 
 Daughter — Reasons why we should Sing — " Sing Praises to 
 God! Sing Praises!" 319 
 
INTRODU CTION 
 
 We had the pleasure of perusing the manuscript 
 of this work when it was first written. Circum- 
 stances prevented the publication of the work at 
 the time, and the author has availed himself of 
 the delay in making important additions to it. 
 We are glad it is now to appear in print. We 
 bespeak for it a wide circulation, as it is eminently 
 good to the use of edifying. We rejoice in every 
 effort put forth to increase an interest in the 
 14 Service of song in the house of the Lord." 
 
 The cultus of the Church in this country has 
 been very defective in this matter. We do not 
 mean that we have not a sufficiently copious and 
 suitable Psalmody. In this respect the Church, in 
 her various branches, is well endowed. 
 
 There is the inspired Psalter, together with the 
 beautiful canticles interspersed through the Bible, 
 which might be sung and chanted greatly to the 
 
 2 
 
XVIII INTRODUCTION. 
 
 edification of the Church. The translators of our 
 authorized version of the Bible were singularly 
 happy in rendering these inspired hymns ; and 
 we like to hear them sung in the noble words 
 which have been hallowed by the use of English- 
 speaking Christians for centuries. 
 
 Imitations of these songs of Zion were used by 
 the Church in the days of the Apostles, and so 
 have they been in every succeeding age. 
 
 Pliny, writing to Trajan, says the Christians 
 were accustomed to meet together on a stated day, 
 before it was light, and to sing a hymn to Christ, 
 as to a god, alternately. 
 
 The earliest Christian hymn which has come 
 down to our times was written in Greek, by 
 Clemens Alexandrinus, who flourished about a 
 hundred years after the death of John the Evan- 
 gelist. It is a pleasing and suggestive fact, that 
 that hymn was composed for the children of the 
 Church. It is found in his Pedagogue. An old 
 Latin version is sometimes bound up with it. A 
 rough version of a portion of it may be found in 
 our " Hymns for Schools and Families," begin- 
 ning, " Shepherd of tender youth." 
 
INTRODUCTION. XIX 
 
 As songs and ballads are the most effective 
 vehicles of instruction and influence, so that 
 Andrew Fletcher, of Saltoun, is reported to have 
 said that he cared not who wrote the laws of the 
 nation, if he might write its ballads, we need 
 not wonder that they were largely employed for 
 this purpose, as well as for the expression of 
 devotional sentiment, in the Primitive Church. 
 
 When the Arians availed themselves of this 
 potent instrumentality for the spread of their 
 heresy, Chrysostom counteracted them by furnish- 
 ing orthodox hymns for the use of the faithful. 
 
 Augustin, in the Western Church, made a hymn 
 in imitation of Psalm cxix., to check the Donatists, 
 who composed hymns for the propagation of their 
 errors. 
 
 Before his time, Hilary, Bishop of Poictiers, and 
 Prudentius, a Spaniard, composed Latin hymns, 
 which were extensively used in the Western 
 Church. 
 
 The Trisagion, or Cherubical Hymn, in its sim- 
 plest form, has come down to us, perhaps, from 
 the third century. It is found in the so-called 
 
XX INTRODUCTION. 
 
 Apostolical Constitutions, as is the Gloria in Ex* 
 celsis. 
 
 The Gloria Patri was introduced to check the 
 Arian heresy. 
 
 The Te Deum was probably composed by 
 Mcetus, Bishop of Triers, in Gaul, in the sixth 
 century, and has been in nearly universal use 
 ever since. 
 
 During the Middle Ages the piety of the Church, 
 almost smothered as it was by superstition, flamed 
 forth occasionally in such productions as the 
 Stabat Mater, Dies Iro3, etc., which have been 
 translated into the modern tongues. They are 
 venerable relics of those dark centuries; but 
 neither they nor the Hymns of the Primitive 
 Church are likely to come much into popular use. 
 
 At the time of the Reformation the sacred muse 
 was invoked more than ever before. Luther com- 
 posed many fine hymns in German, as well as 
 tunes, which became very popular. 
 
 Clement Marot, groom of the bed-chamber of 
 Francis I., and Theodore Beza versified the Psalms 
 in French, and had tunes set to them. 
 
 Thomas Sternhold, one of the grooms of the 
 
INTRODUCTION. XXI 
 
 bed-chamber of Edward VI., John Hopkins, and 
 others, versified the Psalter in English. Their 
 version, rough as it is, became popular in England. 
 
 A version was afterward made by Francis Rous, 
 Provost of Eton under the Commonwealth, which 
 subsequently became, and still continues to be, the 
 authorized Psalmody of the Scottish Churches. 
 
 In 1696, Nahum Tate,D.D., Poet Laureate, and 
 Nicholas Brady, D. D., Vicar of Stratford-on-Avon, 
 published "A New Version of the Psalms of 
 David," which took the place of the version of 
 Sternhold and Hopkins in the Church of England, 
 and is still used by that Church and its offshoots. 
 
 " The Psalms of David, imitated in the language 
 of the New Testament," by Dr. Isaac Watts, was 
 published in 1719, and, with his " Hymns and 
 Spiritual Songs," became very popular, especially 
 among English Dissenters. They are a lasting 
 heritage to all English-speaking Churches. 
 
 Charles Wesley and other members of the Wes- 
 ley family versified the Psalter, a few Psalms ex- 
 cepted, and wrote thousands of hymns, many of 
 which are fine specimens of uninspired songs. 
 
 It is not necessary to refer to the hundreds of 
 
XXII INTRODUCTION. 
 
 other sacred poets who have tested the powers of 
 our noble tongue to enrich the service of song in 
 the house of the Lord. 
 
 It is impossible to overstate the importance of 
 this delightful part of the worship of the Church. 
 There is not a doctrine or duty of our holy religion 
 that is not inculcated in the most winning manner 
 by holy song. 
 
 In David's Psalter we have Psalms "to give 
 instruction," and "to bring to remembrance," 
 didactic and historical Psalms, which were used in 
 the tabernacle, temple, and synagogue worship. 
 
 The reformers of the age, who would exclude 
 all but distinctively devotional hymns, make a 
 great mistake. The Jewish Church and the Primi- 
 tive Christian Church, as we have seen, availed 
 themselves of the power of song to inform the 
 mind, as well as to inflame the affections. It is 
 easy enough to adapt suitable tunes to hymns of 
 a didactic character. Such hymns may be sung 
 with good effect immediately before sermon. 
 
 Then there are subjective and hortatory hymns, 
 which, used after sermon, enforce the subject-mat- 
 ter of the discourse with singular power. Indeed, 
 
INTRODUCTION. XXIII 
 
 such hymns not unfrequently put the minds of 
 the hearers into a proper frame to receive the 
 word, and should be used accordingly. 
 
 It is eminently proper to open public worship 
 with hymns of a highly devotional character, not 
 only because it is our duty to " worship the Lord 
 in the beauty of holiness," to " come into his pres- 
 ence with thanksgiving and make a joyful noise 
 unto him with psalms," " to show forth his loving- 
 kindness and faithfulness upon an instrument of 
 ten strings, upon the harp with a solemn sound," 
 or with such other accessories as we can command, 
 but because nothing so readily exorcises the 
 worldly spirit, and puts us into a frame for all the 
 other duties of the sanctuary, as songs of praise 
 and thanksgiving. The evil spirit departed from 
 Saul when David played his harp. Elisha calmed 
 his own troubled spirit, when it had been ruffled 
 by the presence of the impious King of Israel, by 
 sacred minstrelsy. While the minstrel played, 
 the hand of the Lord came upon the prophet, and 
 he prophesied. What preacher has not felt the 
 mighty influence of an inspiring song, attuning 
 his spirit for his holy work ! 
 
XXIV INTRODUCTION. 
 
 Dr. Johnson never committed a greater mistake 
 than when he said, in his Life of Dr. Watts : "His 
 devotional poetry is like that of others — unsatis- 
 factory. The paucity of its topics enforces per- 
 petual repetition, and the sanctity of the matter 
 rejects the ornaments of figurative diction. It is 
 sufficient for Watts to have done better than others, 
 what no man has done well." In saying this, he 
 reproves others beside Watts and other uninspired 
 poets. One would think the great Leviathan of 
 English literature had never read David's Psalter, 
 the Benedicite, the Benedictus, the Magnificat, the 
 Nunc Dimittis, and the rapturous canticles of the 
 Apocalypse, phonographed by the Eagle-evangel- 
 ist, who caught the volumes of holy song, as they 
 burst from the heavenly choristers and the " harp- 
 ers harping with their harps!" Strange to say, 
 Johnson could never read a certain stanza of the 
 Dies Ir& without the most powerful emotion ! 
 
 But, not to be prolix, we express the hope that 
 this excellent treatise will have a wide circulation, 
 and that its perusal will bring into more general 
 use the incomparable hymns which constitute the 
 authorized Psalmody of the Churches, and at the 
 
INTRODUCTION. XXV 
 
 same time promote "the service of song' ' in all 
 the congregations of the saints. 
 
 We hope, too, that it will promote the revival 
 of domestic psalmody, that delightful part of the 
 worship of " the Church in the house," which has, 
 unhappily, gone greatly into desuetude among us. 
 
 Nothing so identifies us with the worshipers in 
 the upper temple, nothing so prepares us to join 
 in their worship, nay, " to mend the choirs above," 
 as to sing praises unto God while we have any 
 being on the earth. 
 
 The songs of the temple voice out the harmony 
 of the spheres, and constitute the sweetest music 
 in the orchestra of the universe. 
 
 There's not the smallest orb which thou beholdst, 
 But in his motion like an angel sings, 
 Still quiring to the young-eyed cherubim, 
 Such harmony is in immortal souls. 
 
 Happy those whose spirits chime in with this 
 divine minstrelsy ! " Blessed are they that dwell 
 in thy house ; they will be still praising thee !" 
 
 " Let my due feet never fail" to go " to the house 
 of God, with the voice of joy and praise, with the 
 multitude that keep holy-day." 
 
 There let the pealing organ blow 
 
 To the full-voiced quire below, 
 
 In service high, and anthems clear, 
 
 As may with sweetness through mine ear, 
 
 Dissolve me into ecstasies, 
 
 And bring all heaven before mine eyes ! 
 
 Thomas 0. Summees. 
 
THE SERVICE OF SONG. 
 
 GENERAL SCRIPTURAL VIEW. 
 
 When the corner-stone of the earth was laid, 
 11 the morning stars sang together, and all the sons 
 of God shouted for joy." Long prior to this grand 
 event, it had been the delight of the angels to 
 sing their Maker's praise. Hence, when they saw 
 this magnificent globe emerging out of chaos, as a 
 brilliant reflector of the Divine perfections, they 
 gave expression to their emotions in the loftiest 
 strains of adoration. 
 
 In due time the first holy and happy pair are 
 created, and enter upon their delectable inherit- 
 ance. God himself communes with them, and 
 the angels who held jubilee at the sunrise of 
 time pay frequent visits to this Elysium, and 
 celebrate in song the praises of Him who has 
 ad out a scene so fair. 
 
 The sun by day. and the moon and stars by 
 night, serve as shining preachers to the devout 
 dwellers below ; and the perpetual sermon is 
 
28 THE SERVICE OF SONG. 
 
 amplified and rendered still more emphatic by the 
 beauty and innocency of beasts and birds, by the 
 verdure and flowers which garnish this lovely 
 domain, by crystal streams as they roll over 
 golden sands, and even by the atmosphere itself, 
 which is as pure and balmy as breezes from the 
 heavenly fields. 
 
 Can the hearts of this thrice happy pair remain 
 unmoved? Can they behold this wondrous ex- 
 hibition of their Father's love, or can they con- 
 template their present felicity and the bliss which 
 awaits them, without uniting in the general chorus 
 of praise ? Can they refrain as 
 
 " The morn, her rosy steps in the Eastern clime 
 Advancing, sows the earth with Orient pearls?" 
 
 Can they hold their peace as the tranquil evening 
 puts on her star-gemmed mantle ? Silence under 
 such circumstances, if not impossible, is in the 
 highest degree unnatural. Sing they must, and 
 well has Milton suggested as the words of their 
 song his noble paraphrase of the one hundred 
 and forty-eighth Psalm, and beautifully has he 
 described their worship : 
 
 " Lowly they bowed, adoring, and began 
 Their orisons, each morning duly paid 
 In various style : for neither various style 
 Nor holy rapture wanted they to praise 
 Their Maker, in fit strains pronounced, or sung' 
 Unmeditated ; such prompt eloquence 
 Flow'd from their lips in prose, or numerous verse, 
 More tunable than needed lute, or harp, 
 To add more sweetness." 
 
TIIE SERVICE OF SONG. 29 
 
 Alas, that this delightful song should so soon 
 give place to the voice of wailing! Alas, that 
 those who have been so highly exalted should 
 experience BO sad a fall! 
 
 But the promised "Seed of the woman" fur- 
 nishes both men and angels with a new theme for 
 praise. The Atonement converts the thorns and 
 briars of the fall into a wreath of amaranth for 
 Em manners brow — the lamentations of the lost 
 into joyful hosannas. Grateful songs ascend from 
 this cursed and blighted earth to the Father of 
 mercies. 
 
 In the Book of Genesis, covering a period of 
 more than two thousand years, there is no posi- 
 tive mention made of devotional music ; but we 
 are not left without significant intimations. If 
 the first unhappy pair trusted in a Savior to come 
 and were reclaimed from their grievous fall, it is 
 reasonable to suppose that they again sang the 
 songs to which they had been accustomed in Eden, 
 and that to these they added hymns referring to 
 the glorious scheme of Redemption. 
 
 It is exceedingly probable that music, vocal 
 and instrumental, was used in the service of God 
 in the early ages of the world. Vocal music must 
 have preceded instrumental. The human voice, 
 the most perfect of all instruments, was first found 
 to be capable of producing harmonious sounds, 
 and, in the course of time, these were reproduced 
 by artificial means. Men would not attempt to 
 
30 THE SERVICE OF SONG. 
 
 avail themselves of adventitious aids before using 
 the faculties with which they were endowed by- 
 nature. As well might we conceive that they 
 would invent the lever and the telescope before 
 having used the arm or the eye, as to suppose 
 that they would practice on musical instruments 
 before having attuned the voice to melody. 
 
 For the space of five hundred years, as it would 
 seem, the human voice alone was employed in 
 praise ; then Jubal, the father of all such as handle 
 the harp and the organ — the inventor, doubtless, 
 of stringed and wind instruments — was born ; and, 
 for aught we know to the contrary, the first mel- 
 lifluous strains of the harp and the organ were 
 consecrated to God. 
 
 The first sacred song of which we have any 
 account is that which was sung by the Israelites 
 on the occasion of their triumphant passage of 
 the Red Sea. Having escaped from their cruel 
 taskmasters, they fly before Pharaoh and his host. 
 We behold, with glad surprise, the receding waters 
 as they leave a highway for the faithful fugitives. 
 JSTow they throng the safe shore, while their foes 
 are overwhelmed by the returning waves. The 
 Egyptians whom they have seen to-day they shall 
 see again no more forever. 
 
 Then sang Moses and the children of Israel this 
 song: " The Lord hath triumphed gloriously : the 
 horse and his rider hath He thrown into the sea. 
 The Lord is my strength and song, and He is 
 
THE SERVICE OF SONG. 3l 
 
 become my salvation : lie is my God, and I will 
 prepare Him an habitation ; my fathers' God, and 
 I will exalt Him," etc. 
 
 This fine ode contains a cheering prophecy of 
 the effect of this tremendous judgment on the 
 idolatrous nations of Edom, Moab and Canaan, 
 the final settlement of the Israelites in the prom- 
 ised land, the building of the temple on Mount 
 Zion, and the perpetuity of the dominion and 
 worship of God. In allusion to the event which 
 this song commemorates, the Psalmist, addressing 
 the Deity, says: "Thy way is in the sea, Thy 
 paths in the great waters, and Thy footsteps are 
 not known. Thou leddest Thy people like a flock 
 by the hand of Moses and Aaron." 
 
 Powerful, indeed, must have been the im- 
 pression produced by the singing of this, the 
 earliest lyric poem extant. Let us listen for a 
 moment to the jubilant notes of the glad thous- 
 ands who stand on the " banks of deliverance." 
 These glowing sentiments, made thrillingly em- 
 phatic by the vocal and instrumental music to 
 which they were joined, should live everlastingly 
 in the hearts of the Israelites. 
 
 It is supposed that the whole company were 
 divided into two grand choirs, in which Moses and 
 Aaron led the men, and Miriam the women. It 
 seems, also, that they sang by turns, and with 
 variations of soft and loud, adapted to the senti- 
 ments of the ode; the males, led by Moses or 
 
32 THE SERVICE OF SONG. 
 
 Aaron, or both, singing the song, while Miriam, 
 presiding over the female part of the choir and 
 the instruments, called in their aid to swell the 
 chorus by repeating the first stanza of the ode. 
 Hence it is said : " Miriam answered them, ' Sing 
 ye to the Lord, for He hath triumphed gloriously ; 
 the horse and his rider hath He thrown into the 
 sea.' " 
 
 Shortly after the Israelites commenced their 
 wanderings through the wilderness, the Taber- 
 nacle was set up by the command of God ; and, 
 according to His direction, the Levites were set 
 apart for the service of the sanctuary. Al- 
 though we have no positive evidence of the fact, 
 yet we have reason to believe that at this time 
 singers and players on instruments were regularly 
 appointed. 
 
 Moses was gathered to his fathers in sight of 
 the promised possession, at the age of one hun- 
 dred and twenty years. Previous to his departure 
 he composed a song, setting forth both the good- 
 ness and the justice of God. It commences thus: 
 " Give ear, ye heavens, and I will speak : and 
 hear, earth, the words of my mouth. My doc- 
 trine shall drop as the rain, my speech shall distill 
 as the" dew, as the small rain upon the tender 
 herb, and as the showers upon the grass : Because 
 I will publish the name of the Lord; ascribe ye 
 greatness unto our God." 
 
 About one thousand three hundred years B. C. 
 
T11K BEBVIOB OF SONG. 33 
 
 th( Lord sold the children of Israel into the hand 
 of Jabin, King of Canaan, as a judgment for their 
 evil deeds. Jabin oppressed them for twenty 
 years, but at length they cried to God and He 
 delivered them. The entire army of the Canaan- 
 itoa was slain on the field, except Sisera, the cap- 
 tain of the host, who fled away on his feet to the 
 tent of Jael, the wife of Heber the Kenite. Being 
 weary, and feeling secure from his pursuers, this 
 war-chief fell asleep. Then Jael, Heber's wife, 
 took a nail and a hammer, and went softly to him 
 and smote the nail into his temples, and fastened 
 it into the ground. Here was a glorious deliver- 
 ance for Israel, and the story of triumph should 
 be embalmed in thankful song, which is done most 
 admirably by Deborah, the prophetess : " At her 
 feet he bowed, he fell, he lay down ; at her feet he 
 bowed, he fell : where he bowed, there he fell 
 down dead. The mother of Sisera looked out at 
 a window and cried through the lattice, 'Why is 
 his chariot so long in coining? why tarry the 
 wheels of his chariot ?' " 
 
 " From this song, as well as that of Moses 
 (Dent, xxxii.), we see that the first as well as the 
 best poets of antiquity were found among the 
 1 I<brews, and that the art of poetry was highly 
 cultivated among them many hundreds of years 
 before Greece or any other country of the world 
 could boast of ode, or epic, or any kind of poetic 
 composition. Tie- Ldolizerfl of Greece and Ttaly 
 3 
 
34 THE SERVICE OF SONG. 
 
 should not forget this : to Hebrew models both 
 Greeks and Romans owe much of their perfection. 
 Why are not these more studied ? Why do we 
 not go to the fountain-head ? " * 
 
 Then we have the forcible and elegant song of 
 Hannah, the prophetess, expressive of her grati- 
 tude to God for the -gift of her son Samuel. 
 
 About four hundred and fifty years after the 
 transit of the Red Sea, the Tabernacle service was 
 more fully organized. David, being securely estab- 
 lished upon his throne in Jerusalem, determined, 
 in accordance with the Divine will, to remove the 
 Ark from the city of Nob to the hill of Zion. On 
 the occasion of the transportation, the Levites 
 sung the Psalm commencing : " Let God arise, let 
 His enemies be scattered, let them also that hate 
 Him flee before Him ;" while " David and all 
 Israel played before God with all their might, and 
 with singing, and with harps, and with psalteries, 
 and with timbrels, and with cymbals, and with 
 trumpets." 
 
 But this attempt to bring up the xirk to Jerusa- 
 lem was unsuccessful. God had commanded that 
 it should be borne on the priests' shoulders. In- 
 stead of this, David had placed it upon a new 
 cart drawn by oxen ; and Uzza having been smitten 
 with instant death for profanely touching the Ark, 
 even David became afraid of the Divine vengeance, 
 and the vast multitude being dismissed, the Ark 
 
 *Dr. A. Clarke. 
 
THE SERVICE OF SONG. 35 
 
 was deposited in the house of Obed-Edom, where 
 it remained for three months. The second attempt 
 to remove the Ark resulted favorably. It was a 
 mn occasion, although not less jubilant than 
 the first While the priests bore the Ark, the sing- 
 ers sung or chanted that appropriate ode : " Lord. 
 remember David and all his afflictions, how he 
 Bware unto the Lord, and vowed unto the mighty 
 God of Jacob, saying, I will not come into the 
 tabernacle of my house, nor go up into my bed, 
 I will not give sleep to mine eyes, or slumber to 
 mine eye-lids, till I find out a place for the Lord, 
 a habitation for the mighty God of Jacob.'' 
 
 Everything pertaining to the service of God was 
 now arranged in a proper and imposing manner. 
 
 " David, in order to give the best effect to the 
 music of the Tabernacle, divided the four thous- 
 and Levites into twenty-four classes, who sung 
 P.^ilms and accompanied them with music. Each 
 of these classes was superintended by a leader 
 placed over it, and they performed the duties 
 which devolved upon them, each class a week at 
 a time in succession. The classes collectively, as 
 a united body, were superintended by three direc- 
 tors. This arrangement was subsequently contin- 
 ued by Solomon after the erection of the temple, 
 and was transmitted till the time of the overthrow 
 of Jerusalem. Ir was, indeed, sometimes inter- 
 rupted during the reigna of the idolatrous kings, 
 but waa 1 by their successors. It should 
 
3G THE SERVICE OF SONG. 
 
 be remarked, however, that neither music nor 
 poetry attained to the same excellence after the 
 captivity as before that period. 
 
 " There were women singers as well as men in 
 the temple choir, for in the Book of Ezra, among 
 those who returned from the Babylonish captivity, 
 there are said to have been two hundred and forty- 
 five singing men and women. The Jewish doctors 
 will, indeed, by no means admit that there were 
 any female voices in the temple choir ; and as for 
 those meshoreroth, as they are called in the He- 
 brew, they suppose them to be the wives of those 
 who sung. Nevertheless, the following passage 
 makes it evident that women, likewise, were thus 
 employed : ' God gave to Heman fourteen sons and 
 three daughters ; and all these were under the 
 hands of their father for song in the house of the 
 Lord, with cymbals, psalteries, and harps, for the 
 service of the house of God.' " * 
 
 " It was for the raising up of men's hearts and 
 the sweetening of their affections toward 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." f 
 
 It seems that David was raised up and qualified 
 to establish the ordinance of singing in the Church, 
 as Moses and Aaron were in their day for the pur- 
 
 * Richard Watson. t Hooker. 
 
 
Tin: BEBVIOB OF SOx\G. 37 
 
 pose of enforcing and regulating the offering of 
 sacrifices; hence he is called, by eminence, "the 
 Sweet Psalmist of Israel/' 
 
 We have now reached, in our review, the golden 
 age of Hebrew poetry and song. David is in the 
 zenith of his glory, and the high praises of God 
 are, doubtless, celebrated in a more becoming and 
 impressive manner than at any time since the 
 exile from Paradise. At this point we might tarry 
 long. We might speak of the heaven-inspired 
 poems of David and the other "Bards of the 
 Bible," and we might dwell upon the music of 
 the Hebrews in general — their military, festive 
 and funeral music. We might speak of King 
 Jehoshaphat, who, as a means of insuring victory, 
 on going out to battle against the Moabites and 
 the Ammonites, M appointed singers unto the Lord, 
 and that should praise the beauty of holiness as 
 they went out before the army, and to say, Praise 
 the Lord, for His mercy endureth forever." We 
 might speak of the enthusiastic welcome of David 
 by the fair minstrels of Jndea after his victory 
 over the Philistines, as it is said, " the women 
 answered one another as they played, and said, 
 Saul hath slain his thousands, and David his ten 
 thousands.'' We might listen with delight to the 
 animating strains which greet the Prodigal Son 
 on his return to his father's house. ; or we might, 
 with weeping, respond fco the wails of sorrow 
 which tell us of the decease of Jairus' daughter, 
 
38 THE SERVICE OF SONG. 
 
 But our plan looks more particularly to Jewish 
 sacred music. 
 
 There was singing as well as prayer at the 
 dedication of the temple built by Solomon ; and 
 if the prayer offered up by the royal architect was 
 memorable, so the musical service was transcend- 
 ently imposing. This might have been expected 
 from the immense size and surpassing splendor 
 of the edifice, the number of persons employed 
 in its erection, the length of time occupied in 
 collecting the materials and completing the struc- 
 ture, the sacred uses to which it was to be devoted, 
 and the general and joyful expectation with which 
 the opening of so celebrated a building had been 
 anticipated. 
 
 Josephus says that "two hundred thousand 
 musicians were employed at the opening of the 
 temple." This we may consider an exaggeration ; 
 but even if we deduct three-fourths from the esti- 
 mate, the number will still be astonishingly great — 
 well befitting the grandeur of the occasion. 
 
 The following is the Scriptural account : " The 
 Levites which were singers, all of them of Asaph, 
 of Heman, of Jeduthun, with their sons and their 
 brethren, being arrayed in white linen, having 
 cymbals, and psalteries, and harps, stood at the 
 east end of the altar, and with them a hundred 
 and twenty priests sounding with trumpets. It 
 came to pass, as the trumpeters and singers were 
 as one, to make one sound to be heard in praising 
 
THE SERVICE OF SONG. 39 
 
 and thanking the Lord; and when they lifted up 
 their voices with the trumpets and cymbals and 
 instruments of music, and praised the Lord, say- 
 ing, For He is uood; for His mercy endureth for- 
 . that then the house was filled with a cloud, 
 -even the house of the Lord ; so that the priests 
 could not stand to minister by reason of the cloud ; 
 for the glory of the Lord had filled the house of 
 God 
 
 It is supposed that portions of the song-ser- 
 vice in the tabernacle, and subsequently in the 
 temple, were executed by the Levites alone, while 
 some pieces were sung in alternate parts by them 
 and by the people, the whole multitude lifting up 
 their voices in chorus. In general, however, when 
 the praise of Jehovah was celebrated, the entire 
 body of worshipers joined in the exercise. 
 
 " The singing of the ancient Hebrews was differ- 
 ent from the cantillation practiced by the modern 
 Jews in their synagogues ; and although much 
 simpler than the artistic music of these days, there 
 being but a single part, sung by all alike, only 
 three, four, or five notes higher or lower, according 
 to the range of the singer's voice ; and though 
 louder and harsher than the modern taste would 
 approve, still, doubtless, great musical effects were 
 often produced. Take, forexample, the singing of 
 the on.' hundred and thirty-sixth Psalm. In this 
 Psalm the people were invited to praise Jehovah 
 
 • 2 Chron. v. 12-14. 
 
40 THE SERVICE OF SONG. 
 
 as the God of Nature, and as the Deliverer, Guide, 
 and Provider of Israel. At the close of every 
 verse there is the regular recurrence of a burden 
 or refrain — 'for His mercy endureth forever' — 
 which was sung by all the people in chorus. 
 "What could be more sublime than those majestic 
 responses ? In clear, sweet, cultivated tones, the 
 Levite choir chant, ' O give thanks unto the Lord, 
 for He is good,' when instantly rises from the 
 surging mass, like the voice of many waters, the 
 commingled notes of priests, Levites, people — 
 vocal and instrumental — * For His mercy endur- 
 eth forever ! ' With diminished volume again 
 the Levite choir is heard : ' give thanks to the 
 God of gods,' when the firmament again resounds 
 with the same multitudinous refrain — 'For His 
 mercy endureth forever ! ' An so on in reply 
 to each separate summons — 
 
 " ' O give thanks to the Lord of lords ; 
 
 ' ' ' For His mercy enduteth forever ! 
 
 " 'To Him who alone doeth great wonders ; 
 
 " 'For His mercy endureth forever! 
 
 " 'To Him that by wisdom made the heavens; 
 
 " ' For His mercy endureth forever /' 
 
 until twenty-six times, in answer to as many dis- 
 tinct calls, the throng have sent up that shout; 
 and every nerve is thrilling, and every soul is 
 borne onward and upward on the tide of song to- 
 ward the Infinite Being whose perfections and 
 mercies are so meetly celebrated."* 
 
 * Rev. J. R. Scott. 
 
THE SERVICE OF SONO. 41 
 
 The account of the Babylonish captivity forma 
 a mournful chapter in Jewish history. During 
 their exile the distress of the pious Hebrews waa 
 generally too. great to admit of their singing the 
 songs of Zion. We may suppose, however, that 
 they occasionally recovered their spirits suffi- 
 ciently to engage for a short time in this enliven- 
 ing exercise. A most affecting picture of a com- 
 pany of these devoted captives is drawn by the 
 Psalmist. The day's toils and sufferings are 
 ended, and they have assembled on the bank of 
 some stream, perhaps the Euphrates — " the river 
 of willows." They have taken with them their 
 musical instruments, and are followed by some 
 of their oppressors. These taskmasters desire to 
 hear the delightful music for which the Hebrews 
 were, no doubt, famed. The request is, " Sing us 
 one of the songs of Zion." The Israelites com- 
 mence an old, familiar temple hymn, but sad 
 memories of Judea and Jerusalem pass like dark 
 waters over their souls. Their hearts are filled 
 with sorrow and their eyes with tears ; their voices 
 falter and their fingers tremble along the harp- 
 strings, as they call to mind the former magnifi- 
 cence of the sacred city, the towers and bulwarks of 
 Salem, and the frequent opportunities they once 
 enjoyed of going up with tin 1 multitude to worship 
 the Lord and to behold His beauty in the sanctuary. 
 Jerusalem — "beautiful for situation, the joy of the 
 whole earth" — has been laid waste. The holy 
 
42 THE SERVICE OF SOT^G. 
 
 house of the Lord is in ruins, and the sacred hill 
 is profaned by the idolatrous heathen. This sor- 
 rowful band of brethren may never live to see the 
 year of release : they may never again gaze upon 
 the vine-clad hills of their native land, nor walk 
 the streets of the city of their solemnities. Hence 
 the captive Psalmist says : 
 
 " By the rivers of Babylon, there we sat down, 
 Yea, we wept when we remembered Zion. 
 We hanged our harps upon the willows in the midst thereof. 
 For there they that carried us away captive required of us a song; 
 And they that wasted us required of us mirth, 
 Saying, Sing us one of the songs of Zion. 
 How shall we sing the Lord's song 
 In a strange land ? 
 If I forget thee, O Jerusalem, 
 Let my right hand forget her cunning. 
 If I do not remember thee, 
 Let my tongue cleave to the roof of my mouth; 
 If I prefer not Jerusalem above my chief joy." 
 
 Let us now turn to the bright side of the picture. 
 These peeled, scattered and disconsolate Israelites 
 hail with transport the expiration of their term 
 of bondage. The days of their mourning are 
 ended, and they commemorate their deliverance 
 in an ode, every syllable of which is burdened 
 with joy. The edict of emancipation has been 
 published by Cyrus, and these pious patriots are 
 on their homeward march. Hear the jubilant 
 notes of their pilgrim song : 
 
 " When the Lord turned again the captivity of Zion, 
 We were like them that dream. 
 
THE BERVIOK OF SONG. 43 
 
 Then was our mouth filled with laughter, 
 
 I oortongne with ringing: 
 Then said they among the heathen, 
 'The Lord hath done great things for them.' 
 The Lord hath done great things for us, 
 Whereof we are glad." 
 
 We scarcely need to be reminded that the 
 reconstructed city was surrounded by massive 
 walls and graced with another temple. Of course 
 the stared services were re-established, and, as 
 lias already been intimated, were kept up with 
 more or less regularity until the inauguration of 
 the Gospel dispensation. 
 
 It should be here noted that the faithful cap- 
 tives not only returned with singing to Jerusalem, 
 but that the voice of praise was heard at the lay- 
 ing of the corner-stone of the second temple. It 
 is said that " When the builders laid the founda- 
 tion of the temple of the Lord, they set the priests 
 in their apparel with trumpets, and the Levites 
 the sons of Asaph with cymbals, to praise the 
 Lord, after the ordinance of David king of Israel. 
 And they sang together by course in praising and 
 giving thanks unto the Lord; because He is good, 
 for His mercy endureth forever toward Israel." * 
 
 What a srene was that ! The musicians singing 
 and playing on instruments and the multitude 
 shouting for joy. while many of the "ancient 
 men " wept aloud in view of the contemplated 
 
 Ezra iii. io, II. 
 
44 THE SERVICE OF SONG. 
 
 inferiority of this temple to the one in which they 
 had formerly worshiped. 
 
 "We read, also, that the Israelites "kept the 
 dedication of this house of God with joy." Ezra 
 and Nehemiah attached as much importance to 
 sacred music as David had done in his day, and, 
 therefore, they not only " set the priests in their 
 divisions," but also "the Levites in their courses 
 for the service of God." 
 
 From our last stand-point we travel down the 
 stream of time, and for ages we gaze with tearful 
 eye upon the barrenness and wickedness, and also 
 upon the sufferings, of the Jewish Church. But 
 the eclipse has at no time been total, and we 
 finally hail the advent of the long-promised 
 Messiah as the radiance of the magnificent sun 
 streaming through rent clouds on the evening of 
 a long and stormy day. 
 
 Now we see the humble shepherds as they watch 
 their flocks by night. They experience a painful 
 surprise as the angel of the Lord appears, and as 
 the glory of the Lord shines round about them. 
 But their apprehensions of danger are put to flight 
 as the heavenly messenger, with silvery voice, 
 pronounces the words : " Fear not : for behold, I 
 bring you good tidings of great joy, which shall 
 be to all people. For unto you is born this day, 
 in the city of David, a Savior, which is Christ the 
 Lord." 
 
 But the news is too good to be told only in plain 
 
THE SERVICE OF SONG. 45 
 
 words of prose, it must also be proclaimed in the 
 sweetest strains of celestial song. Behold! a 
 happy and shining multitude from the skies form 
 a glowing canopy above the heads of the enrap- 
 tured shepherds, and the glad song — the natal 
 hymn of the Redeemer — rises, and rolls, and 
 reverberates : 
 
 " Glory to God in the highest, 
 And on earth peace, good will toward men ! " 
 
 We may suppose that the mission of the Son of 
 God to earth caused a grand jubilee in heaven, 
 and that these seraphic choristers turned for a 
 time from the throne of the King of kings to bear 
 the thrilling tidings to abject man. Hence the 
 poet: 
 
 " In heaven the rapt'rous song began, 
 And sweet seraphic fire 
 Through all the shining legions ran, 
 And strung and tuned the lyre. 
 
 Swift through the vast expanse it flew, 
 
 And loud the echo rolled ; 
 The theme, the song, the joy was new, 
 
 ' Twas more than heaven could hold. 
 
 Down through the portals of the sky 
 
 Th' impetuous torrent ran, 
 And angels flew with eager joy 
 
 To bear the news to man." 
 
 The Redeemer tabernacles among men for thirty- 
 three years, and now the Man of sorrows — the Lord 
 of glory — is to be crucified. It is night, and the 
 Master and His disciples are in a large upper room 
 
40 THE SERVICE OF SONG. 
 
 in the city of Jerusalem. The feast of the Pass- 
 over has been celebrated for the last time by them, 
 and the Lord's Supper has been instituted. Each 
 one of the little sorrowing band has partaken of 
 the bread and wine, and the Savior utters the con- 
 soling words: "I will not drink henceforth of this 
 fruit of the vine until that day when I drink it 
 new with you in my Father's kingdom." Then, 
 " When they had sung a hymn, they went out 
 into the Mount of Olives." 
 
 The Paschal Psalms, or the Psalms composing 
 the great Hallel or chant which the Jews used at 
 the close of the Passover, were from the one 
 hundred and thirteenth to the one hundred and 
 eighteenth, inclusive. This Hallel was not all 
 sung at once, but in parts, the last of which was 
 sung at the close of the Passover. It is probable 
 that the hymn sung by Christ and His disciples 
 on the eve of their departure for Mount Olivet 
 embraced the one hundred and eighteenth, which 
 evidently refers to the Messiah. The words are 
 exceedingly appropriate to the occasion, especially 
 if we consider the Lord and His eleven faithful 
 followers as turning away from their present griefs 
 to contemplate the goodness of God in redemp- 
 tion, the triumphant resurrection of the Crucified, 
 and the unspeakable blessings conferred upon 
 man through the Atonement. 
 
 The one hundred and seventeenth Psalm is 
 
THE SERVICE OF SONG. 47 
 
 a most beautiful and stirring prelude to this 
 Paschal song: 
 
 M O praise the Lord, all ye nations ! 
 Praise Him, all ye people! 
 For His merciful kindness is great toward us ; 
 And the truth of the Lord endureth forever. 
 Praise ye the Lord." 
 
 Then the one hundred and eighteenth : 
 
 " O give thanks unto the Lord, for He is good; 
 Because His mercy endureth forever. 
 Let Israel now say, 
 That His mercy endureth forever. 
 Let the house of Aaron now say, 
 That His mercy endureth forever. 
 Let them now that fear the Lord say, 
 That His mercy endureth forever," etc. 
 
 How significant are some of the allusions in this 
 Psalm, such as : u Bind the sacrifice with cords 
 even unto the horns of the altar." If Christ and 
 the apostles could sing in view of this sad scene, 
 how much more should we rejoice and give thanks 
 when we are assured that the illustrious Victim 
 has, indeed, suffered and died, and that the God- 
 man, having broken these cords asunder, has 
 ascended triumphantly to heaven, where He ever 
 liveth to make intercessions for us. Can we indi- 
 vidually adopt the language of this same memor- 
 able Psalm and sing from the heart : 
 
 The Lord is my strength and song, 
 And is become my salvation? " 
 
48 THE SERVICE OF SONG. 
 
 Let saints on earth and in heaven unite in the 
 grand doxology with which the Psalm closes : 
 
 " Thou art my God, and I will praise Thee : 
 Thou art my God, I will exalt Thee. 
 O give thanks unto the Lord, for He is good; 
 For His mercy endureth forever." 
 
 Memorable, indeed, is the first century of the 
 Christian era. The Son of God lives, dies, rises, 
 and ascends to heaven. The day of Pentecost 
 dawns : the old dispensation expires ; the new 
 dispensation begins. The shadows are dispersed 
 by the rising Sun of Righteousness. The cum- 
 brous and typical services prescribed by the cere- 
 monial law of Moses are succeeded by the simple 
 and spiritual worship which Christianity enjoins. 
 The apostles, having been " endued with power 
 from on high," go forth preaching in obedience to 
 the Divine command. Has the Church had her 
 hymns of praise during the darker ages of her 
 existence, and will she have no songs to sing on 
 this the brightest and best day that the world has 
 seen since the fall? We turn to the precepts and 
 practice of those holy men, who having seen Christ, 
 preached Him to the world. 
 
 They established churches in various parts of 
 Asia, "beginning at Jerusalem." At length "a 
 man of Macedonia" appeared to St. Paul in a 
 vision and called him to Europe. Paul and Silas 
 went to the heathen city, Philippi, and preached. 
 
THE BBRYIOK OF SONG. 49 
 
 Paul also cas il spirit ontof a female servant 
 
 who "brought her masters much gain by sooth- 
 saying," They stirred np the wrath of the popu- 
 lace; a mob was raised; the magistrates tore off 
 the clothes of these persecuted saints; "many 
 stripes" were inflicted upon them ; they were thrust 
 into the inner prison, and their feet were made fast 
 in the stocks. Sad spectacle! These men are far 
 away from kindred and friends, confined in a 
 loathsome dungeon, in the most uneasy posture 
 imaginable. They are clad in rags ; hungry 
 and faint from the loss of blood, which still oozes 
 from their lacerated bodies. But " at midnight 
 Paul and Silas prayed and sang praises to God : 
 and the prisoners heard them." How sweet were 
 these "songs in the night!" How refreshing to 
 the drooping spirits of these faithful disciples of 
 Christ! How acceptable to Him who before all 
 temples prefers the devout, believing heart! 
 What strange sounds to be heard in a heathen 
 prison! How many hearts indurated with crime 
 were charmed by these songs, and. in some meas- 
 ure, prepared for the reception of the Gospel! The 
 first Redemption hymn heard on European soil has 
 now been sung : the last one will mingle its melody 
 with the echoes of the resurrection trumpet. 
 
 As to the words used by these pious sufferers, 
 
 of course we have no definite information. We 
 
 know, however, that they were well acquainted 
 
 with the Book of Psalms,- and from that great 
 
 4 
 
50 THE SERVICE OF SONG. 
 
 magazine of sacred poetry they may have drawn 
 the material of their songs. They may have sung : 
 
 " And the people which shall be created shall praise the Lord, 
 For He hath looked down from the height of His sanctuary, 
 From heaven did the Lord behold the earth j 
 To hear the groaning of the prisoner, 
 To loose those that are appointed to death, 
 To declare the name of the Lord in Zion, 
 And His praise in Jerusalem ; 
 When the people are gathered together 
 And the kingdoms, to serve the Lord." 
 
 In various passages in the Apostolic Epistles 
 singing is recognized as a component part of 
 Divine worship. To the Corinthians St. Paul 
 says : "I will sing with the spirit, and I will sing 
 with the understanding also." 
 
 To the Ephesians he says : " 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 ; giving thanks 
 always for all things unto God and the Father, in 
 the name of our Lord Jesus Christ." 
 
 To the Colossians he says : " Let the word of 
 Christ dwell in you richly in all wisdom ; teach- 
 ing and admonishing one another in psalms, and 
 hymns, and spiritual songs, singing with grace in 
 your hearts to the Lord." 
 
 A few years after these words were written, St. 
 John the divine was banished to the Isle of Pat- 
 mos, " for the word of God, and for the testimony 
 of Jesus Christ." But God was with him during 
 
THE SERVICE OF SONG. 51 
 
 his exile on that lonely island in the midst of the 
 
 ,. and favored him with enrapturing 
 
 ►f the latter-day glory of the Church and 
 
 of the heavenly world. How charmingly did the 
 
 songs of the redeemed fall upon his ears ! He 
 
 9: "I heard a great voice of much people in 
 
 heaven, saying Alleluia ; salvation, and glory, and 
 
 honor, and power unto the Lord our God : for true 
 
 and righteous are His judgments And again 
 
 they said, Alleluia And a voice came out 
 
 of the throne, saying, Praise our God, all- ye His 
 servants, and ye that fear Him, both small and 
 great. And I heard as it were the voice of a great 
 multitude, and as the voice of many waters, and 
 as the voice of mighty thunderings, saying, Alle- 
 luia : for the Lord God omnipotent reigneth." 
 
 AVe have now reached the last page of the in- 
 spired volume. Of course we have given only a 
 general view of the Divine teachings on the sub- 
 ject under consideration, without attempting to 
 notice all that is said in regard to it. We pause 
 a moment to retrospect the hallowed ground over 
 which we have traveled. And, in the review, we 
 can not fail to perceive at least one great truth 
 which stands out in bold relief, both in the Old 
 Testament and in the Xew — L e., that singing is 
 ax elemeht of Divine worship, and that it 
 should be conducted with that solemnity, fervor, 
 and spirituality which should ever characterize 
 devotional services. It was kept up in the Church 
 
52 THE SERVICE OF SONG. 
 
 from a very early period in the world's history 
 down to the close of the Apostolic day. The last 
 of the inspired writers give no intimation that the 
 service of song is to be temporary ; but, on the 
 contrary, they enjoin its observance, and give ex- 
 plicit directions in reference to the spirit in which 
 it is to be conducted. This department of worship 
 was instituted by God himself, as was also the 
 reading of the Scriptures, prayer, and preaching ; 
 and never having been abrogated, it remains to 
 be perpetuated to the end of time. 
 
 How strange that in the light of the Scriptures, 
 so clear and strong, any one should conclude that 
 the days of sacred song have long since passed 
 away ! It is gratifying to observe, however, that 
 nearly all the branches of the Christian Church, 
 however they may differ on other points, recog- 
 nize singing as a part of Divine worship. 
 
 Against this almost unanimous testimony of 
 the Churches, the Society of Friends utter their 
 decided protest. But this is not remarkable when 
 we consider that they reject the ordinance of bap- 
 tism in the face of the great commission, and the 
 Sacrament of the Lord's Supper, enjoined as it is 
 by the positive command of the Master. 
 
 Let us, then, give heed to the inspired teach- 
 ings. Let all the members of the Church militant 
 raise their voices in praise to the great " Captain 
 of our salvation," and to these sublime and stir- 
 ring notes let the " sacramental host" march on 
 triumphantly to the conquest of the world. 
 
THE SERVICE OF SONG. 53 
 
 PART FIKST, 
 
 SINGING IN PRIVATE DEVOTION. 
 
 Religion should be made a Personal Matter — Singing should have 
 a place in Private Devotion — David and the other Psalmists — 
 The Devout Laborer — Numerous Occasions of Gratitude and 
 Praise — " O, Weep not for the Joys that Fade" — Death, 
 only, considered Inexorable by the Ancient Grecians — The 
 Albigensian Christians — Margaret Wilson — Charles Wesley — 
 John Wesley — The* Little Girl in the far Southwest — Bishop 
 Capers — The Rev. William Hoge — The Rev. W. G. Caples. 
 
 " In ev'ry joy that crowns my days, 
 In ev'ry pain I bear, 
 My heart shall find delight in praise, 
 Or seek relief in prayer." 
 
 We would emphasize the familiar truism, that 
 religion should be made a personal matter. The 
 Gospd addresses itself to individuals. Every 
 member of the human family is personally guilty. 
 Every one La exposed to wrath. Every one has 
 been redeemed, and may be saved by a personal 
 trust in the merits of Christ. Hence it is said : 
 •• Enter into thy closet." Go alone to the mercy- 
 Beat. While you attach due importance to public 
 and social worship, see to it that you serve God 
 
£>4 THE SERVICE OF SONG. 
 
 in your individual capacity. Do not lose your 
 identity in the common mass of humanity, but 
 sedulously cultivate a sense of your own responsi- 
 bility. Pray to God in secret, and be rewarded 
 openly. He who neglects private devotion, and 
 looks forward to the Sabbath in the hope that, as 
 a sponge, it will wipe out all the sins of the week 
 preceding, will go to the sanctuary with a cold and 
 hard heart, and the services will be to him an irk- 
 some task. The lamp of Christian experience will 
 soon go out if it is not trimmed and fed in secret. 
 
 JNor is there any reason why singing should not 
 constitute an integral part of private devotion. 
 This delightful exercise stirs i}ie soul, quickens 
 the believer's faith, fans the flame of love, and 
 thus fits him for his duties, trials and enjoyments. 
 
 David, when harassed and persecuted by Saul 
 and his allies, was sustained and soothed by the 
 sweet influences of poetry and song. Cut off from 
 the privileges of public worship, an exile dwelling 
 in dens and caves of the earth, he expressed his 
 gratitude for past mercies and his trust in God for 
 the future, in odes the most touching and sublime. 
 Oppressed with the cares of state, exposed to the 
 privations and perils of the camp and the battle- 
 field, he would, nevertheless, constantly maintain 
 a devotional spirit. Hear the pious utterances of 
 the " monarch minstrel " and others of the inspired 
 Psalmists : 
 
 "I will bless the Lord at all times, His praise 
 
Tin: >i:i:\ k i: OF 5fl 
 
 shall continually be in my mouth." "Let my 
 mouth be filled with Thy praise, and with Thy 
 honor all the day." " In God wo boast all the day 
 long, and praise Thy name forever and ever." 
 ven times a day do L praise Thee, because of 
 Thy righteous judgments." 
 
 The followers of Christ have often experienced 
 how effectually the hours of solitude may be bereft 
 of their Loneliness by the uplifting of the heart to 
 I in prayer and praise. 
 
 The devout laborer, as he goes to his daily toil, 
 mingles his morning songs with the tuneful lays 
 of the lark. Hear his supplicatory hymn : 
 
 " O disclose Thy lovely face, 
 
 Quicken all my drooping powers! 
 
 Gasps my fainting soul for grace, 
 As a thirsty land for showers. 
 
 Haste, my Lord, no more delay, 
 
 Come, my Savior, come away ! 
 
 " Dark and cheerless is the morn, 
 Unaccompanied by Thee ; 
 Joyless is the day's return, 
 
 Till Thy mercy's beams I see — 
 Till thou inward light impart, 
 Glad my eyes and warm my heart" 
 
 Returning from his work at the close of the 
 day, he lifts his voice again and sings : 
 
 " The mellow eve is gliding 
 Serenely down the west ; 
 So every care subsiding, 
 My soul would sink to rest. 
 
56 THE SERVICE OF SO^G. 
 
 " The woodland hum is ringing 
 
 The daylight's gentle close ; 
 
 May angels round me singing 
 
 Thus hymn my last repose. 
 
 * s The evening star has lighted 
 Her crystal lamp on high ; 
 So, when in death benighted. 
 May hope illume the sky. 
 
 " In golden splendor dawning, 
 
 The morrow's light shall break; 
 O, on the last bright morning, 
 May I in glory wake."' 
 
 The mother is frequently left with no companion 
 but her little one. She looks upon the tiny form and 
 muses with maternal solicitude upon the destiny 
 of the young immortal. She trembles in view of 
 the dangers and sufferings to which the loved one 
 is incident, but disburdens her heart by a hymn 
 of invocation and praise to the God and Father 
 of all. 
 
 The Christian traveler is in a strange land. 
 Strange habitations greet his vision and a strange 
 language falls upon his ear. With a sad heart he 
 contrasts these new sights and sounds with the 
 familiar scenes of his native country and his child- 
 hood's home. He may never again behold the 
 green trees and blue skies which looked down 
 lovingly upon his youthful sports. The anxious 
 ones whose hearts follow him in his wanderings 
 may never hail his return. But he feels that he 
 is about his Father's business and on his way to 
 his Father's house. And now 
 
 "How happy is the pilgrim's lot!" 
 
TIIE SERVICE OF SONG. 57 
 
 flow grateful La the song which wafts his soul to 
 the "city in the ski. 
 
 Every pious individual finds numerous occa- 
 sions for gratitude and praise, such as the change 
 of seasons, birth- days, deliverance from danger, 
 and the reception of special blessings. Even 
 afflictions are cesigned to "yield the peaceable 
 fruit of righteousness," and hence the injunction, 
 "Rejoice evermore: pray without ceasing: in 
 rything give thanks." 
 
 It is to be feared that in seasons of sadness and 
 suiFering we too often lose the spirit of praise : we 
 make our requests to God, but not with thanks- 
 giving. Thus we fail to receive the grace we need. 
 Amid the fiercest storm let the soul be serene. 
 Let the Divine character be contemplated; let 
 the memory of past blessings be vivid ; let present 
 possessions and enjoyments be appreciated ; let 
 the "exceeding great and precious promises" be 
 implicity relied upon, and let the "far more ex- 
 ceedinu- and eternal weight of glory" be antici- 
 pated. Then will the chastened child of God be 
 so filled with gratitude and hope as to become 
 unmindful of his anguish. 
 
 " O weep not for the joys that fade 
 
 Like evening lights away ; 
 For hopes that, like the stars decayed, 
 
 Have left their mortal day ; 
 For clouds of sorrow will depart, 
 
 And brilliant skies be given, 
 And though on earth the tear may start, 
 Yet bliss awaits the holy heart 
 
 Amid the bowers of heaven." 
 
58 THE SERVICE OF SONG. 
 
 4 
 
 How often has the spirit of the dying saint been 
 uplifted upon the pinions of song, his own falter- 
 ing notes blending with the anthems of angels ! 
 
 We are informed that the ancient Grecians con- 
 sidered death as the only god who would neither 
 be moved by offerings nor conquered by sacrifices 
 and oblations ; and, therefore, he was the only one 
 to whom no altar was erected, and to whom no 
 hymns were sung. But, to the Christian, death is 
 by no means so inexorable. Gaining the victor}'' 
 through our Lord Jesus Christ, the holy conquerer 
 rises above " the last enemy " with grateful pseans 
 upon his lips. 
 
 Many of the martyrs sang until they breathed 
 their last in the flames. It is said that during 
 the persecutions by Simon de Montfort, in the 
 thirteenth century, one hundred and forty Albi- 
 gensian Christians were engaged in singing while 
 they marched into the fire which had been kindled 
 to consume them. 
 
 Margaret Wilson, having been sentenced to 
 death for her faith in Christ, was fastened to a stake 
 in Solway Frith, between England and Scotland, 
 to await the advancing tide. But she sang and 
 prayed until the waves choked her voice. Many 
 other examples might be given of the triumph of 
 praise over the horrors of a violent death. 
 
 "Nothing," says the Rev. Richard Baxter, 
 " comforts me more in my greatest sufferings, or 
 seems more fit for me while I wait for death, than 
 
THE SERVICE OF SONG. 59 
 
 »ing psalms of praise to God ; nor is there any 
 
 ■ in which I had rather end my life." 
 Charles Wesley finished his course in the eighti- 
 eth year of his age. This prince of uninspired 
 poets put his last prayer into verse. Calling his 
 wife to his bedside, he desired her to write : 
 
 "In age and feebleness extreme, 
 Who shall a helpless worm redeem ? 
 Jesus, my only hope Thou art, 
 Strength of my failing flesh and heart ! 
 O, could I catch a smile from Thee, 
 And drop into eternity: " 
 
 Beautiful and triumphant conclusion of a well 
 spent life ! 
 
 The poet-preacher dropped his harp but for a 
 moment. He still lives ; and, having reached " the 
 city of the Great King," rejoicing in immortal 
 youth and vigor, he continues to pour out his soul 
 to God in love and praise. 
 
 In his eighty-eighth year John Wesley entered 
 into rest. The sunset of his long and memorable 
 day was gloriously peaceful. In life, sacred song 
 was the element in which he delighted to move, 
 and in death it diffused around him a celestial 
 fragrance. 
 
 The day before his departure he sang that ex- 
 cellent hymn, composed by his brother Charles : 
 
 " All glory to God in the sky, 
 
 And peace upon earth be restored ! 
 O Jesus, exalted on high, 
 
 Appear, our omnipotent Lord ; 
 
60 THE SERVICE OF SONG. 
 
 Who meanly in Bethlehem born, 
 
 Didst stoop to redeem a lost race ; 
 Once more to Thy people return, 
 
 And reign in Thy kingdom of grace, 
 
 " O wouldst Thou again be made known, 
 
 Again in Thy Spirit descend ; 
 And set up in each of Thine own, 
 
 A kingdom that never shall end I 
 Thou only art able to bless 
 
 And make the glad nations obey ; 
 And bid the dire enmity cease, 
 
 And bow the whole world to Thy sway." 
 
 Later in the day lie surprised the friends who 
 wept around him by singing : 
 
 " I'll praise my Maker while I've breath, 
 And when my voice is lost in death 
 
 Praise shall employ my nobler powers; 
 My days of praise shall ne'er be past, 
 While life, and thought, and being last, 
 Or immortality endures." 
 
 Still later, after a brief but very fervent prayer, 
 he raised his voice and sang two lines of the 
 Doxology : 
 
 "To Father, Son and Holy Ghost, 
 
 Who sweetly all agree." 
 
 Night came on, but to the expiring, rejoicing saint 
 there was no darkness : an eternal day dawned 
 upon his enraptured spirit. He frequently at- 
 tempted to repeat the hymn which he had sung 
 the preceding day, but could only utter, 
 
 " I'll praise— I'll praise." 
 
 The next morning, with a heart full of tranquil 
 
THE SERVICE OF SONG. 61 
 
 joy, he said to his friends, and to all sublunary 
 things, " Farewell!" 
 
 A few years ago there lived a beautiful little 
 girl in the far Southwest. She was almost always 
 smiling and singing, and every one praised her 
 for her goodness. One day she lay down upon 
 her bed, looking very pale, and said she was 
 very weary. Her little hands grew cold, and 
 great drops of clammy sweat stood on her fair 
 young brow. And then her large blue eye grew 
 ;ht and sparkling, and a heavenly smile irra- 
 diated her pale features, and she exclaimed, 
 i% Music ! music ! O, how sweet ! " Then, extend- 
 ing her little arms, she said: "I am coming!" 
 Instantly the spirit took its flight, and there was 
 another songster in the angelic choir. 
 
 " Let music charm me last on earth, 
 And greet me first in heaven." 
 
 On a certain occasion the late Bishop Capers 
 was dangerously ill— in fact it was supposed that 
 his end was near. But, with exultant faith and. 
 hope, he was ready to meet the last enemy. Having 
 given, as he supposed, his dying charge to his 
 • wing wife and children, and having bidden 
 them farewell, he requested Mrs. Capers to write 
 as he dictated the following couplet: 
 
 " O may I joy in all his life, 
 
 And shout the Cross in death ! " 
 
 lie then said, "Give me the paper; I wish to draw 
 a line under ili<* words, And shout fhe Cross in 
 
62 THE SERVICE OF SONG. 
 
 death" repeating the expression several times. 
 But the sickness was not unto death ; it was sev- 
 eral years after this that he was called to his re- 
 ward. And, as he had anticipated, the Cross bore 
 him triumphantly through the final conflict. He 
 who took such unutterable delight in singing the 
 praises of God on earth has assuredly gone to 
 
 "Ask an angel's lyre." 
 
 Blessed are they who, through faith, come forth 
 from the Christian's warfare singing the victor's 
 song ! 
 
 The Rev. William Hoge, an eminently pious 
 and gifted minister of the Presbyterian Church, 
 died recently near Petersburg, Va. War, like 
 a mighty earthquake, had convulsed the whole 
 country from center to circumference, and among 
 the last sounds that fell upon the ear of the 
 dying Christian, were the distant thunderings of 
 artillery. But, with these terrific sounds, the songs 
 of Zion mingled their melody. The morning 
 was unusually calm and bright, and Mr. Hoge, 
 after looking out for the last time upon its light 
 and beauty, requested those present to sing a 
 hymn. 
 
 How firm a foundation, ye saints of the Lord," 
 
 was sung, and he remarked: "It is enough; all 
 that is comforting in the assurance of the Di- 
 vine love and care seem to be there ; nothing is 
 
THE SERVICE OF SONG. 63 
 
 omitted." His own voice, in life, had been excel- 
 lent, and when they began to sing, 
 
 '• How sweet the name of Jesus sounds 
 In a believer's ear ! " 
 
 he could no longer remain silent, but joined with 
 a trembling voice, imparting his whole strength 
 and soul to the two last lines of the stanza: 
 
 " Weak is the effort of my heart, 
 And cold my warmest thought ; 
 But when I see Thee as Thou art 
 T 7/ praise Thee as I ought." 
 
 His face beamed anew with heavenly joy, and 
 hia voice grew fuller and deeper as he said : 
 
 "And may the music of thy name 
 Refresh my soul in death ! " 
 
 Adding, after a brief pause, "I know but little of 
 music now ; but soon I shall be listening to the 
 diapason of the universe." 
 
 Soon after this he passed away to rejoice with 
 the shining ones in his Heavenly Father's house. 
 
 The Rev. Win. G. Caples, of the Missouri Con- 
 ference of the Methodist Episcopal Church, South, 
 was one of the most gifted and successful minis- 
 ters in the West. While in the meridian splen- 
 dor of his life and labors, he died in Glasgow, Mo., 
 October 11, 1864, of a wound received during a 
 contest of the Confederate and Federal forces for 
 the occupancy of the city. Mr. Caples was not a 
 combatant, and the wound was not intentionally 
 inflicted. t% The end of that man was p^ace," yea, 
 
64 THE SERVICE OF SONG. 
 
 it was a glorious triumpli over "the last enemy." 
 The Rev. John D. Vincil says* that, after prayer 
 had been offered, " we all united in singing the 
 last strains he ever heard till the music of the 
 heavenly songsters broke npon his ear. While 
 we sang 'I would not live alway,' with him a 
 favorite piece, his face brightened into a glowing 
 radiance, reminding us of the countenance of 
 Stephen in the council when he preached his last 
 sermon. Brother Caples attempted to join in the 
 melody that was bearing his soul up to the place 
 
 'Where the saints of all ages in harmony meet.' 
 
 He was too weak, however, to sing, but repeated 
 the words with deep feeling." When the singing 
 was concluded, the dying Christian hero said to 
 Mr. Vincil, with the most settled composure and 
 sweet serenity : " My brother, my race is about 
 run — suddenly cut short. I have unexpectedly 
 reached the end. I shall soon be on the other 
 shore." 
 
 Hear the sermon which the Gospel preaches to 
 the dying believer : 
 
 "Is thy earthly house distrest? 
 Willing to retain its guest? 
 ' Tis not thou, but it must die ; 
 Fly, celestial tenant, fly ! 
 Burst thy shackles ! drop thy clay, 
 Sweetly breathe thy life away; 
 Singing to thy crown remove, 
 Swift of wing, and fired with love. 
 
 * Bishop Marvin's Life of Caples. 
 
TIIH SERVICE OF SONG. 65 
 
 Shudder not to pass the stream, 
 Venture all thy care on Him — 
 Him, whose dying love and powei 
 Still' d its tossing, hush"d its roar. 
 Safe is the expanded wave, 
 Gentle as a summer's eve ; 
 Not one object of His care 
 Ever suffered shipwreck there. 
 
 See the haven full in view ; 
 
 Love divine shall bear thee through. 
 
 Trust to that propitious gale ; 
 
 Weigh thy anchor, spread thy sail. 
 
 Saints in glory, perfect made, 
 
 Wait thy passage through the shade; 
 
 Ardent for thy coming o'er, 
 
 See, they throng the blissful shore. 
 
 Mount, their transports to improve, 
 Join the longing choir above ; 
 Swiftly to their wish be given, 
 Kindle higher joy in heaven. 
 Such the prospects that arise 
 To the dying Christian's eyes ; 
 Such the glorious vista, faith 
 Opens through the shades of death." 
 
66 THE SEE VICE OF SONG. 
 
 PART SECOND 
 
 SINGING IN THE FAMILY AND IN THE SCHOOL. 
 
 CHAPTER I. 
 
 SINGING IN THE FAMILY. 
 
 Home — A Christian Home — Praise as well as Prayer should be 
 Heard in the Habitations of the Faithful — Benefits of House- 
 hold Praise — Why it is especially Beneficial to Children — We 
 need Sacred Songs as an Offset against Bacchanalian or Ribald 
 Songs — The Early Christians — The Westminster Assembly — 
 Matthew Henry's Remark — The Author's Reminiscences — 
 "Come to tire Place of Prayer" — Family Choirs. 
 
 " Home, sweet home ! " At home infancy 
 is cradled, childhood is nurtured, youth is 
 guarded, manhood is inspired, age is supported 
 and solaced. There sickness is healed and sorrow- 
 soothed. There weariness rests and anxiety finds 
 repose. Home is a magnet which ever attracts 
 the heart, whether we sail on distant seas or wan- 
 der in foreign climes. It is a relic of paradise — 
 a type of heaven. 
 
 " The pilgrim's step in vain 
 Seeks Eden's holy ground; 
 But in home's holy joys, again 
 An Eden may be found." 
 
THE ski: VICE OF SONG. 67 
 
 This, however, can only be said of a Christian 
 home. In this little empire love must reign with 
 undisputed sway, or the type has but little signifi- 
 cance. " He setteth the solitary in families," that, 
 around the hearth-stone, affection's golden chain 
 may sweetly link heart to heart, and all hearts to 
 the God of love. The express design of this 
 institution is, that the parents being holy, the 
 children may be schooled into habits of piety. 
 Thus the young are to be prepared for a life of 
 usefulness and happiness, and for a joyful immor- 
 tality. There should be, in some sense, a Church 
 in every house. There are family wants and 
 family blessings ; and hence there should be 
 family prayer and praise. In the Scriptures those 
 families that call not upon the name of the Lord 
 are placed in a category with the heathen ; but it 
 is said that "the house of the righteous shall 
 stand." It is scarcely necessary to urge that the 
 habitations of the faithful should be vocal, morn- 
 ing and evening, with praise as well as prayer. 
 
 " It is a good thing to give thanks unto the Lord, 
 and to sing praises unto Thy name, Most High : 
 to show forth Thy loving kindness every morning, 
 and Thy faithfulness every night." 
 
 " Sing unto the Lord, bless His name : show forth 
 lll< salvation from day to day." 
 
 This delightful exercise can not fail to elevate 
 the aims, tranquillize the spirits, and intensify the 
 love of parents, children and servants. We may 
 
68 THE SERVICE OF SONG. 
 
 well suppose that angels on errands of mercy 
 pause to listen to the songs which go up from a 
 holy household. Yea, the God of angels hears 
 with approbation these ascriptions of praise. 
 
 The opinion has been confidently advanced, that 
 where there is singing at the family altar, tho 
 children are more likely to be brought under 
 religious influences, and to become disciples of 
 Christ at an early age, than in those families in 
 which there is no service of song. If this be 
 so, is not singing in family worship a matter of 
 prime importance ? 
 
 The reasons for the opinion referred to are, it 
 would seem, conclusive. When there is singing, 
 the child is much more apt to become a partici- 
 pant in the worship than when this pleasing exer- 
 cise is omitted. The reading' of the Scriptures 
 and prayer are comparatively uninteresting to 
 those who are of tender years ; but singing engages 
 the voice and enlivens the spirits, and is withal 
 such a service as the young generally delight in. 
 Hence it is altogether probable that impressions 
 are made' upon the susceptible heart by means of 
 melodious sounds, which would not be made with- 
 out this fascinating and influential agency. 
 
 Much stress should also be laid upon the fact 
 that the youthful memory being exceedingly tena- 
 cious, impressions made upon the child are likely 
 to be indelible. The great incidents in the history 
 
TIIK SKP. VICE OF soxo. G9 
 
 of the Israelites were woven into Bong, and these 
 eucharistic epics were required to be diligently 
 jilt to their children. So, in the present day, 
 the simple doctrines and thrilling events of Chris- 
 tianity should be wrought into verse and imprinted 
 upon the juvenile mind by the power of music. 
 Truths thus inculcated will cling to the soul for- 
 ever. We all know that cherished memories of 
 home and friends are written upon the immortal 
 mind with such enduring vividness that the record 
 can never be effaced. But in all the reminiscences 
 of days gone by, there is nothing that so haunts 
 the spirit as the songs to which we were accus- 
 tomed in childhood. 
 
 The sweet tones of a mother's voice will live and 
 speak in the heart long after that familiar sound 
 lias been hushed into silence. The recollection of 
 the songs of Zion which were first heard amid the 
 throng of worshipers in the city, or in the em- 
 r ered country church, will remain in morning 
 freshness long after the sanctuary has mouldered 
 into ruin-. We may cross oceans and wander in 
 foreign climes : the (Meet frame may be bowed with 
 the weight of years, and raven ringlets may be 
 converted into locks of snowy whiteness; but the 
 old home-songs heard in the distance in the still 
 morning, or sung by ourselves in some calm hour 
 of reflection, or by tin* home-circle on a win 1 
 evening, will bring around as tie- friends and the 
 scenes of other days and of far-off lands; and, 
 
70 THE SERVICE OF SONG. 
 
 while the dim eye of age sparkles with unwonted 
 brilliancy, the heart will beat with the buoyancy 
 of early youth. 
 
 " When thro' life unblest we rove, 
 
 Losing all that made life dear, 
 Should some notes we used to love 
 
 In days of boyhood meet our ear, 
 Oh ! how welcome breathes the strain ! 
 
 Waking thoughts that long have slept, 
 Kindling former smiles again 
 
 In faded eyes that long have wept 
 
 " Like the gale that sighs along 
 
 Beds of oriental flowers, 
 Is the grateful breath of song, 
 
 That once was heard in happier hours; 
 Fill'd with balm, the gale sighs on, 
 
 Though the flowers have sunk in death j 
 So, when pleasure's dream is gone, 
 
 Its memory lives in music's breath." 
 
 It is not at all improbable that the songs learned 
 in the nursery, or around the fireside, will be used 
 by the Holy Spirit in after years as the instru- 
 mentalities of conviction, conversion, and final 
 salvation. On the contrary, bacchanalian or ribald 
 songs, which are apt to be learned and used by 
 those who are unaccustomed to religious melodies, 
 are, in the hands of the Destrayer, a most potent 
 means of spiritual and everlasting ruin. Shall we 
 quietly allow this tremendous power to pass into 
 the hands of the enemy, or shall we not eagerly 
 
THE SERVICE OF SONG. 71 
 
 seize upon it as our lawful right, and wield it for 
 the good of our race and the glory of God? 
 
 M Who on the part of God will rise? 
 Innocent sounds recover — 
 Fly on the prey, and seize the prize, 
 Plunder the carnal lover. 
 
 " Strip him of every moving strain, 
 Every melting measure; 
 Music in virtue's cause retain, 
 , Rescue the holy pleasure." 
 
 It will, doubtless, be admitted that singing 
 as a part of family worship is by no means as 
 generally observed as it was in former days. 
 While in many things we have advanced, at this 
 point we have retrograded. Suppose we were to 
 dispense with singing in the Church, how sadly 
 would Zion be shorn of her beauty and power! 
 How comparatively dreary and feeble would be 
 the services ! And is not this the very effect which 
 has been produced by the discontinuance of sing- 
 ing in the Church-in-the-house with which our 
 children are especially identified ? 
 
 Why should not a worshiping family sing? 
 Have we not sufficient time to spare from secular 
 engagements? Is the work too arduous? Is the 
 exercise calculated to do no good? Will not the 
 samr reasons which would justify us in the habit- 
 ual neglect of singing at the family altar also 
 
72 THE SERVICE OF SONG. 
 
 justify us in dispensing with the reading of the 
 Scriptures and prayer ? 
 
 It is said of the early Christians that their family 
 devotions consisted of the reading of the Scriptures, 
 singing and prayer, and that this household wor- 
 ship was engaged in four times every day. Happy 
 households ! Their children were especially taught 
 to sing the wonders of Redemption. 
 
 In the year 1644, the Westminster Assembly 
 declared the singing of psalms to be a duty in 
 which all Christians should engage, both in the 
 congregation and in the family. 
 
 Matthew Henry says : " He who reads does well ; 
 lie who reads and prays does better ; but he who 
 reads, sings and prays does best of all." 
 
 The writer well remembers the sojourn of the 
 ministers of the Gospel at his father's house as 
 among the happiest hours of his boyhood days ; 
 but he has no recollection of ever being present 
 at worship under the paternal roof, which was 
 regularly kept up morning and evening, when 
 singing did not constitute a prominent part of the 
 service. Let this Scriptural, time-honored custom 
 be perpetuated. At least twice a day, let every 
 home be gladdened with tuneful worship, and, as 
 we see our children uniting in the service, let us 
 
Tin: SKKVICE OF SONG. 73 
 
 thank God that "out of the months of babes and 
 sucklings Be has perfected praise." 
 
 " Come to the place of prayer! 
 Ye band of loving hearts, O come and raise, 
 With one consent, the grateful song of praise 
 
 To Him who gives you a lot so fair. 
 
 " So in the world above, 
 Parents and children may meet at last, 
 When this their weary pilgrimage is past, 
 
 To mingle their joyful notes of love." 
 
 Wherever it can be done, family choirs should be 
 formed and maintained. If parents and children 
 would frequently spend the evening in singing, the 
 most happy effects would ensue. The gay world 
 spreads out before the young its bewitching at- 
 tractions, and they arc ever prone to overstep the 
 line which separates the territory of innocent 
 enjoyment from the enchanted ground of sinful- 
 pleasure. To enable them to resist these danger- 
 fascinations, let home be made an Elysium. 
 The concord of sweet sounds, in the bower or 
 around the fireside, will be a formidable rival to 
 the fashionable follies of the ball-room, and to the 
 ensnaring convivialities of tic drinking-saloon. 
 At home let music and flowers, and all other inno- 
 cent and lovely things, be laid under contribution, 
 and an influence will be exerted upon the young 
 mind which will lead to high aspirations and 
 noble deeds. The flowing numbers of song act as 
 so many fleet-foot. -< I s< ape-goats to bear the genius 
 
74 THE SERVICE OF SONG. 
 
 of family broils far away into the wilderness. 
 How can parents be impatient or irascible in the 
 midst of music? How can children be petulant 
 or disobedient? How can servants be obstinate 
 or rebellions ? In this world, where there is so 
 much to irritate and annoy, let ns, as far as we 
 can, make the atmosphere abont ns tremulous 
 with soothing sounds. 
 
 Every family is subject to reverses and afflic- 
 tions, but a musical family can scarcely be un- 
 happy. Amid the wane of fortune and the shadows 
 of distress, music charms the desponding heart, 
 leading it onward to the light of sunny days 
 which are yet to dawn. 
 
THE SERVICE OF BONO. 75 
 
 CHAPTER II. 
 SINGING or the scnooL. 
 
 "Music should be Taught in all our Literary Institutions — Pupils can 
 usually learn Music with ease — General Conference Action — 
 Bishop Andrew on the same subject — Singing in the Schools in 
 Prussia — What Luther says — President J. M. Bonnell — Dr. 
 Thomas Hastings — X. D. Gould — Dr. Rush Recommends 
 Vocal Music — Horace Wal pole — Instrumental Music in Female 
 Colleges — Bishop Andrew desires Sacred Songs — Singing in 
 the Sabbath-school — The Singing of Children — A Musical 
 Theology for Children. 
 
 It is self-evident that the pupil should be 
 taught, as far as possible, everything that will 
 conduce to success in this life and 10 happiness in 
 the life to come. Hence we conclude that music, 
 whose influence is most animating and benign, 
 old be taught in all our literary institutions. 
 
 In view of the fact that music is a beautiful and 
 Pal science, is it not strange that it has been so 
 much neglected in this land which boasts so loudly 
 of a high Christian civilization? And yet thous- 
 ands of American youth of both sexes have pas 
 from the nursery to the school, and thence to the 
 college, and have graduated with the highest scho- 
 lastic honors, in total ignorance of the science of 
 music ! To the lib, rati in other countries it must 
 
76 THE SERVICE OF SONG. 
 
 appear marvelous that in many of our institutions 
 for males, from the primary school to the most 
 renowned university, there are no facilities af- 
 forded for the acquisition of musical knowledge. 
 Music is not in the curriculum ; it claims no day, 
 no hour, from the beginning to the close of the 
 student's career : it is ignored as if not worthy of 
 the attention of educated men. 
 
 As a science, music, of course, has its philosophy. 
 It is at the farthest possible remove from an arbi- 
 trary blending of incoherent fragments. It has 
 its rules and its reasons — its theory and its prac- 
 tice. Therefore, while it greatly enhances our 
 usefulness and happiness, the study of the science 
 is an excellent means of mental discipline. 
 
 Is it not manifest that, in all our schools, acade- 
 mies and colleges, instruction should be given in 
 vocal music? We should certainly make the 
 practical admission that the science which espe- 
 cially aids us in the worship of God is as import- 
 ant as the science of numbers, by which we carry 
 on trade and increase our earthly substance. We 
 should be as ready to eliminate arithmetic from 
 the course of studies prescribed for the young as 
 to omit music. 
 
 Let no one conclude that we would impose upon 
 teachers an unreasonable burden. Yery few per- 
 sons are destitute of the ability to sing, and all 
 sane persons are capable of acquiring the science 
 of music. Every teacher who is worthy of the 
 
THE SERVICE OF SONG. 77 
 
 name can, with proper effort, give instruction in 
 this branch of learning as in any other department. 
 There is no real difficulty in the way. 
 
 Let it not be supposed that the science is too 
 abstruse to be acquired by boys and girls: the 
 success uniformly achieved wherever due exertion 
 has been made gives a palpable contradiction to 
 the hypothesis. • A youth of suitable age who is 
 incapable of understanding the principles of vocal 
 music, when simplified and explained by a com- 
 petent teacher, is incapable of mastering any 
 science whatever, and the case may be given up 
 as hopeless. 
 
 Unlike most other studies, this is a delightful 
 recreation rather than a work of toil and fatigue ; 
 for, while its principles are clearly developed and 
 ematically presented to the pupil, there is an 
 inspiration connected with the practical part 
 which refreshes and invigorates the mind. 
 
 Nearly every one has a natural fondness for 
 singing ; but, in the case of thousands, this de- 
 sire is permitted to lie dormant until it dies 
 for want of exercise. Take any other science — 
 chemistry, for example — and, leaving it out of the 
 regular school and college course, trust to its being 
 learned by chance in a few lessons given by an 
 itinerant lecturer, or otherwise, and how many of 
 the educated in our country would have a taste f< >r 
 it, or be proficient in it? We can easily account 
 for the deplorable neglect of music which exists in 
 
78 THE SEKVICE OF SOXG. 
 
 many parts of the United States and elsewhere, 
 on the ground that the talent for it is not called 
 into exercise in the most impressible and buoyant 
 period of life. Daily let the school-house and the 
 academy ring with the glad voices of the enthusi- 
 astic tyros, and there is no danger that the science 
 will be forgotten, or fall into desuetude, in the 
 college, or in after life. 
 
 We never can be a nation of singers until we 
 follow the example of the Germans and enthrone 
 music in the temple of knowledge, as we have 
 done the other sciences. For the last few years a 
 gratifying advance in this direction has been 
 manifest in this country, as well in the South as 
 in the North, but the reform is yet in its infancy. 
 
 The action of the General Conference of the 
 Methodist Episcopal Church, South, in the year 
 1858, on this subject, is especially gratifying and 
 prophetic of reform. The Report of the Committee 
 on Education, which was adopted by the Confer- 
 ence, is very emphatic, as will be seen by the fol- 
 lowing extract : " It is believed that vocal music 
 could be introduced with advantage into all our 
 primary and preparatory schools as a constant 
 and required exercise. We rejoice to know that 
 efforts are making in some quarters to promote 
 this end. We trust that the Church will sustain 
 these laudable efforts by getting up and publish- 
 ing suitable music, and by every other practicable 
 method. Surely there is no poetry more beautiful 
 
THE SERVICE OF SONG. 79 
 
 or sublime than sacred poetry: no music better 
 calculated to move the heart than sacred music. 
 
 Is it not, then, a burning shame that it is so 
 neglected in our Church schools? We would 
 most earnestly urgt all who have these educa- 
 tional interests under their control to look well to 
 this matter.' 1 
 
 Let the very important fact brought to view 
 in the foregoing extract be carefully considered. 
 In distinct and very earnest tones the voice of 
 the Church has gone over her wide-spread terri- 
 tory, calling to all her members and friends, and 
 especially to her educators, to take steps for the 
 importation of instruction in music in all schools 
 under her influence. 
 
 Let us hear Bishop Andrew, of the same Church, 
 on this subject. Speaking of the Report from 
 which we have just quoted a paragraph, he says : 
 " There is another subject noticed in it which de- 
 mands a passing word. It is the recommendation 
 pi music as a proper part of the course of study 
 in all our institutions of learning. We are glad 
 that attention is called to this subject, and hope 
 that those who direct our educational operations 
 will give it their serious and early attention. AVe 
 believe that education, properly understood, is the 
 cultivation of all the faculties which can be made 
 available for our improvement, mentally, morally 
 and physically. 
 
 " Music forms an important part in the course 
 
80 THE SEEVIOE OF SONG. 
 
 of instruction. In Prussia it enters into the course 
 from the primary school up, with a view to im- 
 prove the voice, and also to enable the pupils to 
 unite in the solemn services of religion — very im- 
 portant objects, both of them, which we in this 
 
 country too much ignore Should we 
 
 not begin, even in childhood, to learn and practice 
 the delightful lessons which shall employ our 
 powers in all their exalted perfection in that 
 bright world to which at last we hope to go?" 
 
 We may add that the schools in Prussia are 
 always opened and closed with religious exercises, 
 of which the singing of hymns forms a part. " The 
 teachers in those schools say that they regard 
 the singing as the most efficient means of bring- 
 ing a scholar under a perfect discipline by moral 
 influence ; and that, in the case of vicious youth, 
 the reading of the Bible and the singing of l^mns 
 are among the most efficient instruments employed 
 for softening the hard heart and bringing the 
 stubborn will to docility." 
 
 Luther says : " I desire that the young, who 
 ought to be educated in music as well as in other 
 good arts, may have something to take the place 
 of worldly and amorous songs, and so learn some- 
 thing useful and practice something virtuous." 
 
 In the schools founded on the plan of Luther 
 and Melancthon, nearly one-fourth part of the 
 school hours was devoted to music. As the result 
 of these efforts, " the hymns spread among all 
 
THE SEBVIOE OF SONG. 81 
 
 classes of people, and were sung not only in the 
 churches and schools, but also in the houses and 
 in the workshops, in the streets and in the market- 
 places, in the barns and in the iields." 
 
 President J. M. Bonnell, of theWesleyan Female 
 College, in an earnest plea for " a varied but 
 homogeneous, universal, permanent and heart- 
 stirring Church music," says : " Our male colleges 
 and universities must take this matter in hand. 
 They must place in their Faculties a chair of mu- 
 sic. It could very properly be combined with 
 oratory, and the incumbent be called the Profes- 
 sor of Vocal Culture. But that in each case would 
 depend upon the happy accomplishment of the 
 Professor himself. "What we recommend is, that 
 a gentleman of true scholarly attainments, accom- 
 plished in the whole science of music, able to 
 teach and train the voice, shall be admitted to 
 equal rank with the other Professors, and be re- 
 quired to instruct all the students, or so many as 
 would avail themselves of the privilege, in the 
 principles and practice of singing. For the sake 
 of those who expect to become teachers, he should 
 inculcate the true manner of inducting young pu- 
 pils into a knowledge of musical notation and 
 some skill in singing from it, and, especially, in 
 those principles of good taste which are connected 
 
 with congregational singing The 
 
 educated men of the Church must come to the 
 ;ue in this matter. They must give their coun- 
 
 6 
 
82 THE SERVICE OF SONG. 
 
 tenance to vocal musical culture. They must in- 
 vite it, if not demand it, in the teachers of their 
 boys' schools, and our colleges must inaugurate 
 the movement." 
 
 Dr. Thomas Hastings, who has done so much 
 to advance the cause of Church music in America, 
 remarks, that " early cultivation in this art, when 
 rightly directed, is uniformly successful." 
 
 N. D. Gould, Esq., one of the first teachers of 
 juvenile music schools in this country, speaking 
 of the difficulties with which he had to contend 
 about forty years ago, says : " It was a new idea, 
 and no one wished to commence the experiment. 
 The general impression and language was, that 
 for children to sing while young would injure their 
 voices, their health, and take their attention from 
 other studies ; and, although to learn to sing was 
 well enough, still it was of secondary consequence. 
 It might be done if perfectly convenient ; if not, it 
 was just as well to omit it. Although it could be 
 made evident that the employment was a pleasant 
 one, useful through life, and a source of comfort 
 when many other branches of education would 
 cease to be useful, or even to be noticed, yet, after 
 all the persuasion in our power, we could not suc- 
 ceed in obtaining a class until we resorted to the 
 expedient of teaching the art of writing in con- 
 nection with music — writing and singing altern- 
 ately half an hour for two hours. 
 
 " In this way, for the sake of the writing, we col- 
 
THE SERVICE OF SONG. 83 
 
 lected schools of about twenty-five each, at three 
 different points, and our patrons were so well satis- 
 lied with the experiment, that after one term there 
 was no difficulty in collecting scholars to attend 
 
 niging alone It was a well-known 
 
 fact in all places, notwithstanding the fears ex- 
 pressed by parents that it would injure the voice 
 and health, that the best voices and the best singers 
 were those who belonged to musical families, who 
 were accustomed to sing from childhood upward ; 
 and those who feared injuring the lungs did not 
 consider how any part of the system is strength- 
 ened by constant use ; and we presume the same 
 parents never troubled themselves about the ciy- 
 ing and screaming of their children through fear 
 of injury to their lungs. Much less should they 
 fear the gentle exercise of the voice to make 
 melodious sounds. Besides, the child that loves 
 to sing will be singing something, in some way, 
 whether taught or not. How necessary, then, that 
 they learn to sing understandingly ! As to its di- 
 verting the mind from other studies, experience has 
 proved the contrary. Teachers of common schools, 
 where singing is made a part of the exercises, 
 have universally acknowledged that the best 
 singers were usually the best scholars in other 
 studies." 
 
 Some years ago, in a Western city, a gentleman 
 proposed the introduction of vocal music into the 
 public schools; but the opposition to the measure 
 
84 THE SERVICE OF SOXG. 
 
 was general and decided. He then proposed to 
 teacli the scholars in two of the schools gratis for 
 one year. The proposition was accepted, and four 
 schools, instead of two, received instruction from 
 Mm in singing. At the close of the year the evi- 
 dence in favor of the plan was so conclusive that 
 he was employed for the year ensuing — a liberal 
 salary being given him — to teach in a large num- 
 ber of schools, and when he concluded his labors 
 others were employed in his stead. 
 
 Dr. Rush, in his Essaj^ on Elocution, says : " To 
 those who have studied human nature, it will not 
 appear paradoxical to recommend a particular 
 attention to vocal music ; its effects in civilizing 
 the mind, and thereby preparing the young for the 
 influence of religion and government, have so often 
 been felt and recorded that it will be unnecessary 
 to mention facts in favor of its usefulness." 
 
 Again, in his Essay on Female Education, Dr. 
 Rush remarks, that "Vocal music should never 
 be neglected in the education of a young lady in 
 
 this country The exercise of the organs 
 
 of the breast, by singing, contributes very much 
 to defend them from those diseases to which they 
 are exposed by our climate and other causes. Our 
 German fellow-citizens are seldom affected with 
 
 consumption This, I believe, is in part 
 
 occasioned by the strength which their lungs 
 acquire by exercising frequently in vocal music. 
 "Mi. A dger informed me that he had known sev- 
 
THE SERVICE OF SONG. 88 
 
 oral instances of persons strongly disposed to 
 consumption who were restored to health by the 
 moderate exercise of their lungs in pinging." 
 
 Eorace Walpole says: "Teach your children 
 music. You will stare at a strange notion of 
 mine ; if it appears even a mad one, do not won- 
 der. Had I children, my utmost endeavors would 
 be to breed them musicians. As I have no ear, 
 nor even thought of music, the preference seems 
 odd ; and yet it is embraced on mature reflection. 
 It is the most probable method to make them 
 happy. It is a resource that will last them 
 through life." 
 
 We have now heard an expression of opinion 
 in regard to the utility of vocal music in schools, 
 from the Church, the great reformer, the bishop, 
 the college president, the veteran music teacher, 
 the common school authorities, the eminent phys- 
 ician, and the Earl of Oxford. To these favorable 
 and forcible utterances much more might be 
 added, hut we forbear. 
 
 The foregoing paragraphs refer particularly to 
 
 vocal music. We venture a few suggestions in 
 
 nd to instrumental music in female colleges. 
 
 peering the style of music most to be desired, 
 
 we take occasion to express a decided preference 
 
 for that which is comparatively plain and simple 4 . 
 
 We would not decry science, nor reject artistic 
 
 •Hence; but we submit that what are usually 
 
 called fashionable or operatic performances have 
 
86 THE SERVICE OF SONG. 
 
 in them an excess of art, savoring of affectation, 
 reminding ns of bombast in oratory or gaudi- 
 ness in apparel. A style less pretentious is more 
 in unison with nature, sweeter and more subduing 
 in its effects — more powerful to thrill and capti- 
 vate the soul. 
 
 We think, too, that the music used should be 
 very carefully selected. Amorous or theatrical 
 pieces, and Ethiopian melodies — all effusions 
 which tend to degrade the taste, enfeeble the in- 
 tellect or vitiate the heart, should, of course, be 
 promptly eschewed. 
 
 Our female colleges operating under Church 
 auspices, are pledged to guard their pupils against 
 evil influences, and to lead them along in the 
 straight and narrow way. Those pupils who have 
 been destitute of religious instruction at home 
 should here be taught " the wisdom which is from 
 above," while the piety of religious pupils should 
 be carefully fostered. Yital Christianity without 
 bigotry and proselytism, should be the motto of 
 every institution. 
 
 It has been well said that music has a moral 
 character independently of the poetry to which il 
 is set. This moral character must be much more 
 decided and influential when the sounds are made 
 to give expression to words. Whatever sentiment 
 is clad in the garb of poetry and music must have 
 a remarkable potency, either for good or evil, and 
 especially when the subject upon which it acts is 
 
TIIE SERVICE OF SONG. 87 
 
 as delicate and susceptible as the opening flower. 
 How carefully, then, should we exclude from our 
 Christian female colleges and schools all musical 
 publications of injurious tendency! 
 
 Doubtless quite an improvement might be made 
 in many institutions by clearing away all the 
 sentimental trash which may be found within their 
 walls, and substituting instead thereof a good 
 supply of sacred pieces. As to poetry, " there are 
 no songs comparable to the songs of Zion ;" and, 
 as to music, there is none better fitted to charm 
 the ear and stir the soul than that which Divine 
 worship has hallowed. 
 
 Bishop Andrew says : " Our schools often 
 employ some one with an unpronounceable name, 
 who is often an infidel, or, if not thoroughly so, 
 at least he ignores all spiritual religion, and to 
 him we commit the musical training of our beau- 
 tiful, and amiable, and sensitive, and impressible 
 daughters. No wonder we can hardly ever get a 
 sacred song out of one of them. We call on our 
 daughters for music, and they cram us with a 
 waltz, or some wild, moon-struck love ditty! 
 Surely it is time these matters were mended ; and 
 to the Church, to the Christian schools of the 
 country, we must look for reform." 
 
 We can not more appropriately close this chap- 
 ter than by devoting a few paragraphs to the 
 subject of music in the Sabbath-school. 
 
 It is difficult to give to the institution a tlior- 
 
88 THE SERVICE OF SONG. 
 
 oughly religious character. It is to be feared that 
 in many of our Sabbath-schools there is a sad 
 want of spirituality. How may the young heart 
 be softened? How may the thoughts be directed 
 heavenward ? How may the children be impressed 
 with the great fact that they have assembled for 
 the express purpose of learning how to be holy 
 and happy ? 
 
 Great importance should certainly be attached 
 to the devotional services, and, in these exercises, 
 singing should have a prominent place. Singing, 
 not to display the industry and tact of the teacher, 
 nor the smartness of the scholar, but singing in 
 which God is earnestly and reverently praised. 
 
 We have reason to believe that, in many of our 
 Sabbath-schools, the song service only extends to 
 two or three stanzas at the opening of the school, 
 but few of the children sing, and but little interest 
 is felt in the exercise. How much is lost in con- 
 sequence of this indifference it is impossible to 
 ascertain. But we are glad to know that the sing- 
 ing in some of our schools is such as to illustrate 
 the beauty and utility of juvenile sacred song. 
 There is an attractiveness, an inspiration in it 
 that thrills the child's heart, breaks the monotony 
 and beguiles the tedium of the ordinary routine, 
 and brings to mind the holy employments and 
 rapturous joys of saints and angels in heaven. 
 
 If singing should constitute a daily exercise in 
 literary institutions, how much more should it 
 
THE SERVICE OF SONG. 89 
 
 claim attention in the Sunday-school! We can 
 
 not too forcibly urge apon all superintendents and 
 hers the great importance of cultivating in the 
 
 youthful mind the love of sacred song. We be- 
 lieve that by this means many a languishing 
 Sunday-school might be resuscitated, and that 
 many that are in successful operation might be 
 btly improved as to the character of the influ- 
 ence exerted. If we would impart to the institution 
 a lively, jubilant, aggressive character, we must 
 engage the voices, charm the ears and exhilarate 
 the souls of those who attend. Oh, for the power 
 of song to give a new impulse to this great enter- 
 prise ! 
 
 Where the children sing well, the reflex influ- 
 ence upon the teachers, the parents, and upon the 
 world is most salutary. What heart has not been 
 melted with the sweet, artless strains which pro- 
 l from the lips of childhood? At Sabbath- 
 school festivals it is not unfrequently the case that 
 the singing is the chief attraction. Sometimes it 
 sounds as if a company of seraphs had come from 
 the spirit land to give us a specimen of angelic 
 minstrelsy. This shows what children can do 
 when properly trained. 
 
 "There is," says Longfellow, "something ex- 
 ceedingly thrilling in the voices of children sing- 
 Though their music be unskilful, yet it finds 
 way to the heart with wonderful celerity. 
 Voices of cherubs are they, for they breathe of 
 
90 THE SERVICE OF SONG. 
 
 paradise ; clear, liquid tones, that flow from pure 
 lips and innocent hearts, like the sweetest notes 
 of a flute, or the falling of water from a fountain." 
 The good effect of proper attention to singing 
 in our Sabbath-schools would soon be visible in 
 the Church service. The children having learned 
 many of the hymns and tunes, and having im- 
 bibed the spirit of singing, would naturally desire 
 to join with the congregation in the service of 
 praise ; and this would have a powerful tendency 
 to make the worship pleasant and profitable 
 to them. Nor would it be long before the 
 best singers would be found to be those who had 
 been trained in the Sabbath-school. This is in 
 fact the most successful mode of improving our 
 Church music. 
 
 u Our best reliance," says Mr. Willis, "for* the 
 support of congregational song is, I am satisfied, 
 that which, perhaps, might not at first suggest it- 
 self — children. Children are the future Church. 
 But, aside from this, the earnestness of their young, 
 fresli natures ; the facility with which they learn ; 
 the pathetic innocence of their voices, and the 
 strong appeal of their example, as well as their 
 music, to the hearts of parents and older persons 
 present, render them of signal service in congre- 
 gational song." 
 
 Then let the children cry, Hosanna ! in the tem- 
 ple. Give us for them a poetical, musical theology. 
 Let the Sabbath-school be, in reality, the school 
 
THE SERVICE OF SONG. 91 
 
 of Christ. At tune infantile voices for nobler strains 
 in the New Jerusalem. Let the young soldiers in 
 the army of the Lord march forth to the conflict 
 to the inspiring notes of sacred music; and when 
 the warfare is ended, let their victories be cele- 
 brated in the poetry and song of immortality. 
 
92 THE SERVICE OF SONG. 
 
 PART THIRD. 
 
 SINGING IN THE WORSHIPING CONGREGATION. 
 
 SECTION I.— WHO SHOULD SING? 
 
 CHAPTER I. 
 
 ALL SHOULD SING. 
 
 The Object of Congregational Singing — Many of our Hymns are 
 Prayers — Singing takes its stand with Preaching and Praying — 
 Congregational Singing the Oldest Style of Music in the Chris- 
 tian Church — The Transition to the Clergy — Luther Restored 
 Music to the People — Singing a part of Divine Worship — White- 
 field's Preaching and the Singing — The Hibernian in the Sack at 
 Wexford — The Tavern-keeper — Musical Works issued by the 
 Wesleys — Rules in the Methodist Discipline — But few, com- 
 paratively, Sing — Preachers must Lead in the Reformation. 
 
 " Lord, how delightful 'tis to see 
 A whole assembly worship Thee ! 
 At once they sing, at once they pray ; 
 They hear of heaven and learn the way. 
 I have been there, and still would go ; 
 'Tis like a little heaven below." — Watts. 
 
 In answering the question, Who should sing? 
 let us recur to the fact that the object of congre- 
 gational singing is the worship of God. The word 
 worship, in its primary signification, gives us the 
 
TITE SERVICE OF SONG. 93 
 
 idea of worth, worthship, or worthiness. Religions 
 worship is the act of paying Divine honors to the 
 Supreme Being. The forms of worship are various. 
 
 All the exercises and ordinances pertaining to 
 the Church are designed to "be means of grace — 
 media through which the soul is uplifted to God, 
 and through which spiritual supplies are conveyed 
 to the soul. Hence it is obvious that all the de- 
 partments of Divine service should be so arranged 
 and conducted as to conduce most directly and 
 fully to this end. Prayer should be offered at the 
 right time, and in the right spirit. Suitable por- 
 tions of the Word should be read with becoming 
 earnestness and solemnity. The preaching should 
 be evangelical, plain, practical, powerful. But 
 what of the singing? Is it less important than 
 the other departments of Divine service? Surely 
 not. All other forms of worship are temporary, but 
 praise shall employ the noblest powers of saints 
 and angels forever. That precept which is most 
 frequently urged and reiterated in the Scriptures 
 is the one which enjoins praise to God. 
 
 Again, many of our hymns are in reality 
 prayers, and it has been well said that the singing 
 of these hymns by the congregation is the highest 
 form of prayer — prayer uttered by the combined 
 voices of the assembly — prayer shouted to the 
 heavens. It is manifest, therefore, that the service 
 of song is designed to be a real power in the 
 Church, and that all the lovers of Zion should be 
 
94 THE SERVICE OF SONG. 
 
 most solicitous to engage in it according to the 
 Divine will. 
 
 " Singing is a service which comes under ^he 
 direct notice of both preachers and people — the 
 
 ignorant and the learned It takes its 
 
 stand with preaching and praying, and is one of 
 the very staple ordinances of religion by which 
 the soul carries on holy commerce with heaven." * 
 
 "More than upon any other means, our religious 
 life is dependent upon the spirituality, ade- 
 quacy, and inspiration of our worship -song. The 
 hymnology of the Church aims at the perfect ex- 
 pression of all that is purest and noblest in the 
 spiritual life. If prayer expresses its lower moods 
 of need and sorrow, praise expresses its higher 
 moods of satisfaction and joy. Prayer seeks ; 
 praise proffers. Prayer is a beseeching and a wail ; 
 praise a worship and a pa? an Prayer asks God 
 to come to us ; praise seeks to go to God. The 
 soul that prays falls prostrate with its face to the 
 ground, often being in agony ; the soul that praises 
 stands with uplifted brow and transfigured counte- 
 nance, ready to soar away to heaven." f 
 
 Viewing the subject in this light, can we be at 
 a loss for an answer to the question, Who should 
 sing? Are we not all the workmanship of the 
 Divine hand, subjects of the Divine govern- 
 ment, recipients of the Divine bounty? Can any 
 of the children of men fail to engage in any part 
 
 ♦ Thomas Hirst. t Rev. H. Allon. 
 
THi: SEBVIOE OF SONG. 95 
 
 of the worship of the Most High and be blameless? 
 
 All who have the ability to sing are most 
 redly bound to do so in the best manner pos- 
 sible ; and if there be individuals who have no 
 car and no voice for music, they are also required 
 to unite in the service by making melody in their 
 hearts to the Lord. Thus the whole congregation 
 should unite in celebrating the praises of the 
 triune God. 
 
 This was the practice of the Christian Church 
 in the early ages of her history. A late writer,* 
 treating of what he calls " the music of the people," 
 informs us upon reliable authority that >; this is 
 the oldest style of music in the Christian Church. 
 During the first three hundred years after Christ 
 there was no other. The singing of the early 
 Christians was wholly congregational. Shortly 
 subsequent to the year 300 the first change oc- 
 curred — that of responsive singing. This mode 
 of singing was first practiced in the Syrian 
 Churches: about the middle of the fourth century 
 it was introduced by Flavian and Diodorus into 
 the Eastern Churches ; thence transferred, in the 
 year 370, to the Western Churches by Ambrose, 
 and soon came into general use under the name of 
 the Ambrosian style of music. As this responsive 
 singing was performed by the people, the music 
 still retained its congregational character. 
 
 " Choir music was introduced into the Church 
 
 * Richard Storrs Willis. 
 
96 THE SEE VICE OF SOjSTG. 
 
 in the fourth centur}^. At this time a distinct 
 class of persons was appointed to take charge of 
 this part of religious worship. But the people 
 continued, for a century or more, to enjoy, in some 
 measure, their ancient privilege of singing to- 
 gether — joining occasionally in the chorus and 
 
 singing the responses The clergy 
 
 eventually claimed the right of performing sacred 
 music as a privilege exclusively their own. Thus, 
 from the people, it would seem, Church music 
 passed, first to certain appointed officers of the 
 Church, and from them to the clergy; and, the 
 more effectually to exclude the people from any 
 participation in this exercise, the singing was now 
 in Latin. 
 
 " This entire monopoly of the music by the 
 clergy continued until the era of the Reformation, 
 when Luther restored, as the sacramental cup to 
 the mouth, so music to the lips of the people." 
 
 " From the first and Apostolic age singing was 
 always a part of Divine service, in which the 
 whole body of the Church joined together."* 
 
 It is well known that the Methodist Church has 
 uniformly uttered an emphatic voice in favor of 
 congregational singing. The genius of Method- 
 ism requires this style of Church music. 
 
 Methodism has been happily denominated, 
 " Christianity in earnest." It is the second great 
 
 # Bingham. 
 
THE SERVICE OF SONG. 97 
 
 revival of vital godliness that the world has wit- 
 
 3 id since the days of the Apostles, as the 
 
 Reformation in the sixteenth century was the first. 
 
 Wesleyan Methodism deplored the degeneracy of 
 
 the times. It wept over the laxity and deadness 
 of the Establishment, and ardently longed for the 
 simplicity, parity and power of primitive Chris- 
 tianity. The hearts of the great founders of 
 Methodism having been " strangely warmed," a 
 song was put into their mouths. Animated 
 by the spirit of Christ, they sang : 
 
 " O that the world might taste and see 
 The riches of His grace! " 
 
 The mighty power of God was manifested in 
 various places in the conversion of penitents, and 
 in the sanctification of believers. Societies were 
 formed, and stated meetings were held. Persecu- 
 tion raged ; and, driven from the churches, the 
 people worshiped in the fields. The field preach- 
 ing of Wesley and 'Whiten* eld, in the year 1730, be- 
 came " the starting point of our modern religious 
 history." 
 
 Methodism has always attached due import- 
 ance to the intellectual. She claims the venerable 
 halls and "classic shades" of the University of 
 Oxford as the place of her nativity ; and thanks 
 I not only for holy hearts, but also for her 
 [ties for mental culture. Nevertheless, she 
 has always put the heart in advance, maintaining 
 
 her orthodoxy by her spirituality, rather than her 
 7 
 
98 THE SERVICE OF SONG. 
 
 spirituality "by her orthodoxy. Essentially mis- 
 sionary in her inception and in her progress, she 
 claims the world for her parish, and stands 
 pledged to active, aggressive movements until all 
 hearts are aglow with love to God and man. 
 
 "With such an esprit de corps, could it be ex- 
 pected that she would march out to battle silently, 
 or with soulless songs ? Might we not rather count 
 on hearing in the van of her armies the grandest 
 and most stirring notes ? 
 
 Go with Whitefield to Hannam Mount, at Kings- 
 wood, England. Fifteen thousand people are lis- 
 tening attentively and solemnly to the burning 
 words which fall from the lips of the prince of 
 pulpit orators. The sun shines brightly. The 
 trees and hedges are full of people. " Hundreds 
 after hundreds " are convicted of sin, and many 
 of these poor colliers rejoice in a knowledge of 
 pardon through Christ. There is" joy on earth, 
 and joy in heaven. Survey the multitude and 
 listen to their songs. Whitefield himself says 
 that ."to behold such crowds standing together, 
 and to hear the echo of their singing resounding 
 over the mighty mass, suggested to him the. scene 
 of the general assembly of the spirits of just men 
 made perfect when they shall join in singing the 
 song of Moses and the Lamb in heaven." 
 
 Go with this devoted man of God to Kennington 
 Common in London. Besides the immense num- 
 bers who come in carriages and on horses, thirty 
 
THE SERVICE OP SONG. 99 
 
 or forty thousand on foot gather around him. 
 Listen to the powerful voice of the preacher. The 
 message of mercy may be heard at the distance 
 of a mile from the place where he stands. When 
 the hymn is announced, hear 
 
 " The tides of music's golden sea, 
 Setting toward eternity." 
 
 Those who are two miles off pause to listen ! 
 
 Such were the scenes which the Wesleys and 
 Whitefield witnessed in London, Bristol, New- 
 castle, and in many other places. The uproar of 
 the furious mob was frequently calmed into silence 
 by the songs of the multitude rising above the 
 harsh dissonance of Satan's hosts. 
 
 On the 12th of May, 1739, the corner-stone of 
 the first Methodist Church in the world "was laid 
 at Bristol, England, with the voice of praise and 
 thanksgiving." 
 
 So generally were the Methodist tunes known 
 that Mr. Wesley, as he traveled, frequently heard 
 them sung or whistled by the children of Roman 
 Catholics. 
 
 " The Wesleyan singing was a great power to 
 early Methodism. Charles Wesley's hymns, with 
 simple but effective tunes, spread everywhere 
 among the Wesley ans; and hundreds of hearers 
 who cared not for the preaching were charmed to 
 the Methodist assemblies by their music. It se- 
 cured them much - among the susceptible 
 Irish. A curious example of its power is told by 
 
100 THE SERVICE OF SONG. 
 
 one of the Irish preachers. At Wexford the so- 
 ciety was persecuted by Papists, and met in a 
 closed barn. One of the persecuters had agreed 
 to conceal himself within it beforehand, that he 
 might open the door to his comrades after the 
 people were assembled. He crept into a sack 
 hard by the door. The singing commenced, but 
 the Hibernian was so taken with the music that 
 he thought he would hear it through before dis- 
 turbing the meeting. He was so gratified that at 
 its conclusion he thought he would hear the prayer 
 also. But this was too powerful for him. He was 
 seized with remorse and trembling, and roared out 
 with such dismay as to appal the congregation, 
 who began to believe that Satan himself was in 
 the sack. The sack was at last pulled off of him, 
 and disclosed the Irishman, a weeping penitent 
 praying with all his might. He was permanently 
 converted." 
 
 " A tavern-keeper, relishing music, went to one 
 of the meetings merely to hear the singing. He 
 was afraid of the preaching, and that he might 
 not hear it, sat with his head inclined, and his 
 fingers in his ears. But a fly lit upon his nose, 
 and at the moment he attempted to drive it away 
 with one of his hands, the preacher uttered with 
 power the text: 'He that hath ears to hear, let 
 him hear.' The word took hold upon the pub- 
 lican's conscience, and he found no relief till he 
 became a converted man." 
 
THE SERVICE OF SONG. 101 
 
 Of course the chief charm of the early Methodist 
 
 ring was to be found in its earnest, popular, 
 
 congregational character. The people sang icell. 
 
 God has dealt very graciously with this Church, 
 giving to it not only John Wesley, the theo- 
 logian and ecclesiastical legislator, but also 
 Charles Wesley, the poet and songster. Nor did 
 the former attach less importance to devotional 
 Binging than did the Asaph of Methodism. They 
 delighted greatly in social as well as congrega- 
 tional singing. 
 
 In Charles Wesley's Journal, page 100, we read 
 of his meeting with three friends at Islington, fall- 
 ing into spiritual conversation, and receiving an 
 account of the great blessing vouchsafed to one 
 of them: then rejoicing with them in singing and 
 prayer, and leaving the rest of the company 
 "much stirred up to wait for the unspeakable 
 gift" 
 
 On the 113th page he says: "We met, a troop 
 of us. at Mr. Sims'. There was one Mrs. Harper 
 there, who had this day received the Spirit by the 
 hearing of faith, but feared to confess it. We 
 sang the 'Hymn to Christ.' At the words, 
 
 " ' Who for me, for me hast died,' 
 
 she burst into tears and outcries: 'I believe, I be- 
 lieve! ' and sank down." 
 
 At page 131 we find him singing hymns on faith, 
 when on a journey to Oxford. His conversation 
 and prayers were blessed as the means of bring- 
 
102 THE SERVICE OF SONG. 
 
 ing a fellow- traveler to a knowledge of the love 
 of God. 
 
 On page 136 lie says : " We were warmed by 
 reading George Whitefield's Journal. I walked 
 with Metcalf, etc., in great joy, wishing for a place 
 to sing in, when a blacksmith stopped us. We 
 turned into his house, sang a hymn, and went on 
 our way rejoicing." 
 
 At page 162 we find him singing in the garden 
 with a little company of like-minded ones, while 
 the sweetness of their melody draws others to 
 them to receive the benefit of instruction and 
 prayer. 
 
 The Journals of the brothers abound with such 
 entries as the foregoing, which have been taken 
 nearly at random. 
 
 As has already been intimated, the excellency 
 of the early Methodist singing resulted from the 
 great importance which was attached to a personal, 
 happy experience of Divine things ; and also from 
 the piety, and musical, and poetical talent and 
 taste of the Wesleys, displayed in their unceasing 
 and painstaking efforts in the department of 
 praise. 
 
 They issued their first Hymn-book as early as 
 1738, the year in which they were brought to a 
 saving knowledge of Christ. Many other publica- 
 tions of a similar character were brought out in 
 quick succession. In the year 1742 John Wesley 
 issued "A Collection of Tunes set to Music, as 
 
THE SERVICE OF SONG. 103 
 
 Brng at tbie Foundry.'* A work on "The Grounds 
 of Vocal Music" was published by him shortly 
 
 afterward. Then followed, at intervals, three other 
 publications on "Sacred Harmony." The people 
 were urged to study the science of music, and 
 many collections of hymns, mostly from the pen 
 of Charles Wesley, were issued at different times. 
 Thus the Methodists were amply supplied with a 
 poetical liturgy, and with the means of learning 
 to sins:. 
 
 The liveliness of the Wesleyan Church music 
 was, to a considerable extent, the result of the 
 stirring character of the hymns. " The Methodist 
 hymn music early took a high form of emotional 
 expression. It could not be otherwise with a com- 
 munity continually stirred by religious excitement. 
 It was also a necessity of the rapturous poetry of 
 Charles Wesley ; for, with it, a tame or common- 
 place music would be absurd. Handel found in 
 the Methodist hymns a poetry worthy of his own 
 grand genius, and he set to music those beginning : 
 
 " i Sinners, obey the gospel word ! ' 
 
 " •() L >ve Divine, how sweet thou art!' 
 
 u ' Rejoice ! the Lord is King.' " 
 
 In the early days of Methodism, Mr. John Wes- 
 ley was delighted to find that the constant and 
 persevering efforts which had been put forth in 
 the department of psalmody had not been in vain. 
 Speaking of the > i 1 1 - i 1 1 ir of the Wesleyans, lie 
 says • " Their solemn addresses to God are not 
 
104 THE SEEVICE OF SONG. 
 
 interrupted either "by the formal drawl of a parish 
 clerk, the screaming of boys, who bawl out what 
 they neither feel nor understand, or the unseason- 
 able and unmeaning' impertinence of a voluntary 
 on the organ. When it is seasonable to sing praise 
 to God, they do it with the spirit and with the un- 
 derstanding also ; not in the miserable, scandalous 
 doggerel of Hopkins and Sternhold, but in psalms 
 and hymns which are both sense and poetry, such 
 as would sooner provoke a critic to turn Christian 
 than a Christian to turn critic. What they sing 
 is, therefore, a proper continuation of the spiritual 
 and reasonable service, being selected for that 
 end, not by a poor, humdrum wretch who can 
 scarcely read what he drones out with such an air 
 of importance, but by one wli3 knows what he is 
 about; not by a handful of wild, unawakened 
 striplings, but by a whole serious congregation ; 
 and these not lolling at ease, or in the posture of 
 sitting, drawling out one word after another, but 
 all standing before God and praising him lustily 
 and with a good courage." 
 
 In the matter of praise, as well as in other things, 
 theWesleys immortalized themselves as reformers. 
 As one of its earliest and noblest achievements, 
 Methodism furnished Great Britain with the best 
 model of devotional singing known to the world 
 since the time of the primitive Christians. It very 
 far surpassed the singing of the Protestant 
 Churches in the days of the Reformation, in the 
 
THE SERVICE OF SONG. 105 
 
 excellence of the hymns, the suitableness of the 
 tones, and in the spirituality which pervaded the 
 music. 
 
 At this point we may appropriately consider 
 the Rules of the Methodist Churches in regard to 
 congregational singing. We take the following 
 question and answers from the Discipline: 
 
 " Question— How shall we guard against for- 
 mality in singing? 
 
 "Answer 1. By choosing such hymns as are 
 proper for the occasion. 
 
 " 2. By not singing too much at once ; seldom 
 more than five or six verses. 
 
 " 3. By suiting the tune to the words. 
 
 " 4. By often stopping short when the words are 
 given out and asking the people, ' Now ! do you 
 know what you said last ? Did you speak no more 
 than you felt ? ' 
 
 " 5. In all our congregations, let the people learn 
 to sing, and use our own hymn and tune-books. 
 
 " 6. Exhort every person in the congregation to 
 sing ; not one in ten only." 
 
 It is a little remarkable that all these directions 
 were originally given by Mr. Wesle3 r to his Socie- 
 ties, which constituted the germ of the Methodist 
 Churches. Having been thoroughly tried on the 
 pther Bide of the Atlantic, they were adopted by 
 the Conference which organized the Methodist 
 Episcopal Church in America, at its session in the 
 city of Baltimore, in the year 1784, and they have 
 
106 THE SERVICE OF SONG. 
 
 received General Conference approval from that 
 time to the present. They come down to us as 
 venerable monuments of the wisdom, piety and 
 zeal of the founder of Methodism, and, on account 
 of their antiquity and intrinsic excellence, they 
 deserve to be carefully considered and faithfully 
 practiced. 
 
 Some of Mr. Wesley's rules have, at different 
 times, been left out of the Discipline, and among 
 them the one which directed the preachers to 
 " preach frequently on the head " of congregational 
 singing. It is to be regretted that a recommenda- 
 tion so eminently judicious should have disap- 
 peared from the Discipline. This fact, however, 
 need not prevent us from acting in accordance 
 with the advice given. Let it be borne in mind 
 that John Wesley directs all his contemporaries 
 and successors in the ministry to preacli frequently 
 on the subject of singing. 
 
 It would be difficult for the minister to find a 
 more important theme, and one fuller of inspira- 
 tion. If he turns to the Atonement itself, he will 
 find that the subject of praise is closely connected 
 with it. Can anything be of greater interest and 
 concern to man than the worship of God ? And is 
 not singing recognized both in the Scriptures and 
 in the Discipline as an integral part of Divine 
 worship ? 
 
 It is gratifying to know that prayer is a common 
 theme of pulpit discourse. On that subject the 
 
THE SERVICE OF SONG. 107 
 
 people are instructed, admonished, encouraged. 
 On prayer, books, tracts and sermons have been 
 written and widely circulated. It is the prominent 
 topic for exhortation in the prayer-meeting from 
 week to week. The subject of prayer, both as a 
 privilege and a duty, has, from time immemorial, 
 been considered of prime importance, both by the 
 ministry and the laity. 
 
 In regard to praise, the interest manifested by 
 preachers and people has by no means been so 
 intense and uniform. Many of our ministers never 
 preached a sermon on that subject. Many of the 
 members and friends of the Church never heard 
 or read a sermon on singing. Of course, the gen- 
 eral subject of gratitude and thanksgiving has not 
 been ignored ; but, on the other hand, praise as a 
 legitimate department of Divine worship has not 
 generally been made prominent in the pulpit ; and 
 to this cause, more than to any other, perhaps, the 
 remissness of the people may be traced. 
 
 It is a startling fact that not one-half of the 
 members of the Protestant Churches in America 
 unite in the "service of song in the house of the 
 Lord." In some Churches, the singing is confined 
 almost exclusively to the few who occupy the 
 gallery or organ loft in the capacity of choristers. 
 In other churches, a few of those who sit near the 
 pnlpit sing, aided by a voice here and there through 
 tie 1 congregation. It is a fact, which no one will 
 dispute, that there are now in the different Churches 
 
108 THE SEEVICE OF SOXG. 
 
 thousands of members of both sexes who have 
 naturally good voices, and who seldom or never 
 attempt to unite with the people in praising God 
 in His sanctuary. Are we not loudly called upon 
 to do what we can to bring about a reformation ? 
 And can the laity be expected to go in advance of 
 the ministry in this good work ? If it is not the 
 province of the pulpit to set forth the Scriptural 
 rule on this subject, and to urge all the people to 
 comply with it, then it will be difficult to deter- 
 mine the proper sphere of the preacher. Surely 
 one sermon in each congregation every year on 
 this interesting theme would be eminently proper. 
 But we ought not to satisfy ourselves until we 
 have carried our point. Sermon must succeed 
 sermon ; private conversations must give force to 
 public exhortations, until the whole Church is 
 fully awake to the importance of the subject. Of 
 course, it is expected that the laity will co-operate 
 with the ministry in promoting this much needed 
 reform ; but the " heralds of the Cross " must first 
 summon the people to the rescue. 
 
 "All the counsel of God" must be declared. 
 Every doctrine of the Bible must be explained ; 
 every duty must be enforced. How, then, can the 
 ministry be blameless if the greater portion of the 
 membership continue to neglect an integral part 
 of Divine worship without being admonished as 
 to their delinquency, and without being encour- 
 aged to perform a duty which would soon become 
 a delight ? 
 
THE ski: VICE OF SONG. 109 
 
 CHAPTER II. 
 
 all should siXG — {Continued.) 
 
 The Great Power of Song in the Reformation — Luther — Clement 
 Marot and Theodore Beza — Priests Sung Down by the Peo- 
 ple — Papists Imitate the Protestants — Reformation in England — 
 Influence of Ministers — All should Sing — Dr. Olin — Bishops 
 Coke and Asbury on Singing — George Dougherty in Charleston, 
 S. C. — Felix Xeff — What Chrysostom says — Augustin — Mel- 
 vill — Luther — Cotton Mather's Remark — What McCheyne 
 says — Furber's Remarks to Ministers — The Orator — The Ant — 
 The Word of God— His Works. 
 
 Since the days of the Apostles, we have had 
 some forcible examples of ministerial effort in the 
 department of song, both before and after the suc- 
 cessful efforts of the "Wesley s. 
 
 The devotion of Martin Luther to sacred song 
 furnishes a fine example for the consideration of 
 all ministers of the gospel. 
 
 lie says : " Next to theology, it is to music that 
 I give the highest place and the greatest honor." 
 
 •• After the long night of the dark ages, the light 
 of returning day in Germany was ushered in with 
 song. Its approach had been heralded by song 
 a century before this, in Bohemia, in the time of 
 John Hubs and Jerome ; and even in the fourteenth 
 century, while 'the Morning Star of the Reforma- 
 
110 THE SERVICE OF SONG. 
 
 tion' was still visible, praise broke the silence of 
 the waning watches in England. 
 
 " As in the morning of the long days in summer, 
 a few woodland notes may be heard here and there 
 in the groves in advance of the general chorus 
 which hails the day, so there were voices before 
 Luther, both in England and on the Continent, 
 which anticipated the melodies of his time. But 
 when the empire of the night was fairly broken, 
 and this great chorister of the Reformation arose, 
 he awoke the whole forest into harmony. 
 
 " One of the first efforts of Luther, in fulfilment 
 of the great mission of his life, was to publish a 
 psalm-book. Both hymns and tunes were com- 
 posed mainly by himself. About sixty hymns 
 were written by him at a time when the history 
 of fifteen centuries could not furnish more than 
 two hundred hymns that had been used in Chris- 
 tian congregations. In this great undertaking he 
 had a twofold object — first, to restore to the peo- 
 ple their ancient and long-lost New Testament 
 right to the use of psalms in public worship in 
 their own tongue ; and, secondly, by the graces of 
 verse and the charms of melody, to lodge the 
 word of God effectually in their memory. He took 
 care to embody in his verse the great foundation 
 truths of the Bible, that, being sung over and over 
 by the people, they might never be forgotten. .... 
 So successful was he in this endeavor that priestly 
 influence might in vain have attempted to check 
 
THE SERVICE OF SONG. Ill 
 
 the j 38 of the Reformation by destroying the 
 
 Bible. Its doctrines were the soul of his songs, 
 and the songs were embalmed in the people's 
 memory."* 
 
 About this time Clement Marot, a French poet, 
 assisted by Theodore Beza, gave to France and 
 Germany a collection of metrical versions from 
 the Hebrew Psalter. These, with the productions 
 of Luther and others, were widely circulated, and 
 produced a powerful effect in favor of Protestant- 
 ism. Luther in Germany, and Calvin at Geneva, 
 were determined to put down the practice of anti- 
 phonal chanting, and to introduce congregational 
 singing in its stead. 
 
 The effect of this new movement was elec- 
 tric : " The Scriptures, which had long been 
 shut up in a dead language, were thus released, 
 in part, to the understanding and heart of 
 the worshipers, in metrical forms, which, however 
 rude, were not so to the taste of the age. They 
 were welcomed with unbounded enthusiasm. That 
 cardinal principle of the Reformation, by which 
 responsibility was individualized, was thus infused 
 into the theory and practice of worship, and the 
 heart of the people opened to receive it gratefully. 
 
 "Franc- and Germany were instantly infatuated 
 
 with a lore of Psalm-singing The 
 
 eneriT' -tic hymns of Geneva exhilarated the con- 
 vivial assemblies of the Calvinists ; were commonly 
 
 # Rev. D. L. Furbcr 
 
112 THE SERVICE OF SONG. 
 
 heard in the streets, and accompanied the labors 
 
 of the artificer They found their way 
 
 to the cities of the low countries, and under their 
 inspiration, many of the weavers and woollen 
 manufacturers of Flanders left their looms and 
 entered into the ministry of the gospel. German, 
 Dutch, Bohemian, and Polish versions of the 
 Psalms, in metre, and both French and German 
 hymns, were soon multiplied to an almost fabulous 
 extent. The enthusiasm of Luther in the work is 
 well known ; and the popularity of his sixty-three 
 hymns may be inferred from the fact that spurious 
 collections were hawked about the cities of Ger- 
 many under his name. Hymns in the vernacular 
 dialects became a power in the Reformation co- 
 ordinate with that of the pulpit. Upon the masses 
 of the people they were far more potent than any 
 other uninspired productions of the press. At 
 Augsburg, in 1551, three or four thousand singing 
 at a time was but a trifle. The youth of the day 
 sang them in the place of ribald songs ; mothers 
 sang them beside the cradle; journeymen and 
 servants sang them at their labor, and marketmen 
 in the streets, and husbandmen in the fields. At 
 length the six thousand hymns of a single poet, 
 Hans Sach, bore witness to the avidity of the de- 
 mand and the copiousness of the supply." * 
 
 In the year 1529 a Romish priest was preaching 
 at Lubec, and as he was concluding, two boys 
 
 * Hymns and Choirs. 
 
THE SERVICE OF SONG. 113 
 
 commenced singing one of Luther's hymns, when 
 the whole assembly joined as with one voice ; and 
 if at any time any one of the priests ventured to 
 inveigh against Luther's doctrine, the congrega- 
 tion would answer him, and drown his voice by 
 singing one of Luther's hymns. 
 
 At Heidelberg the Reformation was sung into 
 the people's hearts. Fearing the Emperor, the 
 Elector Frederick did not suppress the saying of 
 mass so soon as the people desired; therefore, on 
 a certain occasion, just as the priest was about to 
 begin the service at the high altar, a solitary voice 
 led off in the singing of Sporatus' famous hymn, 
 " Est ist das Heil tins kommen her." The vast 
 assembly instantly joined, and, the Elector taking 
 the hint, mass was said no more. 
 
 It was not by preachers nor by religious books 
 and tracts that the Reformation was introduced 
 into the city of Hanover, but by the hymns of 
 Luther, which the people delighted to sing. 
 
 A contemporary of Luther says : " I doubt not 
 
 that the one little hymn, '[Now rejoice, Christians, 
 
 all,' (the first one that Luther published,) has 
 
 brought many hundred Christians to the faith. 
 
 The noble, sweet language of that one 
 
 little song has won their hearts, so that they could 
 
 not resist the truth ; and. in my opinion, the 
 
 spiritual songs have contributed not a little to the 
 
 tad of the gospel." 
 
 The Papists saw, with surprise and dismay, the 
 8 
 
114 THE SERVICE OF SONG. 
 
 success which crowned these noble efforts of the 
 Reformers, and their first impulse was to fight 
 with the same weapons. These hymns, however, 
 although a little altered to suit Romish views, still 
 contained seeds of truth which promised to germi- 
 nate and produce spiritual fruit. Hence, about 
 the middle of the sixteenth century, all Papists 
 were prohibited from singing them, and from that 
 time the name, " psalmodist," or " psalm-singer," 
 was applied to the Protestants, in derision. It be- 
 came synonymous with Reformer, Huguenot, Cal- 
 vinist, Heretic. 
 
 Congregational singing was, a3 has been inti- 
 mated, a most potent instrumentality for the ad- 
 vancement of the Reformation in England. About 
 the time the good leaven began to work in Great 
 Britain, six thousand persons of all ages might 
 have been heard singing the new songs at St. 
 Paul's Cross in London, and this, it is said, was 
 "sadly annoying to the mass-priests and the 
 devil." 
 
 The following is the language of George Wither, 
 who, in 1623, published a volume of " Hymns and 
 Songs of the Church," for which he obtained a 
 royal patent : 
 
 " The Divell is not ignorant of the power of 
 these divine Cliarmes, that there lurks in Poesy 
 an enchanting sweetness that steals into the hearts 
 of men before they be aware ; and that (the subject 
 being Divine) it can infuse a kind of heavenly 
 
THE SK 11 VICE OF SONG. 115 
 
 Enthusiasm^ such delight into tbe soule, and beget 
 udent an affection unto the purity of God's 
 Word, as it will be impossible for the most power- 
 ful Exorcisms to conjure out of them the love of 
 such delicacies, but they will be unto them (as 
 David saith) sweeter than honey or the honey- 
 combe. And this secret working which verse hath 
 scellently expressed by our drad Sovereigne 
 that now is (James I.) in a Poem of his long since 
 penned : 
 
 " 'For verse's power is sike, it softly glides 
 Through secret pores, and in the senses hides, 
 And makes men have that gude in them imprinted, 
 Which by the learned work is represented.' 
 
 "By reason of this power, our adversaries fear 
 the operation of the Divine Word expressed in 
 numbers; and that hath macTe them so bitter 
 against our versified Psalms ; yea (as I have heard 
 say), they term the singing of them in our vulgar 
 tongues, the Witch of Heresy." 
 
 The power of ministers to effect a salutary 
 change in the style and spirit of Church singing 
 has been twice illustrated in the history of the 
 American Churches. About the year 1720, the 
 degeneracy was so great that but few congrega- 
 tions could sing more than three or four tunes, 
 and these were sung so badly as to be intolerable 
 to those who had any degree of musical culture. 
 The wisest and best ministers exerted them- 
 selves to effect a reformation. Edwards, Symes 
 
116 THE SERVICE OF SONG. 
 
 of Bradford, Mather, Wise, Stoddard, D wight, 
 Thatcher, Walter, Prince, Woodstock, and others, 
 took the lead in this matter. They wrote and 
 preached sermons on the subject, and associations 
 of ministers were formed to farther the object in 
 view, by preparing and reading essays, and by 
 other means. In the year 1720, Mr. Walter pub- 
 lished his singing-book. The preface to it was 
 signed by fourteen distinguished men, most of 
 them ministers of the gospel, and among them 
 two who had been college presidents. This pre- 
 face called upon all "to accomplish themselves 
 with skill to sing the songs of the Lord." * 
 
 Stern resistance was offered to these efforts for 
 reform. Singing by note, or "regular singing," 
 as it was called, was popish — " the old way was 
 good enough." " The singing of two or three tunes 
 at the same time by different portions of the con- 
 gregation, either ignorantly or intentionally ; or, 
 what was no uncommon thing, the singing of some 
 one tune, professedly, in almost as many different 
 ways as there were voices, according to each one's 
 caprice or fancy for embellishment, so that it 
 sounded ' like five hundred different tunes roared 
 out at the same time,' did not offend the blunted 
 musical sensibilities of the age." But at length 
 the reform was accomplished, and after ten years 
 or more of intense excitement in the Churches, 
 
 * See Gould's History of Church Music in America. 
 
Till: SERVICE OF SONG. 117 
 
 there was "a great calm," and much spiritual 
 sperity. 
 
 A second period of great degeneracy in Church 
 music in America occurred about the beginning 
 of tin* present century. It was not the result of 
 the total neglect of musical education, but was 
 occasioned by the introduction of the " coarse, 
 noisy tunes" of Billings. 
 
 William Billings was one of the first composers 
 of music in America, if not the very first. lie 
 was born in Xew England, of humble parentage ; 
 occupation, a tanner ; " deformed in person ; blind 
 in one eye ; one leg shorter than the other ; one 
 arm somewhat withered ; with a mind as eccentric 
 as his person was deformed." He died in the year 
 1S00. lie had genins and energy, but was almost 
 totally destitute of education. Although his crude 
 compositions did much damage to the cause of 
 congregational singing, yet such was his zeal and 
 enthusiasm that many were aroused from their 
 lethargy to consider the importance of music; and 
 in this way, doubtless, much good was done. 
 
 After having been continued in use for about 
 thirty years, the tunes of Billings were driven from 
 the Churches, mainly through the influence of min- 
 
 rs of the gospel. Chief among these v. 
 Drs. Worcester, Prince, and Pierce, of Brookline, 
 and Dr. Dana, of Newburyport. The latter, in a 
 sermon preached at Boxford, in the year 1803, 
 said : ;; Our country has been for years overflow- 
 
118 THE SERVICE OF SONG. 
 
 ing with productions, not destitute of sprightliness, 
 perhaps, but composed on no plan, conformed to no 
 principles, and communicating no distinct or abid- 
 ing impression — fugitive, unsubstantial things, 
 which fill the ear and starve the mind." 
 
 Dr.,Worcester said : " The influence of psalm- 
 ody in respect to religion is vastly important. 
 Genuine psalmody tends to promote genuine 
 religion ; spurious psalmody tends to promote 
 
 spurious religion How different in 
 
 all respects from what it ought to be is a great 
 part of the music in our Churches ! It is low, it 
 is trivial, it is unmeaning ; or, if it has any mean- 
 ing at all, it is adapted to sentiments and emotions 
 altogether different from those of pure and elevated 
 
 devotion It is a mere rhapsody of 
 
 sounds, without subject, without skill, without sen- 
 timent, and without sense." 
 
 The reaction was sudden and violent, and led to 
 the adoption of tunes so stiff, slow, and dull that 
 the spirit and life of singing could scarcely co- 
 exist with them. For the last half century, how- 
 ever, there has been a gradual improvement in 
 this respect, which, it is to be hoped, will be con- 
 summated by the present generation. 
 
 We have taken this little detour through Ger- 
 many, France, and England, and we have called 
 attention to the early and later history of music 
 in some of the Churches west of the Atlantic, to 
 
THE 3EBYIGK OF E ' 110 
 
 show that all should unite zealously and under- 
 Btandingly in Binging the praises of God, and that 
 where there La a failure to do this, there is gener- 
 ally power enough in the pulpit, if used with 
 energy and prudence, to correct the evil. 
 
 It will be remembered that the Discipline, 
 already quoted, makes it the duty of the 
 ministers to " exhort every person in the con- 
 gregation to sing ; not one in ten only." This, 
 as we have seen, is one of the original Wes- 
 leyan rules, adopted by the American General 
 Conference of 1784. and still a constituent part of 
 the Discipline. Its history is suggestive. From 
 the fact that it was inserted at so early a day, we 
 may infer that, although the original Methodist 
 singing was such as met the approval of even Mr. 
 Wesley himself, yet the partial neglect of this 
 part of Divine worship was soon observed in many 
 places, and hence the injunction to the preachers 
 t<» stir up the people. The remissness in question 
 still prevails to a very great extent, and the 
 preachers are still called upon to take the matter 
 in hand. 
 
 It will be observed that only exhortation on the 
 subject is now required. It is taken for granted 
 that the doctrine in regard to singing is under- 
 stood and admitted, and that itisonly necessary to 
 urge the to practice what they know. This 
 
 may be the case in some places, with <<>m.' i 
 but we apprehend that the ma-- 1 Instruction 
 
120 THE SERVICE OF SONG. 
 
 in regard to devotional singing as much as 
 on any other subject. They certainly have not 
 had extra facilities for obtaining knowledge in 
 this direction. We are, therefore, disposed to 
 give a liberal construction to the word "exhort," 
 as it is found in the rule. It is said that John the 
 Baptist, on a certain occasion, " preached many 
 things in his exhortation." So, the preacher who 
 observes this great point in the Discipline, and 
 exhorts all the people to sing, repeatedly, earn- 
 estly, affectionately, will find that the best way 
 to enforce the exhortation will be to exhibit the 
 teachings of the Scriptures on the subject, ex- 
 plaining the nature of the duty to be performed, 
 the manner and spirit in which it should be at- 
 tended to, the authority by which it is enjoined, 
 and the benefits to be derived from its observance. 
 
 The preacher is directed to " exhort every per- 
 son in the congregation to sing." Of course, the 
 believer should unite in rendering homage and 
 praise to his great Creator and Benefactor. 
 
 How can he whose heart burns with love to God 
 and man remain silent when those around him 
 lift up their voices in the worship of the great 
 I Am ? As well might an angel stand mute before 
 the throne when all the rest of the heavenly host 
 are vying with each other in the loftiest songs of 
 praise. 
 
 The penitent should sing. He should sing 
 of his guilt, condemnation, and sorrow. He 
 
THE SERVICE OF SONG. 121 
 
 should Bing of Bethlehem, Olivet, and Calvary. 
 And while he dwells upon the incarnation, the 
 teachings and miracles, the unutterable love, the 
 unparalleled Bufferings, the vicarious death, the 
 triumphant resurrection, and the ceaseless inter- 
 ims of the Son of God, his sins may be par- 
 doned, and his mourning be turned into joy. 
 
 The unconverted, whether penitent or not, should 
 be encouraged to unite with the congregation in 
 Binging. Stephen Olin led in the morning and 
 evening prayers at Tabernacle Academy, in South 
 Carolina, and by this means was convinced of sin; 
 and there is no reason why an effect equally salu- 
 tary might not be produced upon other impenitent 
 persons through the medium of song. Let no one 
 be silent when the name of the Most High is cele- 
 brated; but let "every person" in the congrega- 
 tion — saint or sinner — raise his voice in praise. 
 
 " The singing of psalms, hymns, and spirit- 
 ual songs in the congregation has been allowed 
 by all the Churches of God in all ages (one modern 
 society excepted) to be a part of Divine worship, 
 and, from its tery nature, it evidently belongs to 
 the whole congregation. It would be unseemly 
 f< >r the minister alone to sing : but if it be the duty 
 of on*' member of the congregation, it must be the 
 duty of all who have voices for singing; and there 
 v.-rv few who may not join in the air, as it is 
 called, all the defects of their voices being lost in 
 tlie general sound. Few things can be more pleas- 
 
122 THE SERVICE OF SONG. 
 
 ing to the Lord than a congregation with one he art 
 and one voice praising His holy name. It is, in- 
 deed, to be feared that there is seldom a large 
 congregation where every individual is sincere. 
 However, all who do in sincerity desire a blessing, 
 should strive to join in the general chorus — we 
 mean in every part of the hymn. If one part of 
 it be above the experience of the singer, he should 
 adjoin a silent prayer, that the Lord may give 
 him the grace he needs ; for the Lord listens to 
 hear what the heart speaks, and takes all as noth- 
 ing if the heart be silent. Again, when his ex- 
 perience rises above the hymn, his secret prayer 
 should be in behalf of that part of the congrega- 
 tion it suits ; but, in the proper hymns of praise, 
 he may throw off all reserve, for we are all in- 
 finitely indebted to our good God." * 
 
 In the various departments of ministerial labor, 
 much may be done by precept ; more by example. 
 It is important that the minister preach and exhort 
 on the subject of singing; but, to give point and 
 force to his teachings and entreaties, he must, if 
 possible, himself sing, and so lead the liock into 
 this green pasture. 
 
 By the memorable General Conference of 1784, 
 the following question and answer were inserted 
 in the Discipline : 
 
 " Question. How shall we reform our singing? 
 
 * Bishops Coke and Asbury, in their Notes appended to the Discipline 
 of 1796. 
 
TIIE SERVICE OF SONG. 123 
 
 " Answer. Let all our preachers who have any 
 knowledge in the notes improve it by learning to 
 sing true themselves, and keeping close to Mr. 
 Wesley's tunes and hymns." 
 
 Many of our brethren in the ministry have 
 passed the age at which scientific knowledge may 
 be acquired with ease ; but the majority of them, 
 by a little application for a year or two, might 
 obtain a good and valuable knowledge of the 
 principles and practice of vocal music. Many of 
 them already have some " knowledge in the notes." 
 A little attention to the subject on their part would 
 revive their taste for good singing, and would 
 enable them to lead the people correctly and suc- 
 cessfully in this department of worship. There is 
 here opened to the minister a wide and inviting 
 field of usefulness ; let it be entered and assidu- 
 ously cultivated. There has been committed to 
 us by the Master a very useful talent; let it not 
 be hidden in the earth. It is expected that the 
 preachers will be able to sing ; that they will be 
 able to sing well, insomuch that they may lead 
 the congregation whenever it may be necessary ; 
 and only those who can not sing are excused. 
 
 We would very humbly, but very earnestly, urge 
 all ministers of the gospel to a serious considera- 
 tion of the great power for good which resides in 
 holy song. If the hearts of the people are hard, 
 melt them by sacred melody, and you will have 
 access to them. 
 
124 THE SERVICE OF SONG. 
 
 On a certain occasion the Rev. Geo. Dougherty, 
 of precious memory, entered a church in Charles- 
 ton, S. C, to fill an appointment for preaching. 
 Many of the people were greatly prejudiced 
 against him, and his personal appearance was 
 by no means prepossessing; but after engaging 
 silently in prayer for a short time, he arose from 
 his knees and commenced singing. As he pro- 
 ceeded, the attention of the congregation was 
 arrested by the beautiful tune and appropriate 
 words, sung in a smooth, clear voice ; and before 
 the conclusion of the song, many were affected to 
 tears, opposition gave way, and the word was 
 heard with gladness. 
 
 If you would have thoughts of business and 
 pleasure banished from the minds of your auditors, 
 and if you would secure them against lassitude 
 and drowsiness, induce them all to unite heartily 
 in the singing. There is nothing so well calcu- 
 lated to raise the soul above this sordid world and 
 to plume it for its homeward flight as a spiritual 
 participation in the service of praise. A congre- 
 gation whose hearts and voices have thus been 
 engaged, will listen with eager interest to him 
 who, in faith, proclaims the everlasting gospel. 
 
 Singing was regarded as a powerful instrumen- 
 tality for the propagation of the gospel, by Felix 
 NefF, in his labors in the south-east of France 
 among the high Alps ; and by Eliot, in his labors 
 in New England among the native tribes. 
 
TriE SERVICE OF SONG. 125 
 
 Chrysostom, speaking of the power of sons: over 
 Christian hearts, says: "Nothing so much as 
 this lifteth up and, as it were, wingeth tlie soul ; so 
 freeth it from earth and looseth it from the chains 
 of the body ; so leadeth it unto wisdom and a con- 
 tempt of all earthly things." 
 
 Aumistin, discoursing on the power of music on 
 the occasion of his baptism, says : " Oh ! how 
 freely was I made to weep by these hymns and 
 spiritual songs, transported by the voices of the 
 congregation sweetly singing! The melody of 
 their voices filled my ear, and Divine truth was 
 poured into my heart. Then burned the sacred 
 flame of devotion in my soul, and gushing tears 
 flowed from my eyes, as well they might." 
 
 Melvill says : " When many voices join heartily 
 in praise, it is hardly possible to remain indifferent. 
 Every one feels this. In a congregation where 
 few attempt to sing, how difficult it is to magnify 
 the Lord! But who can resist the rush of many 
 voices ? Whose bosom does not swell as old and 
 young, rich and poor mingle their tones of adora- 
 tion and thankfulness? 
 
 M You may tell me there is not necessarily any 
 religion in all this emotion. I know that ; and I 
 would not have you mistake emotion for religion. 
 But we are creatures so constituted as to be acted 
 on through our senses and feelings; and while 
 emotion is not religion, it will often be a great step 
 toward it. The man who has imbibed, so to speak, 
 
126 THE SERVICE OF SONG. 
 
 the spirit of prayer and of praise from the sur- 
 rounding assembly, is far more likely to give an 
 attentive ear to the preached word, and to receive 
 from it a lasting impression, than another whose 
 natural coldness has been increased by that of 
 the mass in which he found himself placed.'' 
 
 Good congregational singing is as necessary for 
 the preacher as it is for the people. The languid 
 drawling of a few undevout singers is not unfre- 
 quently so completely soporific in its effect upon 
 the minister as to unfit him for the delivery of 
 his message of glad tidings ; but the inspiring 
 strains of many voices, all blending in harmony 
 and bespeaking the gratitude and joy of believers, 
 charm the preacher's ear, quicken his intellectual 
 faculties, and warm his heart. Animated by the 
 Holy Spirit and uplifted by the song, he is ad- 
 mirably prepared for the great work. 
 
 " Music," says Martin Luther, " has ever been 
 my delight. It has always excited me so as to 
 give me a greater desire to preach." 
 
 It has been well said that God answers praise 
 as well as prayer. This was forcibly illustrated at 
 the dedication of the temple built by Solomon. 
 It was not during the prayer, although it may 
 have been to some extent in answer to it, that the 
 Divine presence was manifested; but "it came to 
 pass when the priests were come out of the holy 
 place, ... as the trumpeters and singers were 
 as one, to make one sound to be heard in praising 
 
THE SERVICE OF SONG. 127 
 
 and thanking the Lord. Baying, For He is good; 
 for His mercy endnreth forever: thai then the 
 house was filled with a cloud, even the house of 
 the Lord; so that the priests could not stand to 
 minister by reason of the cloud ; for the glory of 
 the Lord tilled the house of God." 
 
 Doubtless, one reason why God was pleased to 
 honor this sons with an answer so direct and won- 
 derful. was the unanimity with which it was sung 
 and performed. The individuals composing that 
 vast assembly were all, it would seem, devotion- 
 ally engaged. " The trumpeters and singers were 
 as one, to make one sound, to be heard in praising 
 and thanking the Lord." 
 
 A distinguished minister in England has said 
 that "congregational singing and united prayer 
 always accompany a revival." 
 . Cotton Mather said, in the year 1721 : "It is 
 remarkable that, when the kingdom of God has 
 been making any new appearance, a mighty zeal 
 for the singing of psalms has attended it and 
 -red it." 
 
 The "heavenly-minded*' McCheyne said : "My 
 dear flock, I am deeply persuaded that there will 
 be no full, soul-filling, heart-ravishing, heart-satis- 
 fying outpouring of the Spirit of God till there be 
 more praise and thanksgiving to the Lord. Learn, 
 dearly beloved, to praise God heartily ; to sing 
 with all your heart and soul in the family, and in 
 the congregation ; then am I persuaded that God 
 
128 THE SERVICE OF SONG. 
 
 will give His Holy Spirit to fill the house— to fill 
 every heart in the spiritual temple." * 
 
 " By an instinct as strong as it is infallible, the 
 Church has always indicated a quickened life by 
 a larger use of psalms and hymns." + 
 
 Have you, then, under your pastoral charge a 
 Church that is " twice dead ?" Do not despond : 
 there is power in preaching, power in prayer, 
 power in praise. Let the law thunder its anathe- 
 mas : let the promises speak in accents of love : 
 let the throne of grace be besieged in faith ; and 
 let the house be filled with the voice of praise. 
 If the lukewarmness of the people be such that 
 they have no heart to sing, let the preacher, by 
 the aid of the Holy Spirit, arouse them from their 
 deadly slumber. Let him sing to a spirited tune 
 the words following : 
 
 " Awake, and sing the song 
 Of Moses and the Lamb; 
 Tune every heart and every tongue 
 To praise the Savior's name. 
 
 " Sing of His dying love; 
 
 Sing of His rising power; 
 Sing how He intercedes above 
 For those whose sins He bore. 
 
 " His faithfulness proclaim, 
 While life to you is given; 
 Join hands and hearts to praise His name 
 Till we all meet in' heaven." 
 
 Let both the minister and his congregation 
 
 *Some of the quotations in this connection are from "Hymns and 
 Choirs." 
 tAllon. 
 
THE SERVICE OF SONG. 129 
 
 adopt the emphatic language of the Psalmist: "I 
 will praise the name of God with a song, and will 
 magnify Him with thanksgiving. This also shall 
 please the Lord better than an ox or bullock that 
 hath horns and hoofs." 
 
 The effect of a little self-examination at this 
 point may be salutary. As ministers, have we 
 done our duty in the department of song? Have 
 those of us who are the descendants of Wesley 
 paid sufficient heed to our own rules? Have we, 
 as individuals, p>roperly appreciated this means of 
 grace? Have we experienced in the use of it that 
 spiritual benefit which it is so admirably fitted to 
 confer ? Have we done what we could, both in pri- 
 vate and in public, to induce all to unite in this 
 delightful part of Divine worship? Have we 
 striven to make these " low grounds of sorrow" 
 vocal with praise, so that we might have " the 
 days of heaven upon earth?" Having seen " the 
 morning spread upon the mountains," have we an- 
 ticipated the joyful day when the far-streaming 
 rays of the Sun of Righteousness shall illumine 
 the pathway of those who have long dwelt in the 
 " region and shadow of death ?" 
 
 " Then shall the voice of singing 
 
 Flow joyfully along, 
 And hill and valley, ringing 
 
 With one triumphant song, 
 Proclaim the contest ended, 
 
 And Him who once was slain, 
 Again to earth descended, 
 
 In righteousness to rcic:n. 
 
130 THE SERVICE OF SONG. 
 
 " Then from the craggy mountains 
 
 The sacred shout shall fly, 
 And shady vales and fountains 
 
 Shall echo the reply : 
 High tower and lowly dwelling 
 
 Shall send the chorus round, 
 The hallelujah swelling 
 
 In one eternal sound." 
 
 The Rev. D. L. Furber says: "Let ministers 
 find, in the precepts of the New Testament upon 
 the subject of praise, a duty and a privilege for 
 all Christians ; let them consider how much this 
 privilege has been worth to the Church in its most 
 flourishing periods — what a help to devotion, what 
 a means of grace, what a source of spiritual enjoy- 
 ment it might now be — and they may address an 
 appeal to the consciences and hearts of those who 
 love the Redeemer's kingdom, which, with the 
 blessing of God, will not be in vain. And both 
 ministers and Churches will be surprised to dis- 
 cover how greatly the services of the sanctuary 
 are enriched by the change, and how much it will 
 contribute to the religious benefit of men." 
 
 Let the Christian minister consider the account 
 which he is finally to render, and the reward which 
 he hopes to receive ; and let him adopt the Apos 
 tolic motto, " As much as in me is." 
 
 But if, as has been already intimated, it is the 
 duty of the minister to exhort " every person" to 
 sing, it is the duty of the people to heed the ex- 
 hortation : if he is bound to set a good example 
 
Tin: BBBVIOE OF soXG. 131 
 
 before his people, ir is their duty to follow that 
 example. If. as a general rule, all are required 
 to Bing, then ir follows that with but few excep- 
 tions, all have the ability to sing. Duty implies 
 ibility. But, alas for us! in the American 
 Churches, the dereliction is very great: the yjeople 
 generally do not sing. Upon all those who are 
 remiss must rest the responsibility of this failure 
 to comply with the Scriptural rule. 
 
 Of course impossibilities are not required : those 
 who can not sing are exempt; but this vague idea 
 of inability is the unfortunate anodyne which has 
 quieted the consciences of thousands. It maybe 
 that the reader of these pages is among the number. 
 If so, we would say — " Come and let us reason to- 
 gether." There is, in almost every individual, if 
 not in all without exception, a native fondness for 
 both melody and harmony, insomuch that we are 
 almost ready to conclude with Shakespeare that 
 he who has no music in himself, and is not sus- 
 ceptible of its charms, "is fit for treasons, strata- 
 is, and spoils. '" This innate love of music, of 
 which you are conscious, is presumptive evidence 
 of ability to acquire and practice the science. 
 
 Again, you have breath, and you have power to 
 give it an impulse, and power to vocalize it: the 
 Lns of speech and the organs of song are 
 identical, and the fact that you have power to 
 modulate your voice, is conclusive evidence that 
 you are not laboring under any prime physical 
 
132 THE SERVICE OF SONG. 
 
 defect. Singing is but little more than the pro- 
 longation of the sounds which are made in speak- 
 ing. 
 
 But you have tried and failed, and your friends 
 tell you that success in your case is impossible. 
 Still it may be that you have never addressed 
 yourself to this work with earnestness and perse- 
 verance. In this, as in every other branch of 
 learning, while a few are endowed with rare gifts, 
 and are able to pass the boundaries of mediocrity, 
 and even to achieve distinction with comparatively 
 little exertion ; yet, with respect to the great mass 
 of learners, untiring diligence is the only condi- 
 tion of success. Nature does but little more than 
 give us the ability to improve. 
 
 How long did it take you to acquire the power 
 of articulation ? How long did it take you to learn 
 to read correctly and impressively? If these at- 
 tainments were secured only by years of assidu- 
 ous application, shall we grow weary of vocal 
 music and abandon the science because a few short 
 lessons, and a few feeble attempts to practice what 
 was imperfectly learned, have failed to make us 
 accomplished musicians ? 
 
 No science can be mastered in a day ; no art 
 can be practiced with ease by a novitiate. We 
 have heard of a renowned orator of antiquity who 
 declaimed every day under the point of a sus- 
 pended sword to correct an ungraceful movement 
 of the body. We have heard of one who delivered 
 
THE SERVICE OF SONG. 133 
 
 orations on the sea shore with pebbles in his mouth 
 that he might remedy a defect in his articulation. 
 We have heard of the ant which, for sixty-nine 
 times, failed to ascend the wall with its burden, 
 but succeeded the seventieth time. So it has been, 
 in a thousand instances, in the department of mu- 
 sic : those who at one time almost despaired, have, 
 by dint of energetic and continuous exertion, taken 
 position among the best singers in the Church. 
 Let us add to our convictions of duty as Christians 
 a little of the old Roman firmness of purpose: 
 Nil Mortallbus Desperandum est* Perseverando 
 vlnces.-f Rest assured that there is only one in 
 thousands who can not sing; that most persons 
 learn to sing with great facility, and that positive 
 inability to sing can only be demonstrated by 
 months, and perhaps we might say years, of 
 fruitless effort. 
 
 Those who are most gifted need culture. The 
 voice must be educated. If it is feeble, exercise 
 will strengthen it; if it is harsh, practice will 
 make it smooth and melodious ; if it is intractable, 
 training will bring it into subjection, and it will 
 go "whithersoever the governor listeth ;'' if it is 
 contracted and monotonous, frequent use will give 
 mpass and variety. 
 
 The ear must be educated. Why is it that the 
 veteran mariner in mid-ocean has around him a 
 
 * Nothing is to be despaired of by mortals, 
 t By perseverance we conquer. 
 
134 THE SEEYICE OF SONG. 
 
 wider horizon than the landsman who has but 
 lately stepped on board? Why is it that the ear 
 of the Indian can detect sounds where all is silent 
 to him who has j ust entered the wilderness ? Why 
 does the voice of the untutored vocalist grate upon 
 the ear of the experienced preceptor while the 
 singer himself is charmed with the sound ? The 
 ready reply is, that the voice, the ear, the eye, and, 
 in fact, all our faculties, are susceptible of tuition. 
 We have all heard voices, naturally good voices, 
 which, ever and anon, failed to strike the proper 
 key with precision ; they were nearly right, but 
 sufficiently out of tune to seriously mar the music. 
 The intonation was incorrect, i. e., the voice was 
 not formed to the notes of the scale with clearness 
 and precision. The ear was untaught and un- 
 practiced. 
 
 Nothing in music is so important as time, Time 
 is .measured by a slight vibration of the hand or 
 foot ; or, in the case of experienced singers, men- 
 tally, without any physical movement whatever. 
 But it is no easy matter to keep time with precision 
 without the aid of clock, watch, or dial ; the habit 
 must be acquired by long practice. He who des- 
 pairs of success because it can not be achieved in 
 a da}^ or a week, is like an apprentice who aban- 
 dons his trade because he can not, at once, become 
 a master workman. 
 
 Dr. Lowell Mason, the veteran teacher and pub- 
 lisher of vocal music, says : " As it is with the 
 
THE SERVICE OF SONG. 135 
 
 voice, so it is with the ear: its very best natural 
 condition is Imperfect, and needs cultivation." 
 
 The Rev. F. Freeman says: "By application 
 and perseverance, many who, at first, were scarcely 
 able to appreciate musical sounds, have, at length, 
 by the aid of an instructor, arrived at very com- 
 mendable perfection in the science and in its 
 performance. It would be very difficult to find a 
 person in the possession of the natural senses, 
 wlio lias not a general fondness for musical sounds : 
 all who have this fondness — all who are capable 
 of receiving pleasure from musical combinations, 
 may, doubtless, improve the talent that is in them, 
 and learn to worship God in songs of praise." 
 
 A writer in the Christian Spectator says : 
 " Among the Germans and Moravians, all without 
 exception are taught to sing : the same is true of 
 
 the Indians of every tribe, and of the 
 
 children of our infant schools. Having visited 
 many of these schools in different parts of the 
 conn try. we have never yet found a child who was 
 unable to sincr 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 ; tie- duty will soon become pleasant, 
 and the languid fire of devotion will be lighted up 
 to a flame by the music of the skies." 
 
 In View of what has just been said, the writer 
 congratulates his non-musical reader upon his 
 ability to sing. Of the multitudes who throng 
 
136 THE SERVICE OF SONG. 
 
 our American Churches from Sabbath to Sabbath, 
 without attempting to unite in the service of 
 praise, nearly every individual may perform the 
 duty, and enjoy the inestimable privilege in ques- 
 tion. He whose eye is now tracing these lines 
 may rely upon it that the chances of his being 
 able to sing are, against him, one; in his favor, 
 ten thousand. 
 
 Is it so, then, that we have hitherto neglected, 
 either totally or partially, a prominent Christian 
 duty ? Has our failure to appreciate this means 
 of grace made us, comparatively, barren and un- 
 fruitful ? Has our example exerted a deleterious 
 influence upon others? Is it reduced almost to a 
 certainty that our pretexts for not joining with the 
 congregation in singing have been delusive ? Do 
 we hope ultimately to spend a happy eternity in 
 the noble employment of praising God ? By our 
 uniting heartily and faithfully in this part of Di- 
 vine worship, would the glory of God be promoted ? 
 
 Then let us ask ourselves, what meaneth that 
 Scripture which saith, " To him that knoweth to 
 do good, and doeth it not, to him it is sin ? " 
 
 In closing our reply to the question — Who 
 should sing? — we would listen with reverence and 
 docility to the voice of God as uttered in His word 
 and in His works. It is said : 
 
 " Sing unto the Lord, all the earth." 
 
 " Ye that fear the Lord, praise Him ; all ye 
 the seed of Jacob, glorify Him." 
 
THE BERVIOE OF SONG. 137 
 
 " Let them exalt Him also in the congregation 
 of tht 1 people and praise Him in the assembly of 
 the eldei 
 
 " Lift up your hands in the sanctuary, and bless 
 the Lord." 
 
 " O, praise the Lord, all ye nations : praise Him 
 all ye people." 
 
 " Kings of the earth, and all people ; princes, 
 and all judges of the earth: both young men and 
 maidens; old men and children: let them praise 
 tin* name of the Lord: for His name alone is ex- 
 cellent ; His glory is above the earth and heavens." 
 
 "Let the people praise Thee, O God; let all 
 the people praise Thee. O let the nations be 
 glad and sing for joy: for Thou shalt judge the 
 people righteously, and govern the nations upon 
 earth. Let the people praise Thee, O God ; let all 
 the people praise Thee. Then shall the eaith 
 yield her increase ; and God, even our own God, 
 shall bless us. God shall bless us, and all the 
 ends of the earth shall fear Him." 
 
 In unison with these sublime teachings is the 
 voice of God in nature : " All Thy works shall 
 praise Thee, O Lord ; and Thy saints shall bless 
 Why has God so made all things that 
 they praise Him I We are constrained to believe 
 that 11.' has surrounded us with myriads of 
 preachers and exhorters, both celestial and terres- 
 
138 THE SERVICE OF SONG. 
 
 trial, that we, hearing their voices and following 
 their example, might " bless Him." 
 
 "Sun, moon and stars convey His praise 
 
 Round the whole earth, and never stand." 
 
 A glittering host — a countless multitude of 
 unwearied songsters — they roll on, 
 
 " Forever singing as they shine, 
 'The Hand that made us is Divine.'" 
 
 Turning to the globe on which we live, we 
 hear voices innumerable, and are constrained to 
 acknowledge that we are urged to unite in 
 Jehovah's praise by 
 
 "Earth, with her ten thousand tongues." 
 
 How impressive and fascinating are many of 
 these utterances ! 
 
 " The lark mounts up the sky 
 With unambitious song; 
 And bears her Maker's praise on high, 
 Upon her artless tongue." 
 
 The grove is vocal with the mellifluous notes of 
 the winged warblers. The streamlet, as it hastens 
 onward, sings softly and sweetly of Him who bids 
 its waters flow. The waves of old Ocean rejoice 
 to sound " the base in Nature's anthem," and rest 
 not day nor night. The voice of Niagara is heard 
 afar, proclaiming the majesty and glory of God. 
 
 And what shall we say of the whisperings of 
 vernal breezes ; the sighings of zepl^rs ; the wail- 
 ing? of the storm ; the roar of the tornado ; the 
 peal from the overhanging cloud, and the awful 
 
Tin: SERVICE OF SOXG. 139 
 
 detonations of the more distant thunder? Do 
 they not call upon us in soothing strains, as well 
 as in terrific tones, to praise God, not only for His 
 ind mercy, but also for His truth and 
 just; 
 
 Shall we speak of sights as well as sounds? 
 The lily in the valley, the rose by the wayside, 
 and the wild flower on the mountain crag, display 
 rheir enameled leaves, gorgeously or delicately 
 dyed, and emit their delicious fragrance in honor 
 of Him whose praises we are called upon to cele- 
 brate. Green meadows, blooming gardens, bend- 
 ing orchards, leafy woods, and fields crowned with 
 golden harvests, all invite us to join with glad 
 hearts in the general song. The glory of God is 
 displayed by the fish of the sea and the beasts 
 of the earth ; it is mirrored in every fountain, lake, 
 and river ; it is heralded by the falling rain, and 
 it is written upon all the rocks; it is reflected by 
 every particle of dust beneath our feet, and it is 
 illustrated by the glowing clouds which pavilion 
 the rising and setting sun. Every object above, 
 beneath, around — all the Creator's works — are 
 forever united in one grand chorus of praise to 
 their Divine Original. 
 
 O, man ! gifted with intelligence and immor- 
 tality ; redeemed by Christ and capable of bear- 
 ing His image, can you stand mute in the midst 
 of this universal adoration 1 O. woman! repre- 
 sentative of the women-singers of the olden time — 
 
140 THE SERVICE OF SONG. 
 
 earth's angel — expectant of celestial honors and 
 joys — can you listen to the anthems which echo 
 and re-echo through the world without mingling 
 your voice in the grand and never-ceasing concert ? 
 
 Warmed with holy fire, shall we not, as Chris- 
 tians, rather be leaders in the song ? Shall we not, 
 with the poet, go in advance, and call upon all 
 men and all things to join us in our worship? 
 
 " Praise ye the Lord, y' immortal choirs, 
 That fill the worlds above : 
 Fraise Him who formed you with His fires, 
 And feeds you with His love. 
 
 " Shine to His praise, ye crystal skies, 
 The floor of His abode ; 
 Or veil in shade your thousand eyes 
 Before your brighter God. 
 
 " Thou restless globe of golden light, 
 Whose beams create our days, 
 Join with the silver queen of night 
 To own your borrowed rays. 
 
 " Winds, ye shall bear His name aloud 
 Through the ethereal blue ; 
 For when His chariot is a cloud, 
 He makes His wheels of you. 
 
 " Thunder and hail, and fire and storms, 
 The troops of His command, 
 Appear in all your dreadful forms, 
 And speak His awful hand. 
 
 " Shout to the Lord, ye surging seas, 
 In your eternal roar : 
 Let wave to wave resound His praise, 
 And shore reply to shore : 
 
IHi: BSBVIOE OF SONG. 141 
 
 M While monsters, sporting on the flood, 
 
 In .scaly silver .shine, 
 Speak terribly their maker, God, 
 And lash the foaming brine. 
 
 u But gentler things shall tune His name 
 To softer notes than these : 
 Young zephyrs breathing o'er the stream, 
 Or whispering through the trees. 
 
 " Wave your tall heads, ye lofty pines, 
 To Him that bids you grow : 
 Sweet clusters, bend the fruitful vines 
 On every thankful bough. 
 
 " Let the shrill birds His honors raise, 
 And climb the morning sky : 
 While grov'ling beasts attempt His praise, 
 In hoarser harmony. 
 
 u Thus while the meaner creatures sing, 
 Ye mortals, take the sound : 
 Echo the glories of your King 
 Through all the nations round." 
 
142 THE SERVICE OE SONG. 
 
 SECTION II.— HOW SHOULD WE SING? 
 
 CHAPTER I 
 
 C II O I E S 
 
 Definition of a Choir — Choirs obtained under the Jewish Dispensa« 
 tion — Choirs not Popish in their Origin — Not necessarily of 
 Judaizing Tendency — Paid Choirs Bearing Burdens — Of the 
 Members of the Choir — Place for the Choir — Illustrative Nar- 
 rative — Putting the Singers in the Gallery — Mostly Plain Tunes 
 should be Sung — Aelredus' Description — Singing of the Col- 
 ored People in Cities — Science in Music — The Precentor — The 
 Effect of Discord — The Choir should Lead while all Sing — 
 Productive of Great Good. 
 
 Striving still to inculcate the great truth 
 that all should sing, we would now call special 
 attention to the manner in which this part 
 of Divine worship should be conducted. It is 
 evident that we may have the form without the 
 power. There is often a routine of outward per- 
 formances where there is no genuine worship. 
 Hence, having been impressed with the fact that 
 it is both our privilege and our duty to engage in 
 the service of God, it is nighty important that we 
 ascertain how this service may be most acceptably 
 rendered. In regard to devotional singing, several 
 particulars claim our consideration. 
 
Tin: SERVICE OF SONG. 143 
 
 We may first ask the question: Should there 
 be a Choir ia the Church ( By a Choir we under- 
 Btand a company of singers charged with the duty 
 of leading ia the Church music. From the perti- 
 nacity and bitterness with which choirs have been 
 opposed by some good men, it might be supposed 
 that they are sinful perse — always and necessarily 
 sinful. This, however, can not be the case; for 
 they were allowed a place in the Church under 
 the Jewish dispensation by Divine direction : there 
 is nothing in the arrangement at all repugnant to 
 the teachings of the Scriptures, either of the Old 
 or New Testament, and they are sanctioned in this 
 day by many of the holiest and wisest ministers 
 and members in the various branches of the 
 Christian Church. Choirs are evidently lawful: 
 the question is, are they expedient ? 
 
 Some may contend that inasmuch as choirs were 
 introduced into the Church in the fourth century 
 of the Christian era, about the commencement of 
 the dark ages, they are Popish in their nature and 
 tendency, and should, therefore, be rejected. But 
 this view is manifestly incorrect. Choirs existed, 
 as we have seen, for nearly one thousand five hun- 
 dred years before the coming of Christ. They 
 were, doubtless, instituted by Moses in tin. 1 wilder- 
 ness at the time' the tabernacle service was estab- 
 lished — the sin_ w.-ll as the pri>->t< and the 
 other functionaries of the Church, being chosen 
 from the tribe of Levi. It was the abuse of the 
 
144 THE SERVICE OF SONG. 
 
 choir institution that disgraced the Church from 
 the fourth to the sixteenth century. Perverted 
 from its original design, which was to lead in the 
 singing, the choir was made to monopolize that 
 part of the worship. The object of this usurpa- 
 tion was, of course, the aggrandizement of the 
 clergy ; for, as was shown in a preceding chapter, 
 they ultimately claimed the privilege of conduct- 
 ing the Church music to the entire exclusion of 
 the laity. 
 
 But if choirs have not necessarily a papal savor, 
 some may suppose that, "being of Jewish origin, 
 they are not admissible under the gospel dispen- 
 sation. But it must be remembered that, under 
 the Mosaic dispensation, some things, as the offer- 
 ing of sacrifices, were designed to be typical of 
 good things to come, and were, in the nature of 
 the case, transient : other services enjoined by the 
 law, as singing and prayer, being parts of Divine 
 worship, were obviously designed to be permanent. 
 The music of the Temple, if typical at all, was 
 emblematical of the songs of saints and angels in 
 heaven ; and of this symbol, we in these latter 
 times have as much need as the people had pre- 
 vious to the advent of the Messiah. The peculiar 
 office of the choir must still be filled, either by 
 one person or by several singers associated to- 
 gether ; and, if it can be done better by a com- 
 pany than by an individual, it is needless to say 
 that the choir arrangement should be adopted. 
 
TiiK BERVIOK OF SONG. 145 
 
 Although we thus speak, we are free to admit 
 that the opposition to choirs is, in many instant 
 well founded. Their tendency to monopolize the 
 
 ing has been too often seen in modern times, 
 ami in Protestant congregations. An erroneous 
 view seems to be entertained by many as to the 
 object of Church music. Not a few seem to regard 
 it simply as a matter of entertainment — a pleasant 
 
 •at ion from the more arduous portions of the 
 service — a thing not of use but of ornament — a 
 luxury, not a necessity. This being the case, the 
 music must be intricate in kind and exquisite in 
 execution; sound must predominate over sense, 
 and the whole congregation, apart from the choir, 
 must assume the attitude of passive listeners. 
 The idea of worship being well nigh ignored, each 
 one in the assembly sets himself to enjoy the oc- 
 casion as best he can. Some are lolling at ease 
 in their pews lost in reverie ; some are, like Napo- 
 leon, listening to the music that it may aid them 
 to think about other things; some are delighted 
 with the faultless performance of a favorite piece 
 by the choir, while very few, if any, are spiritually 
 engaged. The persons composing the choir are 
 manifestly prompted solely by a desire to excel 
 in their department, and they give the same indica- 
 thouirhtlessness and worldliness that they 
 would in a meeting for practice, or at the opera. 
 
 a the minister so demeans himself as to con- 
 vince the people that he is not 1 in the act 
 
 IO 
 
146 THE SERVICE OF SONG. 
 
 of religious worship: lie is adjusting his manu 
 script, turning over the leaves of the Bible, or 
 giving directions to the sexton. During the prayer, 
 all are quiet and apparently devout : during the 
 preaching, all are respectful and attentive. Why, 
 then, this utter indifference during the singing ? 
 Can such a sheer mockery be acceptable to God? 
 Would it not be better to dispense with the music 
 altogether than to desecrate the Church with this 
 miserable counterfeit of true worship ? 
 
 Would that this idea of singing by proxy could 
 be, at once and forever, banished from the Church. 
 Can we pray by proxy — repent by proxy — believe 
 by proxy — be converted by proxy — render our ac- 
 count at the judgment seat of Christ by proxy? 
 Can we go to heaven and sing there by proxy ? 
 How, then, did we ever get the idea that we might 
 sit silently in the Church while a few friends in 
 the gallery were so kind as to do our singing for 
 us, thus saving us the trouble? How have we 
 managed to get our own consent to neglect a duty 
 positively enjoined upon us by Divine authority ? 
 How can we willingly forego one of the most ex- 
 alted privileges vouchsafed to mortals ? 
 
 To show how some persons think and feel on 
 the subject of choirs and Church singing, we give 
 the following extract from a periodical of recent 
 date: 
 
 " There is a general idea among the Churches 
 that the music of a paid choir costs too much ; but 
 
THE SERVICE OF SONG. 147 
 
 a congregation may as well pay their money as 
 a choir spend their time. A volunteer choir, with 
 any ambition to sing creditably, assume a great 
 burden. The}' assume, first, the burden of always 
 being at Church, whether they may be sick or 
 well. They assume the expenditure of a great 
 deal of time for rehearsals. They assume a thous- 
 and vexations. They expose themselves to the 
 criticism of those who will not touch their burden 
 with one of their fingers. Who blames free men 
 and free women for refusing to become the slaves 
 of others ? We have known those who voluntarily 
 carried the burden of the music of a Church for 
 many years, as a Christian duty, and we give 
 them all honor ; but we have no right to ask it of 
 them — no more right, really, than to ask a minister 
 to give us his time for nothing and find himself. It 
 is very pretty for a congregation to gather together 
 and hear good singing, and not have it cost them 
 anything; but the fact is, all good singing — all 
 singing worthy of the house of God — costs some- 
 body something — nay, costs somebody a great 
 deal. Why should a choir bear the whole of this 
 cost, and the congregation none of it ? 
 
 " Those who devote their lives to music are those 
 best calculated to perform acceptably the music 
 of the sanctuary. We should add to this class 
 all who. by the expenditure of abundant time and 
 money, have become excellent in this accomplish- 
 ment. To the first of these, music is the instru- 
 
148 THE SERVICE OE SONG. 
 
 ment by which they win their livelihood ; to the 
 last, it has been a costly thing, and they deserve 
 return. It is just as reasonable, and just as legiti- 
 mate, for a man to sing God's praise for a living, 
 as it is to preach God's truth or lead in any other 
 department of Christian worship for a living ; and 
 a Church or a parish which shrinks from assuming 
 its part of the burden of church music can only 
 justify itself by the plea of poverty or constitu- 
 tional meanness." 
 
 In the remarks made by this writer previous to 
 these utterances, he assumes that in this country, 
 at the present day, good congregational singing is 
 not to be expected, and he attributes the efforts 
 made in that direction to a desire to make money 
 by the sale of music books. As the extract shows, 
 he advocates a paid choir — a choir of professional 
 singers, who are to be exposed to criticism in their 
 performances as one of the burdens which they 
 are to bear. The people are to be exempted from 
 this burden by paying their money freely — hiring 
 others to bear it for them. Those who constitute 
 a voluntary choir are the slaves of the congrega- 
 tion, and the latter come together to hear good 
 singing. Those who devote their lives to music — 
 in the theatre, the ball-room, or the concert-hall — 
 are to sing God's praise for a living ! The Chris- 
 tian heart sickens at the contemplation of such 
 anti-Scriptural, sordid, God-dishonoring views. 
 
 How different the judgment of John Wesley, 
 
THE SERVICE OF SONG. 149 
 
 expressed in his Journal of April 8, 17S7. T T-' 
 Bays: * v I preached in Bethesda, Mr. Smyth's new 
 
 chapel Mr. Smyth read prayers and 
 
 gave out the hymns, which were sang by iifteen 
 or twenty-five singers ; the rest of the congrega- 
 tion listening with much attention, and with as 
 much devotion as they would have done to an 
 opera. But is this Christian worship? Or ought 
 it ever to be suffered in a Christian Church ?" 
 
 It must be evident that choirs organized and 
 serving on the proxy principle can be nothing 
 short of a moral nuisance — a grievous hindrance 
 to the worship rather than a help. 
 
 On the other hand, let it be distinctly under- 
 stood that all, whether members of the choir or 
 not, are under the most sacred obligations to sing, 
 and that, consequently, there are to be no inactive 
 listeners, no critics. Let the choir lead the con- 
 gregation, on the same principle that the officers 
 in an army lead the soldiers under their command — 
 not to supplant them, but to add to their efficiency. 
 Constructed upon this basis, the choir arrangement 
 may often be greatly beneficial. 
 
 Most of those who adopt this view will, doubt- 
 less, concur in the opinion that the leader of the 
 choir should be an exemplary member of the 
 Church. We are not now considering what would 
 I)- besl in an extreme case. But. ordinarily, he 
 who is prominent in any part of th<- Church ser- 
 vice ought, by all means, himself to be a devout 
 
150 THE SERVICE OF SONG. 
 
 and spiritual worshiper. This statement sounds 
 too much like a self-evident proposition to admit 
 of argument. That in selecting a chief chorister, or 
 precentor, especial reference should be had to' the 
 heart and life as well as to the head and the voice, 
 is a sentiment that need only be uttered to pro- 
 duce conviction of its truth and importance. 
 
 We are also of opinion that the majority of 
 those under the immediate direction of the leader 
 should be pious. To associate a dozen or a score 
 of irreligious persons together to conduct the 
 Church singing, is a procedure which merits the 
 most emphatic disapproval of all Christians. It 
 would not be proper to scrutinize too rigidly the 
 spiritual condition of those who are expected to 
 compose the choir ; but the general rule that two- 
 thirds or three-fourths of those admitted to this 
 responsible position must be members of the 
 Church, could be easily enforced. 
 
 Again, the proper position for the choir is not 
 in the gallery, but on the lower floor, the trained 
 singers constituting a visible and integral part of 
 the congregation. The presence of the choir in 
 the very midst of the assembly, the tune being 
 promptly and properly pitched and heartily sus- 
 tained by a full volume of voice, would be a 
 powerful stimulus to "all the people" to unite 
 in the worship. " Joy is heard in the modulations 
 of verse, and in the sweet swell and cadence of 
 music. One reason for this is that thus our joy 
 
THE SERVICE OF SONG. 151 
 
 may be social. The shout of one warrior animates 
 another. The Bong of one laborer cheers another 
 as well as himself in their mutual toil. The song 
 oi' victory in one part of the field stimulates the 
 combatants where the battle is yet doubtful; and 
 the common chorus heightens the common tri- 
 umph. In heaven all is social, all is action and 
 reaction. There is song in heaven because there 
 is joy there ; joy too strong to be confined to the 
 heart It must not only be felt, but sung; not 
 only sung, but sung in chorus, rising till the voice 
 is as the voice of many waters, as the voice of a 
 great thunder." * 
 
 " In England and in Scotland," says John Angel 
 James, " at least among Non-conformists, the peo- 
 ple would think themselves almost as much 
 defrauded if they were denied the service of song 
 in the sanctuary as they would if denied the ser- 
 mon. What, for real sublimity and acceptable- 
 ness to God, is the finest music performed by hired 
 solos or the most effective choir compared with 
 the swell of hundreds of human voices, pouring 
 forth in one grand diapason the raptures or the 
 sorrows of hundreds of regenerated hearts ? " 
 
 The late Rev. Dr. Raffles, of Liverpool, wrote to 
 an American editor : " How is it that your country 
 people do not sing in the house of God ; but leave 
 it to the choir to sing for them, and are thus con- 
 tent to perform the most exhilarating and delight- 
 
 • Rev. R. Watson. 
 
152 THE SERVICE OF SONG. 
 
 ful portion of public worship by proxy ? I confess 
 I have often been astonished at this, and have de- 
 plored that loss of high spiritual enjoyment which 
 our trans-Atlantic brethren are willing by reason 
 of such a practice to suffer." 
 
 A powerful impulse must be given to the people 
 when the choir, sitting in the midst of the assem- 
 bly, act only as the acknowledged leaders in the 
 service of song. 
 
 This arrangement, which already obtains in 
 some Churches, would also have a happy effect 
 upon the choir. Occupying a remote and secluded 
 position, the temptation to listlessness and levity 
 is frequently yielded to, especially by the young. 
 As an illustration of this remark the following 
 narrative is given : " Many years ago," says a 
 writer in a New York paper, " I boarded, when 
 very young, with a family in the South, the head 
 of which was the organist in the Church. Not 
 being attached to any Church or form, I sometimes 
 attended Divine service with him, and, for con- 
 venience, sat in the organ-loft The loft 
 
 was railed in, and furnished with substantial, 
 thick, crimson curtains, which, when drawn, were 
 sufficient to exclude vulgar eyes from the hallowed 
 interior. 
 
 " It was customary, when the excellent ritual of 
 devotion was gone through, and the Rector had 
 named his text, for the singers to draw the curtains 
 around them, and read or sleep as it suited them 
 
THE BBBYIGI OF SONG. IT).! 
 
 best In very warm weather they also took care 
 to be supplied with refreshments; and thus the 
 tedious half hour allotted to the sermon was pretty 
 easily consumed without much weariness. I recol- 
 lect that on one very warm Sabbath afternoon, the 
 Bingers had watermelons and lemonade where- 
 with to console themselves; and it happened that 
 one of tin* gentlemen, in handing a slice to a lady 
 Binger, overset the pitcher of lemonade. This 
 might not have been of much consequence had 
 the floor of the organ-loft been liquor-tight. But 
 there were many chinks in it, and the lemonade 
 trickled through pretty freely down into the broad 
 aisle, to the discomfiture of the Rector, and such 
 of his congregation as were wakeful enough to 
 notice passing events " 
 
 We need hardly say that such a scene could 
 not have occurred but for the separation and con- 
 cealment of the choir from the congregation. 
 
 " The gallery, the modern place of performance, 
 is altogether an innovation of later times, and 
 Popish in its origin. That corrupt idolatry of 
 music which prevailed in Italy, induced the ad- 
 mittance of persons into the choir who were 
 obviously unfit to sit among the clergy, and there- 
 fore, were placed, like mere instruments, in a ioft. 
 There is an appearance of theatrical exhibition in 
 this obtrusive elevation of the singers, frequently 
 attracting tie 4 gazeof the congregation (perhaps 
 I should say of the audience) below ; win; turn 
 
154 THE SERVICE OF SONG. 
 
 their backs upon minister, altar, and everything 
 sacred, absorbed by that which a savage would 
 actually suppose to be the idol of worship. .... 
 The modern practice cuts off the clergyman from 
 the singers, and gives to the latter an improper 
 elevation." * 
 
 We may further suggest that the tunes sung by 
 the choir should be mostly plain, familiar pieces. 
 The people generally, especially in this country, 
 have but little musical culture, and, hence, they 
 can not be expected to unite in singing new and 
 difficult tunes. A penchant for new tunes has 
 been the bane of choirs. The indulgence of this 
 fondness for novelty and display generally pre- 
 vents the residue of the congregation from uniting 
 in the service. The supposition that the lighter 
 modern compositions are superior to the old 
 Church tunes which have been in use for ages, is 
 utterly erroneous. Old Hundreth, and other pieces 
 of like character, will continue to waft the souls 
 of the multitude upward, as on eagles' wings, till 
 time shall be no longer. 
 
 But we would not impede the march of mind ; 
 we would not be forgetful of the excellencies of 
 modern musical productions. New tunes should 
 be introduced occasionally, and they should be 
 sung so frequently that all may learn them per- 
 fectly. 
 
 * Rev. J. Jebb. 
 
THE SKE VICE OF SONG. 155 
 
 We want plain Binging as well as plain limes. 
 
 Those who conduct the Church music should be 
 
 from even the semblance of affectation. Any 
 
 nnnaturalness of manner, whether exhibited in 
 the movements of the body, the expression of the 
 countenance, or the tones of the voice, is altogether 
 intolerable. On this subject hear Aelredus, Ab- 
 bot of Rivaulx, in Yorkshire, England, who died 
 A. D. 1166: 
 
 " To what purpose serves that contraction and 
 inflection of the voycel This man sings a base, 
 this a small meane, another a treble, a fourth di- 
 vides and cuts asunder, as it were, certaine middle 
 notes. One while the voyce is strained, anon it is 
 remitted, now againe it is dashed, and then againe 
 it is enlarged with a lowder sound. Sometimes, 
 which is a shame to speake, it is enforced into an 
 horse's neighings : sometimes, the masculine vigor 
 being laid aside, it is sharpened into the shrill- 
 nesse of a woman's voyce ; now and then it is 
 writhed, and retorted with a certaine artificial cir- 
 cumvolution. Sometimes thou mayest see a man 
 with an open mouth, not to sing, but. as it were, 
 to breathe out his last gaspe, by shutting in his 
 breath, and by a certaine ridiculous interception 
 of his voyce, as it were to threaten silence, and 
 now againe to imitate the agonies of a dying man, 
 or the extasies of such a< suffer. 
 
 "In the meantime, the whole body is stirred up 
 and downe with certaine histrionical gestures : the 
 
156 
 
 THE SERVICE OF SONG. 
 
 lips are wreathed, the eyes turne round, the shoul- 
 ders play, and the bending of the fingers doth an- 
 swer every note. And this ridiculous dissolution 
 is called religion ; and where these things are most 
 frequently done, it is proclaimed abroad that God 
 is there honorably served. In the meantime, the 
 common people looke upon the gesticulations of 
 the singers, the meretricious alternations, inter- 
 changes, and inflections of the voyces, not without 
 derision and laughter ; so that a man may.thinke 
 that they came, not to an oratory or to a house of 
 prayer, but to a theatre ; not to pray, but to gaze 
 about them ; neither is that dreadful Majesty 
 feared before whom they stand. Thus, this 
 Church singing, which the holy fathers have or- 
 dained that the weake might be stirred up to piety, 
 is perverted to the use of unlawful pleasure, i. e., 
 the vanity of the singers." 
 
 We are glad to be able to affirm that the arti- 
 ficialities in singers which have so often excited 
 disgust are not necessarily an indigenous growth 
 of the choir system. And here we may ask, are 
 there no evils besetting the old hap-hazard cus- 
 tom — we can not call it s}^stem ? 
 
 It is a bright, serene Sabbath morning. You pass 
 the threshold of the Church and compose yourself 
 for the sacred services. The minister rises in the 
 pulpit and announces the hymn. You are ready to 
 unite in the singing, but nobod}^ sings ! Instead 
 of a general and hearty outburst of praise, there is 
 
THE 9ERVI0E OF SONG. 157 
 
 "an awful pause." It is the business of .ill, and 
 yet of no one, to raise the tune. At last the 
 preacher says, dryly and imploringly, " We will 
 thank some friend to pitch the tune." The eyes 
 of. all are now turned to some individual who is 
 supposed to be skilled in music, at least sufficiently 
 so to render assistance in this time of distress. 
 Eventually, this benevolent "friend" finds that 
 there is no way of escape : although a very modest 
 man, and withal less expert in the science of tune- 
 raising than many have supposed, yet necessity 
 is laid upon him — he must raise his head, and 
 face tlie music ! or, in other w r ords, he must face 
 the congregation with the music. But, alas! his 
 trepidation has now reached the choking point, 
 and the feeble voice which is left to him is as trem- 
 ulous as that of an infirm patriarch. In his pres- 
 ent condition, it will be a marvelously fortunate 
 hit if he strike a tune at all. The fear is that he 
 will do like Bishop Pierce's "friend" in the South- 
 West, who, however, was self-constituted. This 
 individual essayed to act as chorister, but, unhap- 
 pily, instead of leading the congregation steadily 
 and edifyingly through the tune, he could noc 
 himself make headway — his voice " sprangled 
 among the notes geneially.*' 
 
 If the tune be raised, its metre may be different 
 from that of the hymn. A dilemma of this sort 
 sometimes results in a complete break-down; and 
 sometimes tin? determination not to be outdone is 
 
158 THE SERVICE OF SONG. 
 
 such as to lead to the barbarous operation of 
 crowding a common metre hymn into a short metre 
 tune ; or, of stretching common metre to the di- 
 mensions of long metre. To witness one scene of 
 butchery like this, is enough for a lifetime, unless 
 the nerves of the unfortunate listener be of steel. 
 
 But if the metre be right, the pitch is apt to be 
 too low or too high ; and if so, the singing will, 
 either groan, and grovel in the dust, or scream, 
 and strain itself upward as if ineffectually striving 
 to grasp the topmost round of a lofty ladder. The 
 tune, too, it is likely has been used until it is com- 
 pletely worn out. It must be bowed with age, or 
 in some way disabled ; for, in its earlier days, 
 when sung by Luther, Wesley, and Asbury and 
 his co-adjutors, it moved along buoyantly and 
 briskly ; but now, see how it limps and halts, and, 
 in its best moods, goes only at a snail's pace. 
 
 But how can we describe the want of coherency 
 and concord which so sadly mars the music, in- 
 correctly so-called. The voices do not blend to- 
 gether — there is no flow of sound ; but, some being 
 out of tune and some in tune — some too fast and 
 some too slow — you would almost be disposed to 
 address the singers and say, in the language of 
 the Apostle, " Every one of you hath a psalm." 
 
 Look over the assembly : nine-tenths of the 
 people are silent, and those who attempt to sing 
 are, apparently, utterly devoid of the spirit of de- 
 votion. Is this congregational singing? Wpuld 
 
TIIK si CB VICE OF SONG. 159 
 
 such harsh drawling have pleased Asaph, or Da- 
 vid, or Charles Wesley ? Can it please God? In 
 this connection, may we not use the words of good 
 old John Kvland of Northampton : "Do ye call 
 that singing? If the angels in heaven were to 
 hear ye. they would come down and wring your 
 necks off." 
 
 We are disposed to demur to the opinion, ex- 
 pressed by many, that good congregational sing- 
 ing may be had without either the study or practice 
 of the science of music. To test the question, let 
 us convene a congregation composed of persons 
 who have never sung — never even tried to sing. 
 Cite them to the hymn and request them to sing. 
 Can they do it ? We know they can not. They 
 have voices, but utterly fail for want of knowl- 
 edge and practice. 
 
 The singing of the colored people in our cities 
 is frequently mentioned to show that science in 
 music is unnecessary. And who has not been 
 charmed with the majestic voices of these sable 
 songsters, pouring upon the ear a torrent of melody, 
 evidently proceeding from honest and true hearts ? 
 But we must not forget that many of these people 
 are intelligent, and that some of them have a good 
 theoretical knowledge of music. They have all 
 worshiped frequently, or at least occasionally, with 
 the white people, and have heard, from time to 
 time, the best singing that our city Churches can 
 afford. It may be that in this way they have 
 
160 THE SERVICE OF SONG. 
 
 learned the tunes, and having worshiped together, 
 perhaps every Sabbath for several years, they 
 have had ample opportunity for practice. There- 
 fore, their success must be attributed to " familiar 
 science" — the principles of science practically 
 applied. Why do not the savages in Africa sing 
 like the colored people in Charleston, and in other 
 Southern cities ? 
 
 Science has sometimes been decried as if it 
 were a strait-jacket, confining the limbs, and 
 crushing the life out of the subjects to which it is 
 applied. We need not pause to inquire how much 
 the very persons who thus speak are indebted to 
 science — in agriculture, manufactures, mechanics, 
 navigation, medicine, law, politics, and in fact in 
 all the pursuits in which men are engaged. 
 
 Order, system, or science pervades the Creator's 
 works throughout the universe. Why, then, should 
 science in music be despised or lightly esteemed ? 
 
 The Rev. J. ~R. Scott says : 
 
 " Music, like every science, forms a department 
 of God's truth. As such, it has its laws, no less 
 fixed and unalterable than those of any other 
 science. These laws have been ascertained and 
 systematized, just as in the other sciences. As in 
 chemistry, it is found, by experiment, that certain 
 gases, combining in certain definite proportions, 
 form water ; so in music, experiment shows that to 
 produce a given effect, sounds must follow each 
 other according to a regular scale, in which the 
 
THE SERVICE OF SONG. 161 
 
 notes are separated from each other by intervals, 
 some lo me Bhorter, but so mathematically 
 
 exact, that notes struck together in certain com- 
 binations, invariably produce harmony; while. 
 Bounded together in other combinations, they 
 always produce discord. Only as these laws are 
 trved, can sounds give pleasure, or awaken any 
 lific emotion. The same sounds given out re- 
 ■ laws, annoy the ear, and may even 
 cquisite pain. Now, as one may have con- 
 siderable practical knowledge of chemistry, with- 
 out being a scientific chemist ; so nature, practice, 
 and observation, may have given an individual con- 
 able acquaintance with music, who has never 
 been taught it scientifically. Still, it is only as the 
 natural musician really, however unconsciously, 
 conforms to the principles enunciated by science, 
 that he can produce any desired effect. Now, 
 since the science of music embraces all that nature 
 and experiment have taught all men in all time 
 hitherto about this branch of truth, it is presum- 
 able there is no one so gifted as not to be capable 
 of increasing his skill by availing himself of in- 
 struction. The more nearly the praises of God's 
 house are conformed fo the true teachings of mu- 
 ie, the more likely, other things being 
 equal, .their design will be accomplished. 
 
 •• There seems to be. in the minds of many of the 
 advocates of congregational singing, a repugnance 
 
 to the idea of church music being scientific. But 
 ii 
 
162 THE SERVICE OF SONG. 
 
 does not this spring from a misapprehension of 
 the term ? Any music that is music must be scien- 
 tific. All that science does is to teach how the 
 Creator has constituted things ; and how, accord- 
 ing to that constitution, certain effects are to be 
 produced. Scientific is not opposed to simple and 
 appropriate. The peculiarities of different occa- 
 sions are not overlooked. Science, truly so called, 
 will prescribe a very different style of music for 
 the house of God from that with which the sensi- 
 bilities are plied in the temples of folly. But none 
 the less will she aim at freedom from every viola- 
 tion of melody and harmon} r , and at bringing out 
 as fully as possible every resource for expressing 
 naturally and truly the sentiment sung, and for 
 enhancing its impression on the heart. While, 
 therefore, no one is to wait until he has made him- 
 self a scientific musician before joining in sing- 
 ing, is it not still the manifest duty of every one 
 to fit himself, so far as his means will admit, for 
 serving God in this delightful and elevating exer- 
 cise the best he can — on scientific principles?" 
 
 Of course we do not believe it practicable for 
 the Church in every place to enjoy the services of 
 a choir. In many communities, especially in the 
 more sparsely settled sections, the most that can 
 be expected is that the people generally will im- 
 prove such opportunities for the acquisition of 
 musical knowledge as may be within their reach ; 
 and that, in Divine worship, they will sing as best 
 
Tin: BERVIOE OF SONG. 163 
 
 they can, souk 4 one being set apart to lead in the 
 
 music. If we could speak a word in the car of this 
 individual, we would assure him that very much, 
 as to the interest and profit of the service, depends 
 upon him — that the responsibilities upon him are 
 such as should induce him, in the fear of God, to 
 prepare himself, as far as possible, to conduct this 
 part of the worship. We would entreat him, in 
 the language of inspiration, to sing unto the Lord 
 m song. That old common metre tune is good, 
 hut it has become utterly stale. As it regards short 
 metre, the entire amount of capital on hand seems 
 to be limited to that venerable melody which has 
 been pressed into the service almost every time 
 the people have assembled for worship during the 
 last live and twenty years. In other metres the 
 stock is correspondingly meagre. A little effort 
 will remedy this difficulty. New tunes are abun- 
 dant, and the fact that the precentor has learned one 
 tune, is evidence of his ability to acquire as many 
 more as may be necessary. Let the importance 
 of the suggestion which is here kindly made 
 be duly appreciated. While we eschew an un- 
 due degree of novelty, let us not err in the opposite 
 direction. In music, variety is a necessity. If 
 we had an angel to sing for us, w r e should want a 
 new tune occasionally. 
 
 Lei ir be distinctly understood that, if we do the 
 best we can, God will graciously accept our service. 
 But shall we be blameless if, with the ability to do 
 
164 THE SERVICE OF SOj^G. 
 
 well, we do poorly? What if a Church in any 
 given place, comprising a numerous, wealthy, and 
 intelligent membership, should erect and dedicate 
 to the worship of God a rough, diminutive log 
 cabin, instead of contributing liberally for the 
 construction of a neat and commodious edifice ? 
 Is there no penury and covetousness in this trans- 
 action ? What if the young man who has been 
 called to preach the gospel, instead of do- 
 ing his utmost to prepare himself for the great 
 work, deliberately yields to the seductions of 
 indolence and luxury, trusting that all neces- 
 sary aid will be given him when he stands 
 up as an ambassador for Christ, can he then 
 exercise strong faith ? Will his preaching be as 
 effective as it would have been with suitable pre- 
 paration on his part? Has he obeyed the injunc- 
 tion — "Study to show thyself approved unto 
 God ?" And what if, with the ability to learn to 
 sing correctly and attractively, we bury our tal- 
 ent — neglect our opportunities — shall we derive 
 the same benefit from the song-service in the Lord's 
 house that would accrue to us under other circum- 
 stances ? Can we say that, as far as we are con- 
 cerned, the singing and every other exercise per- 
 taining to the Church, is conducted " decently and 
 in order?" In utter ignorance of the principles 
 which must govern in all good music — without the 
 ability even to discriminate between good and 
 faulty singing — can we say that we sing with the 
 
THE SERVICE OF SONG. 105 
 
 understanding ? God will accept a mite from 
 the poor widow, but not from the rich man. He 
 will accept jars and discords from those who can 
 oiler him nothing better, DUt will He be pleased 
 with that which is lame and imperfect from those 
 who are in circumstances to bring a proper sacri- 
 fice \ It is impossible to read those passages in 
 the Old Testament which treat of the singers and 
 of the leaders of song in the sanctuary, without 
 reaching the conclusion that good music was 
 contemplated. We can be satisfied with nothing 
 short of good bread to eat, good water to drink, 
 good raiment to wear ; we want a good prayer 
 and a good sermon. How, then, can we be indif- 
 ferent in regard to the music which is to be used 
 in the worship of our Heavenly Father? 
 
 " 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 and with Himself; 
 and has appointed it as a means of the sublimest 
 ; cises of devotion, as if with special intent that 
 the praises in His Church on earth may approxi- 
 mate as nearly as possible to the spiritual and re- 
 fined worship of the Church in heaven. Through 
 the influence of music, the very senses become, 
 as it were, hand-maidens of devotion. By tin? 
 harmonious combination of a few notes, with their 
 various modulations, the mind, through the organs 
 of hearing, and the sympathy of the nervous 
 tem, not only receives peculiar pleasure — some- 
 
166 THE SERVICE OF SONG. 
 
 times exquisitely refined sensations of delight — 
 but the affections are excited to the spiritual ex- 
 ercises of devotion and praise ; we are prepared 
 for the more lively and ecstatic 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.' 
 
 " The effect of discordant and unhar- 
 
 monious sounds, is a sensation of uneasiness and 
 distress, tending to prevent, rather than aid, a 
 spirit of devotion. Such penance we have no right 
 
 to inflict on those who worship with us 
 
 Music should be cultivated for the purpose of 
 religious worship, and from a sense of religious 
 duty." * 
 
 Dr. Watts says : " Of all our religious solemni- 
 ties, psalmody is the most unhappily managed. 
 The very action which should elevate us to the 
 most Divine and delightful sensations, doth not 
 only flatten our devotions, but too often touch all 
 the springs of uneasiness within us." 
 
 God requires melody — melody in the heart, and 
 melody, as far as practicable, to the ear. 
 
 " In order that a congregation may bring its 
 best offering in song, there can be no question that 
 it needs the help and lead of a choir. A company 
 of well-trained singers, having what good singers 
 usually have, such a love of music as keeps them 
 
 * Freeman. 
 
 
THE SERVICE OF SONO. 1G7 
 
 in haV»** of constant vocal practice, and makes 
 that practice a pleasure, have it in their power to 
 impart invaluable assistance to the congregation. 
 They are able to sing with confidence. They are 
 masters of the music which they perform. Their 
 bold, firm, spirited tones assure the timid of sup- 
 port, and encourage all who can sing, even mod- 
 erately well, to put forth their voices heartily. 
 They may direct the movement of the tunes, 
 securing promptness and precision of utterance, 
 and preventing those dilatory habits of singing to 
 which congregations are always liable. Their 
 help in tunes that are not very familiar, and in 
 learning new tunes, by which the stock of musical 
 material in use by the congregation maybe grad- 
 ually enlarged, is of great importance If 
 
 a congregation is so fortunate as to enjoy the ser- 
 vices of a choir of good singers, who sing, not for 
 display, but for worship, and who are willing to 
 assist the humblest worshipers in the sanctuary, 
 and even children, in making their praises vocal, 
 the Church should by all means, and most thank- 
 fully, avail herself of such assistance."** 
 
 Favored with the lead of a score of strong and 
 cultivated voices, any one, however destitute of a 
 knowledge of musical science, may unite in the 
 Binging, first softly, and then with greater assur- 
 ance. 
 
 But some may contend that the choir institution 
 
 * Furber. 
 
168 THE SEKVICE OF SONG. 
 
 is a good one when under suitable regime, but that 
 the difficulties to be overcome are so formidable, 
 that it had better be dispensed with altogether. 
 This view of the case is specious, but> as we ap- 
 prehend, incorrect. We are of opinion that this 
 branch of the Church service may be easily 
 regulated. 
 
 If we proceed upon a wrong principle, we may 
 expect embarrassment. If it is understood that 
 the Church music is an affair which does not 
 necessarily claim the attention of those who direct 
 in ecclesiastical matters ;. and if a number of per- 
 sons, believing that there ought to be a choir, vol- 
 untarily assume the responsibility of conducting 
 the singing, their motives may be good, but evil, 
 in most cases, will ensue. Having been supreme 
 in the undertaking, at the beginning, they will, of 
 course, expect to have the whole matter in their 
 own hands ever afterward. Hence, if disappro- 
 bation should be expressed in regard to their 
 performances ; or, if changes should be pro- 
 posed, they are likely to consider these sugges- 
 tions as evidence of ingratitude for services ren- 
 dered ; and, in fact, as gratuitous fault-finding, or 
 impertinent meddling. Being unwilling to submit 
 to what they look upon as dictation, they either 
 persist in their own way, or indignantly abandon 
 the position which they were never authorized to 
 occupy. 
 
 Injury has now been done to the cause of Christ, 
 
THE SERVICE OF SONG. 169 
 
 and who is in fault! We blame the choir for 
 their obstinacy and petulance, but we blame the 
 
 Church, also, for her indifference in a matter of 
 vital importance. Why did she not give this 
 movement a quietus in its very inception i Nay, 
 why did not the Church in that place, from the 
 day of her organization, claim the prerogative 
 of managing her own affairs I Then no one would 
 have thought ot invading her rights. 
 
 Let it be distinctly understood, that unauthorized 
 sons have no more right to control the singing 
 than they have to direct in prayer or preaching. 
 Let the pastor — the oversee?' — aided by his proper 
 advisers, consider it his bounden duty to super- 
 this branch of the worship, and all other de- 
 partments of the Church-service. A thousand 
 annoyances and evils will thus be avoided. 
 
 As was intimated in a former chapter, the Meth- 
 odist Discipline leaves the superintendence of the 
 singing with the pastor. Aided by those who are 
 capable of giving advice, he can make a judicious 
 selection of persons to compose the choir. 
 
 ^Ve quote a Canon of the Protestant Episcopal 
 Church, as follows : " It shall be the duty of every 
 minister, with such assistance as he can obtain 
 from persons skilled in music, t<> give order con- 
 cerning the tunes to be sung at any time in his 
 Church; and. especially, it shall be his duty to 
 Buppress all light and unseemly music, and all 
 inde and irreverence in the performance, by 
 
170 THE SERVICE OF SONG. 
 
 which vain and ungodly persons profane the ser- 
 vice of the sanctuary." 
 
 "All Church music," says Richard Storrs Willis, 
 " it is understood, is subservient to what is assumed 
 to be the great object of Chuch-service — worship. 
 Now, the true nature of worship, the general prin- 
 ciples which underlie it, and the best method of 
 successfully accomplishing it, ought to be, and 
 doubtless are, better understood by the clergyman 
 than the musician ; inasmuch as the one makes 
 this his special study, and the other makes music 
 his special study 
 
 " The intellectual and defining part of the mu- 
 sical department in Churches belongs, then, to the 
 clergyman: the practical and applying part to 
 the artist. In other words, to the clergyman, as 
 the spiritual guide of the Church, it appertains, to 
 decide what musical arrangement is best for the 
 spiritual interests of the Church ; and to the mu 
 sician it appertains to realize this arrangement." 
 
 It is certainly the province of the pastor, 
 aided by his official advisers, to decide as 
 to the expediency of a choir ; and, if there is to 
 be # one, to designate its position in the church ; 
 the persons or class of persons of whom it 
 is to be composed ; and the character of the 
 tunes to be sung. In the same way, the question 
 as to the introduction of instrumental music may 
 be decided. The choir must be regarded, from 
 first to last, as the creature of the Church, and 
 
THE SERVICE OF SONG. 171 
 
 subject to her authority. This authority should 
 never allow itself to be contravened, and should 
 never be delegated to music committees, nor to 
 any individual or association whatever. 
 
 This oversight, while it will make the choir effi- 
 cient and guard it from deterioration, will by no 
 means diminish that confidence, buoyancy, and 
 freedom which should ever characterize those who 
 delight in sacred song. On the contrary, no em- 
 barrassing restrictions being imposed, and the pe- 
 culiar province of the singers being clearly defined, 
 they will feel a degree of assurance and happiness 
 which they could not otherwise experience. Merely 
 leaders of the psalmody, they will be sustained 
 and gladdened by the symphony of many voices, 
 and the animated spirits of the multitude will be 
 wafted to the skies upon the thrilling notes of the 
 temple hymn. 
 
 Here, then, is the conclusion of the whole mat- 
 ter in respect to the choir : whenever it assumes 
 to occupy an independent position, or to monopo- 
 lize its department of worship, it is an intolerable 
 evil ; but it may be easily preserved from all 
 abuses, in which case it is greatly promotive of 
 good congregational singing, and is, consequently, 
 an inestimable blessing to the Church and to the 
 world. 
 
172 THE SEEVICE OF SONG. 
 
 CHAPTEK II. 
 
 MELODY AND HAEMONY. 
 
 Definition — Origin of Counterpoint — Harmonizing in Germany — 
 Mr. Weber's first Objection to Harmony — His second, third, 
 and fourth Objections — The Power of Harmony a Divine Gift — 
 Treble should Predominate — Female Voices — Male Voices — 
 Variety of Voice — The Music of the Spheres — Harmony in the 
 Universe — Distinguished Advocates of Harmony. 
 
 Should we confine ourselves to the melody, or 
 leading part of the music ? Melody is one single 
 strain of successive musical tones — a tune 
 having but one part without any accompaniment. 
 Harmony is the combination of two or more such 
 strains. Hence, an air or melody is said to be 
 harmonized when one, two, or three parts are 
 connected with it. We sing in harmony when the 
 bass, tenor, or alto is sung in combination with 
 the air, or leading part, or when all these are sung 
 together. 
 
 Melody must have preceded harmony, as, in 
 numbers, one precedes two. The parent must 
 exist prior to the offspring. Still, it. is supposed, 
 with good reason, that harmony was known and 
 practiced by the ancients, both Jews and heathen. 
 In the olden time great importance was attached to 
 musical culture, and much attention was given to 
 
THE SERVICE OF SONG. 173 
 
 singing and playing on instruments. It would, 
 therefore, seem probable that by accident, if not 
 by design, musicians would occasionally strike 
 opposite notes at the distance of an octave, a third, 
 or a fifth from each other, and that the agreeable 
 effect having been discovered, efforts would be 
 made to make the pleasing concord extend from 
 one note to all the notes constituting a tune. This, 
 however, is mere conjecture; there is no positive 
 evidence either tor or against the hypothesis. 
 
 Franco is the first on record who entertained 
 the idea of counterpoint. " Musical notation," 
 Bays a writer in the London Encyclopedia, "was 
 at one time performed by small points ; and the 
 present mode is only an improvement on that 
 practice. Counterpoint— contra punctum — there- 
 fore, denotes the notation of harmony, or music 
 in parts, by points opposite to each other." 
 
 The singing at the dawn of the Reformation in 
 Germany was confined to the melody alone; but 
 about the year lf)G3, many of the plain tunes were 
 harmonized by competent composers. This style 
 of composition was by no means designed to take 
 the place of the usual mode of singing. It was 
 intended to give variety to the music, while all who 
 desired to do so were at liberty to sing the air as 
 lustily as they pleased. 
 
 We are not disposed to take extreme ground 
 in favor of harmony. It is certainly appropriate 
 in amateur singing, whether in the social circle or 
 
174 THE SERVICE OF SONG. 
 
 at the public concert ; but when considered with 
 reference to a worshiping assembly, it must be 
 subjected to some limitations. It is desirable that 
 congregational singing should be strong; there- 
 fore, when there are but few present, it may be 
 well to concentrate the forces upon the melody. 
 
 If it be contended that the aggregate of strength 
 is the same, whether we sing in unison or in 
 parts, the reply is that the air being the leading 
 part, it must march along with bold and vigorous 
 step ; weakness here is failure. 
 
 But, ordinarily, congregations convened for pub- 
 lic worship are large, and, when this is the case, 
 harmony may often be employed to great advan- 
 tage. We are aware, however, that some enter- 
 tain a different opinion. Among these is Mr. 
 Henry Weber, who formerly held the position of 
 Government Teacher of Music in Germany. In 
 the Home Circle, he gives four reasons in favor of 
 melody to the exclusion of harmony, or singing 
 in parts. Mr. Weber being an eminent musician, 
 we may safely conclude that he has given us, in 
 these four items, the strength of the opposition to 
 harmony in congregational singing. He says : 
 
 " The melody is the only part which gives the 
 exact expression to the words, and we can not see 
 why a portion of the congregation should be de- 
 prived of the privilege of singing that strain." 
 
 We may venture to inquire if our author has 
 premised correctly. Is the position incontrovert- 
 
THE SERVICE OF SONG. 175 
 
 ible that " the melody is the only part which gives 
 the exact expression to the words?" A good 
 Binger will articulate no less distinctly when he 
 Bings the subordinate parts than when he sings 
 the air. It is not only possible, but it is a neces- 
 sity in good music that, in all the parts, every syl- 
 lable be uttered clearly. If, then, every sound in 
 y word is brought out with precision, how can 
 it be said that exact expression is not given to the 
 poetry | 
 
 But it maybe said that expression includes also 
 that peculiar pitch and modulation of voice which 
 give point and power to the sentiments expressed. 
 
 Suppose, then, that we sing the hymns commenc- 
 ing, 
 
 " Father, I stretch my hands to Thee," 
 " O, for a closer walk with God," 
 
 or any other words of a sad or pathetic cast, may 
 not the solemn bass, or the pensive, aerial warbling 
 of the alto, be better adapted to give expression 
 to the hymn than even the melody itself? 
 
 We are speaking now, however, not of a solo, 
 but of congregational singing ; and we must not 
 single out one part or one voice : we must take all 
 the parts and all the voices in the aggregate. 
 Listen to the following words set to the tune' 
 called Boylston : 
 
 " The pity of the Lord, 
 
 To those that fear His name, 
 Is such as tender parents feel; 
 He knows our feeble frame." 
 
176 
 
 THE SERVICE OF SONG. 
 
 Again, hear the congregation as they sing, 
 
 " Forever here my rest shall be, 
 Close to Thy bleeding side ; 
 This all my hope, and all my plea, 
 For me the Savior died," 
 
 set to Mear. How conld we in either case cut off 
 the delightful accompaniments which have long 
 been wedded to the leading part, and send it along 
 through the staff bare and lonely? In Boylston, the 
 power and beauty of the tune reside in the bass, and 
 the tenor constitutes the chief strength and glory 
 of Hear. They are both tolerable tunes when 
 the melody alone is sung ; but when sung with the 
 parts, they give, as we conceive, " the exact ex- 
 pression to the words " with much greater felicity. 
 And so we would say of most of the tunes used 
 in large worshiping assemblies. 
 
 To say the least, there need be no deprivation 
 in any case whatever ; all should be left free to 
 sing the air, or one of the harmonies attached to 
 it, and no one should be subjected to embarrass- 
 ment in order that the parts may be sustained. 
 
 Mr. Weber's second reason in favor of unison- 
 ous singing is as follows : 
 
 " It would seriously affect tne religious medita- 
 tion of the singers to be constantly on the guard 
 to sing correctly parts differing from the melody : 
 although they might succeed in making an im- 
 pression on the listeners, yet they would not be 
 benefited themselves." 
 
THE SERVICE OF SONG. 177 
 
 Does this statement accord with the experience 
 of those who have been engaged in carrying the 
 parts in congregational singing? Have they of 
 necessity been so constantly on the guard to sing 
 correctly as seriously to affect their religions medi- 
 tations I This might be a consequence of the too 
 frequent introduction and use of new tunes ; but 
 this is what we deprecate as affecting injuriously, 
 not only those who sing the parts, but also those 
 who sing, or ought to sing, the air. ~\Ve have no 
 right to devote the precious moments allotted to 
 Divine worship merely to the acquisition of mu- 
 sical knowledge. 
 
 It will be conceded, as a general rule, that those 
 who sing the accompanying parts are able to read 
 music with ordinary facility. One who can do 
 this will easily master his part, in a plain tune, in 
 the space of a half hour ; and, with a little prac- 
 tice, it will become as familiar to him as the let- 
 of the alphabet. It is understood, too, that 
 each part has its appropriate leader, who has 
 sufficient skill to commence the tune on the proper 
 key. If. then, the singer knows his part perfectly,* 
 and if there is some one to give him the proper 
 sound and conduct him along through the no 
 why may lie not join and sing the bass, the 
 tenor, or the alto, with as gieat ease and spiritu- 
 ality as if he confined himself to the melody? 
 Might it not be expected that he who sings the 
 ling part would feel greater solicitude for the 
 
178 THE SERVICE OF SONG. 
 
 correctness of his performance than would be 
 felt by him who simply goes along in company? 
 If those who sing the air deviate from the right 
 line, they lead the whole congregation astray; 
 while a mis-step in any of the parts could only 
 produce momentary discord. If those who sus- 
 tain the leading part should, on any account, 
 make an untimely pause, a formidable chasm in 
 the music is the inevitable consequence ; but those 
 who espouse the subordinate parts may be silent 
 at any time without seriously marring the general 
 effect of the singing. We are inclined to the 
 opinion that any one of the accompanying parts 
 is more easily learned than the melody, because 
 there are so few intervals between the notes. It 
 is vastly easier for the voice to pass over a small 
 space than from a very low note to a very high 
 one, or vice versa. We should, at all events, be 
 so thorough in the part which we have chosen as 
 to preclude the fear of failure. 
 
 We consider our author's third reason : " The 
 regularity of singing in parts would be too often 
 disturbed by the accidental absence of some mem- 
 bers of the congregation, as sufficiently shown by 
 the choir system." 
 
 There is nothing more susceptible of adaptation 
 than melody and harmony. As we have intimated, 
 we do not think it desirable that we should always 
 essay to conduct all the parts. If circumstances 
 seem to require it, let all sing in unison. If those 
 
THE SERVICE OF SONG. 179 
 
 wlio are accustomed to Lead in any given part be 
 
 absent. Let that pari be omitted; and, if only one 
 part besides the air can be advantageously sung, 
 so let it be. In this way the irregularity might 
 be made to conduce to a pleasing variety. Gen- 
 erally, however, the assembling of the customary 
 congregation will insure the presence of most of 
 those who lead in the singing. 
 
 Mr. Weber closes by saying: "The singing of 
 one strain in unison by a large congregation is 
 more grand and impressive than singing in parts, 
 while singing in parts by a small assembly tends 
 only to weaken the effect." 
 
 Congregational singing should certainly be char- 
 acterized by grandeur and impressiveness ; but is 
 it absolutely certain that these are peculiarly the 
 attributes of unisonous singing? Melody is the 
 gift of God : He has conferred upon us both the 
 ear and the voice, thus enabling us to make and 
 appreciate pleasing sounds. Harmony is likewise 
 the gift of God : He has so arranged the laws of 
 sound that two or more notes at certain intervals 
 from each other on the staff, when struck simulta- 
 neously, produce a delightful concord. Music was 
 especially designed to be used in Divine worship. 
 Now, if God has given us melody to be used in 
 His praise, and if melody is the most simple and 
 most easily acquired style of music ; and if, for 
 devotional purposes, it is altogether superior to 
 harmony, is it not strange that the power of pro- 
 
180 THE SERVICE' OF SONG. 
 
 during harmonious sounds should ever have boen 
 conferred upon us ? Melody is to a congregation 
 of worshipers the first gift: they must sing in 
 unison before they can sing in parts. Harmony 
 is a subsequent gift : by study and practice the 
 people may acquire the ability to sing several 
 parts together with precision and ease. Now, if 
 this latter gift be inferior to the former, why was it 
 ever bestowed? The Omniscient Creator does 
 nothing that is superfluous, and He generally 
 leads us on from the less to the greater — from that 
 which is excellent to that which is more excellent. 
 Hence, we have first the light of the morning star, 
 then the day dawn, and then the sun shining in 
 his strength. We are first babes in Christ, and 
 in Him we are to " grow up." Is it not unseemly 
 and unnatural to put that which is inferior after 
 that which is more excellent ? But this, we must 
 admit, has been done by the Creator Himself, if we 
 contend that, in congregational worship, melody 
 is necessarily, and at all times, superior to har- 
 mony. 
 
 We are fully of opinion that the air should 
 always predominate : it is the king, the other 
 parts are the subjects : it is the main stream, they 
 are the tributaries. The melody should be suffi- 
 ciently pre-eminent to be heard distinctly in every 
 part of the house above the strains which har- 
 monize with it: it should be sounded out, not 
 roughly or vociferously, but Avith great strength 
 
TIIK BERVIOB OF SONG. 181 
 
 and fervor, extending, as it were, a kindly and 
 continuous invitatioD to all present to participate. 
 
 Therefore, Let as many as choose to do so, both 
 male and female, concentrate their voices upon 
 the leading part. We have never been able to 
 see why it should be given exclusively to females. 
 They were from the first, designed to be "help- 
 meets." The strength of the female voice has 
 been urged as a reason fortius arrangement; but 
 we are of opinion that, in leading the service of 
 song, the commanding power of male voices should 
 be preferred to feminine softness or shrillness. The 
 blending of the two is certainly most desirable. It 
 •nerally conceded that, on account of its pecu- 
 liar sharpness, the female voice is not well adapted 
 to tenor singing, but this is not a sufficient reason 
 for granting it a monopoly of the air or melody. 
 The finer sex may well employ their voices upon 
 it and tin? alto, and the males may sing the air, 
 the bass, or the tenor. 
 
 A professor in a Southern college says: "In 
 the congregation, it is the male voices that give 
 [y and force to the tide of sound. Deprived of 
 these, no matter how sweetly the women may sing, 
 there is no power exerted over the multitude. In 
 the full chorus of the camp-meeting or in meet- 
 - of the colored people, it is the hearty men's 
 v. tices, sustaining the higher voices of the females, 
 that give the singing its peculiar and oft-acknowl- 
 edged charm " 
 
182 THE SERVICE OF SONG. 
 
 The foregoing views may be embraced, of course, 
 without the slightest depreciation of the import- 
 ance and excellency of female voices. The only 
 question is as to which sex should lead in the 
 singing. 
 
 " A choir of twenty or thirty singers concentrat- 
 ing their vocal energies mainly upon the melody, 
 and singing with clear, distinct articulation, with 
 bold, commanding tone, and with firm, steady, 
 unvarying movement, may set before the congre- 
 gation such a plain and inviting path of song, and 
 may inspire with such confidence all who have 
 the ability to sing, that the result will be a success- 
 ful, and even admirable illustration of the people's 
 chorus. A hundred little rivulets, no one of which 
 could find its way to the sea alone, may join the 
 river that passes near them, and be wafted safely 
 to the ocean ; but the stream that conveys them 
 owes much of its grandeur to these little tributa- 
 ries. In the production of this great, melodic 
 chorus, a strong lead of men's voices upon the 
 air is indispensable. Men's voices are valuable 
 for dignity and impressiveness ; but in the chorus 
 of which we speak, their chief value is their 
 strength." * 
 
 With the vocal power concentrated mainly upon 
 the leading part, no untrained singer need be led 
 astray by the sound of the other parts. 
 
 * Furber. 
 
TIIK SERVICE 01 BONO. 183 
 
 The variety of voice which obtains in all con- 
 izations is worthy of consideration. Many per- 
 sons can Bing easily npon a low key who find it 
 
 almost impossible to raise their voices to a high 
 pitch. These voices, when applied to the tenor or 
 soprano, are harsh and unmanageable, but they 
 are. in many cases, admirably adapted to the bass. 
 Other voices which approach almost to a falsetto, 
 and are utterly incapable of deep bass tones, may, 
 nevertheless, do good service upon the melody. 
 Hence, singing in parts, when it is properly done, 
 so far from discouraging the masses from uniting 
 in the service, gives a refreshing variety to the 
 exercise, imparting force and vivacity to old as 
 well as to new tunes, and gracefully accommo- 
 dating itself to the peculiarities of all. 
 
 " To banish harmony from our congregational 
 worship, would be to stifle a large and valuable 
 portion of the human voice. Many a deep, rich, 
 mellow voice, that rolls its majestic swell through 
 our churches and chapels, on which the upper 
 strains float, and with which they mingle like the 
 ripples and spray of the ocean when its bosom is 
 animated with a sunny breeze, must be coerced into 
 silence and rest; or, if bass voices must sing the 
 air in unison, it will be a laborious effort, like tear- 
 ing up the organization ; and, generally, when per- 
 formed, will only add noise in the place of music. 
 Surely our Creator, in making the human organs 
 capable of such a variety and compass of intona- 
 
184 THE SERVICE OF SONG. 
 
 tion, could not "but intend them to be used for His 
 praise and the delight of His creatures ; but this can 
 not be done, save on the principle of harmony." * 
 The music of the spheres was a cherished idea 
 with the ancients. Pythagoras, speaking of the 
 heavenly bodies, says : " Their movements are in 
 harmony, and highly melodious, but impossible 
 to be heard by human ears." 
 
 Dryden amplifies the idea, representing the 
 atoms of which the world is made as marching, 
 each particle to its place, to the music of the 
 " morning stars." He says : 
 
 " From harmony, from heavenly harmony, 
 
 This universal frame began. 
 When nature underneath a heap of jarring atoms lay, 
 
 And could not heave her head, 
 The tuneful strain was heard from high, 
 
 Arise ye more than dead. 
 
 " Then cold and hot, and moist and dry, 
 In order to their station leap, 
 And music's power obey." 
 
 In Addison's well-known paraphrase of the nine- 
 teenth psalm, the sun, moon, and stars are repre- 
 sented as singing harmoniously their Creator's 
 praise as they pursue their ceaseless and sublime 
 march through the heavens. 
 
 This is poetry, but it is the poetry of truth ; it is 
 based upon the great fact that God is the Creator 
 and Upholder of all things. Why, then, should 
 
 * Hirst. 
 
THE SERVICE OF SONG. 185 
 
 we reject harmony when we worship the God of 
 harmoir 
 
 There is surely nothing on earth superior to 
 it for grandeur and impressiveness. On the 
 holy Sabbath, take your place in the house of God 
 with the hundreds or thousands there assembled, 
 most of whom sing correctly and spiritedly. Unite 
 with them as they concentrate their voices upon 
 one of those grand old Church tunes which have 
 come down to us from a former age. Throughout 
 the whole, the melody is made to predominate ; but 
 the rich, mellow bass, the smooth, pathetic alto, 
 and the sublime tenor, all mingle their accordant 
 notes with the air; and, upon the broad bosom 
 of this deep, majestic, rolling river of song, the 
 spirit is borne onward toward the anthems and 
 raptures of eternity. There is here everything 
 that can be thought of as constituting good music : 
 there is sufficient strength or loudness ; there is a 
 charming variety ; there is softness and sweetness 
 of tone; and the harmonious blending of so many 
 different voices, and the flowing together of the 
 several parts, is a most beautiful type of that 
 lovely union of spirit with spirit which character- 
 izes the children of "our Father," whether on 
 earth or in heaven. 
 
 We now gladly record the names of Martin 
 Luther. John Wesley, and Charles Wesley, as the 
 ad\ if harmonious congregational singing, 
 
 or singing in parts ; and to the list might be added 
 
186 THE SERVICE OF SONG. 
 
 Lowell Mason, Thomas Hastings, and, as we verily 
 "believe, nine-tenths of the pious and judicious 
 champions in the cause of sacred music now living. 
 During our earthly sojourn, let us sing, not only 
 melodiously, but also harmoniously, and at the 
 close of our pilgrimage, may our ears be greeted 
 with the 
 
 " Sound 
 Symphonious of ten thousand harps that tune Angelic harmonies" 
 
Tin: SERVICE OF SONG. 187 
 
 CHAPTER III. 
 
 FUGUE TUNES AND ANTHEMS. 
 
 Definition — Origin — Billings introduced Fugue Tunes into American 
 Churches — Objection to this style of Music — John Wesley on 
 Intricate and I'ndevout Singing — Description by Rector of St. 
 Bardolph's — General Conference of 1792 — Plain Tunes — Dr. 
 A. Clarke's Objection — What has been said in favor of An- 
 thems — To what extent they should be used — Vain Repetitions. 
 
 A fugue tune is a composition in which the 
 different parts follow each other, each repeating 
 the subject at a certain interval above or below 
 the preceding part. 
 
 It is supposed that this style of music was intro- 
 duced into the Church, in Pagan lands, in the 
 early ages of her history. The converted heathen 
 would naturally transfer the music to which they 
 had been accustomed from secular to sacred 
 poetry, to be used in Divine worship. It is not 
 unlikely that many of those compositions which 
 had been used in the worship of idols in Greece 
 and Rome were thus devoted to the praise of 
 the living and true God. But this supposition is 
 not conclusive against the use of fugue tunes in 
 the Church. There is no sin in mere sound; and 
 as for the association of these pieces with the 
 worship of heathen deities, it certainly can have 
 no effect upon us. 
 
188 THE SEKVICE OF SO^G. 
 
 Fugue tunes were imported from England to 
 this country, and were brought into use in the 
 American Churches by William Billings. Fugu- 
 ing music in Divine worship has been objected to 
 on the ground that it is too complex and difficult 
 for the masses. Besides, it necessarily excludes 
 a portion of the congregation from the singing in 
 certain parts of the tune. The former is surely a 
 valid objection: everything that is intricate or 
 very elaborate should be discarded, opposed as it 
 is to the simplicity of the gospel. Even children 
 and servants should be encouraged to participate 
 in every part of the worship. Hence, the tunes 
 used should be plain, strong, and easy to be sung. 
 Light and flighty music should also be rejected, 
 as it is calculated to repress rather than stimulate 
 devotional feeling. 
 
 Much depends, however, upon the time, the 
 place, and the occasion. Some, thinking, as it 
 would seem, only of solemnity as befitting the 
 Lord's house, would confine us to those slow, 
 stately tunes which are hallowed by ancestral 
 associations. Others, taking it for granted that 
 the sole object of Church music is to please the 
 ear, and that vivacity in singing is its chief excel- 
 lence, are incessantly demanding those stirring 
 modern pieces which were originally associated 
 with worldly amusements, having but lately been 
 elevated to their present position in the Church. 
 
 The proper course lies between these two ex- 
 
THE SERVICE OF SONG. 189 
 
 tremes. A due admixture of the grave with the 
 more lively pieces is certainly desirable. As it 
 regards the use of the latter style of music, we 
 think considerable latitude should be allowed. 
 While tunes of a frivolous, or extremely volatile 
 character should be promptly rejected as utterly 
 unlit for devotional purposes ; yet at camp-meet- 
 ings, experience meetings, prayer meetings, and 
 during revivals, tunes of a soul-stirring character 
 are especially needed. 
 
 Fugue tunes are generally too fanciful for either 
 public or social worship. They have also been 
 objected to on the ground that they often occasion 
 " vain repetitions," frequently destroying the sense 
 of the words to which they are sung. Unimport- 
 ant words are frequently made prominent, remind- 
 ing us of a beggar invested with the honors of 
 royalty. 
 
 Speaking of intricate and undevout singing, 
 John ^Yesley said to his brethren many years ago : 
 " Is not this formality creeping in already by those 
 complex tunes which it is scarcely possible to sing 
 with devotion? such as the long, quaver- 
 ing hallelujah annexed to the morning song tune, 
 which I defy any man living to sing devoutly. 
 
 " The repeating of the same words so often (but 
 especially while another repeats different words, 
 the horrid abase which runs through the modem 
 Church music), as it shocks all common sense, so 
 it necessarily brings in dead formality, and has 
 
190 THE SERVICE OF SONG. 
 
 no more of religion in it than a Lancashire horn- 
 pipe. Besides, it is a flat contradiction of our 
 Lord's command — 4 Use not vain repetitions.' For 
 what is vain repetition if this is not ? What end 
 of devotion does it serve ? " 
 
 How would he have relished the singing of the 
 following stanza as described by the Rector of St. 
 Bardolph's ? How could any Christian tolerate it ? 
 
 " * True love is like that precious oil, 
 Which, pour'd on Aaron's head, 
 Ran down his beard, and o'er his robes 
 Its costly moisture shed.' 
 
 " In the prodigious effort of this performance, 
 the ear-splitting combination of the several voices 
 hardly bore a resemblance to that oily current 
 poured on Aaron's head, and which 
 
 " ' Ran down his beard, and o'er his head — 
 
 Ran down his beard 
 
 his robes 
 
 And o'er his robes 
 
 Ran down his beard ran down his 
 
 o'er his robes. 
 
 His robes, his robes, ran down his beard — 
 
 Ran down his 
 
 ■o'er his robes, 
 
 Ran down his beard 
 
 h-i-s b-e-a-r-d- 
 
 Its costly moist 
 
 Ran down his beard 
 
 — ure — beard — his — beard — his — shed 
 Ran down his beard — his — down 
 His robes — its costly moist — his beard 
 — ure shed — his cost — his robes — ure shed 
 Its c-o-s-t-l-y mois-ture shed! ' 
 
THE SERVICE OF SONG. 191 
 
 " The late Bishop Seabury, being asked his 
 opinion of this performance, replied that he had 
 paid no attention to the music, but that his sym- 
 pathies were so much excited for poor Aaron that 
 lie was afraid he would not have a hair left on his 
 head:' 
 
 In the year 1792, the General Conference of the 
 Methodist Episcopal Church inserted in the Disci- 
 pline the following recommendation and explana- 
 tory note : M The preachers are desired not to en- 
 courage the singing of fugue tunes in our congre- 
 gations. 
 
 " We do not think that fugue tunes are sinful, 
 or improper to be used in private companies ; but 
 we do not approve of their being used in our pub- 
 lic congregations, because public singing is apart 
 of Divine worship in which the whole congrega- 
 tion ought to join." 
 
 Although these words have since disappeared 
 from the Discipline, the view which they express 
 still prevails in most places. 
 
 In the Xotes appended to the Discipline in the 
 year 179"). by Bishops Coke and Asbury, the im- 
 portance of congregational singing is forcibly- 
 urged, and in the same connection it is added : 
 ' ; From these remarks we surely must be sensible 
 of the necessity of confining ourselves to simple 
 tunes, as the fugue tunes have an unavoidable 
 Lency to confine to a few this part of Divine 
 worship, which belongs to the whole. And those, 
 
192 THE SEE VICE OF SONG. 
 
 we think, have made few remarks on public wor- 
 ship, who have not observed, on the one hand, 
 how naturally the fugue tunes puff up with vanity 
 those who excel in them ; and, on the other hand, 
 how it deadens devotion, and only at the best 
 raises an admiration of the singers, and not of 
 Christ." 
 
 The rule laid down for Church music in England, 
 nearly a thousand years ago, was SimpUcern sanc- 
 tamque melodiam, secundum morem ecclesice, sec- 
 tentur. That is — " Let them observe a simple and 
 sacred melody, after the manner of the Church. " 
 
 Queen Elizabeth, in 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 understanded as if it were read, without 
 singing." 
 
 The judicious Hooker says : " In Church music, 
 curiosity and ostentation of art, wanton or light 
 and unsuitable harmony, such as only pleaseth 
 
 the ear, .... should be rejected On 
 
 the other hand, when it fitly suiteth well, the mat- 
 ter altogether sounding the praise of God, it is in 
 truth most admirable, and doth much edify. . . . 
 They must have hearts very dry and tough, from 
 whom the melody of the psalms doth not sometime 
 draw that wherein a mind religiously affected 
 delighteth." 
 
 " Church music," says Archbishop Parker, who 
 
Tin: SERVICE OF SONG. 191* 
 
 rived iii the sixteenth century, "was designed to 
 ongregational, and so plain, simple and grave 
 in its melody, that all the people might sing, as 
 well with the understanding as the spirit. It has 
 been reserved for modern days to substitute the 
 ('hanging variety of airs and measures for the'plain, 
 yet rich and majestic psalmody of the Apostolic 
 . and by the translation of the lighter airs of 
 the parlor to public worship, to carry one, by the 
 irresistible laws of association, to secular scenes 
 and thoughts.'' 
 
 "Music for the worship of Jehovah," says Mr. 
 Freeman, " should be simple, easy and solemn. 
 Repetitions should be sparingly used in public 
 worship, and never without evident propriety." 
 
 Dr. Adam Clarke objected to " the gingling, and 
 often foolish sounds which we use when a single 
 monosyllable is shivered into thirty-six demi-semi- 
 quavers." 
 
 The right of Anthems to a place in the Church 
 service has been seriously questioned by some, 
 and by others their use has been strenuously op- 
 posed, mainly on the ground that they are so 
 utterly unsuited to devotional exercises, that the 
 congregation does not even profess to unite with 
 the choir in singing them. 
 
 The anthem is a tune set to words taken from 
 the Psalms, or other parts of the Scriptures, and 
 13 
 
194 THE SERVICE OF SONG. 
 
 was first introduced into the English Church ser- 
 vice in Elizabeth's reign. 
 
 It is contended in favor of anthems that they 
 give expression to the words more fully and 
 forcibly than plain tunes. In anthem music, the 
 tune is especially adapted and permanently 
 wedded to the words, it being the object of the 
 composer to secure, not only a general correspond- 
 ence between the character of the tune and that 
 of the poetry, but also to bring out those nicer 
 shades of meaning and emphasis which are too 
 apt to be overlooked, or to be imperfectly appre- 
 ciated. It is thought that this can not be done on 
 the system of accommodation — that is, singing a 
 dozen or a hundred tunes to the same words. 
 
 Again, it is urged that music of an ornate or 
 elaborate style should be admitted for the encour- 
 agement of the choir. Those who lead the singing, 
 having been musically educated, and being accus- 
 tomed to devote an evening every week to the 
 practice of such tunes as are used in the Church 
 service, ought to be allowed to gratify their taste 
 for the more admired and more difficult pieces. 
 
 But we are persuaded that an answer to all 
 such arguments is furnished in what has already 
 been said in regard to plain tunes. The time may 
 come when the people will be prepared to unite in 
 the singing of Anthems and fugue tunes, but that 
 period is evidently distant. 
 
THB SERVICE OP SONG 193 
 
 VTe do not intend in these remarks to exclude 
 those few favorite fugue pieces, such as Corona- 
 tion, which time and use have made venerable : 
 we do not intend to say that anthems should never 
 enter the portals of the Church. To say so might 
 be to reflect upon the singing of David, Asaph, 
 and their compeers. It would be difficult to show 
 that they eschewed anthems. Hear the "sweet 
 singer " as he raises his heart and voice to the 
 words : " Bless the Lord, my soul, and all that 
 is within me, bless His holy name ! " An anthem, 
 properly sung as a prelude to the morning service, 
 is certainly admissible. By this means, the 
 thoughts are called away from worldly pursuits 
 and pleasures, and a soothing, elevating influence 
 is exerted upon the assembly. 
 
 As it regards " vain repetitions " in fugue tunes, 
 the objection can not be admitted in full force, 
 inasmuch as it has been the custom of pious peo- 
 ple in all ages to repeat, frequently and earnestly, 
 the words used in Divine worship. It is only a 
 trivial and unmeaning repetition that merits our 
 unqualified disapproval. But no palliating con- 
 siderations are sufficient to countervail the well 
 grounded objections to the introduction of difficult 
 music into the Church. 
 
 In ordinary tunes, the singing of the different 
 parts together encourages the congregation to 
 unite in the worship ; but, as a general rule, the 
 use of fugue 1 tunes and anthems is inexpedient. 
 
196 THE SERVICE OF SONG 
 
 CHAPTER IV. 
 
 ADAPTATION — ARTICULATION— ACCENT— ATTITUDE. 
 
 Tune must be Adapted to the Words — The Song must be Adapted 
 to the Time, Place and Occasion — Bishop Pierce — Remarks by 
 N. D. Gould — Another Illustrative Instance — Spirit which Per- 
 vades the Singing — Want of Feeling in Singers — Importance 
 of a Good Articulation — Management of the Voice — No Music 
 without Accent — Management of the Breath — A Standing Posi- 
 tion Preferable — Dr. Guthrie's Remarks. 
 
 Incongruity of arrangement often sadly mars 
 the effect of that which would otherwise be pleas- 
 ing and impressive. A painting may be faultless 
 in design, but the various colors may be so un- 
 skillfully disposed as to produce a caricature 
 rather than a tasteful and life-like picture. Plain 
 apparel neatly adjusted is attractive ; but he who 
 wears black on his head, russet on his feet, and 
 buttons around him a coat of crimson or scarlet, 
 is but little better than a scare-crow. Divine 
 worship, properly conducted, is the most impos- 
 ing and impressive exercise that can be wit- 
 nessed or participated in by mortals; and yet; 
 the hymn and the tune, the prayer and the dis- 
 course, may be so at war with each other as to 
 remind us of a world in chaos. Eschewing fas- 
 tidious niceness, we are in duty bound to make 
 
THE SERVICE OF SONG. 197 
 
 the services, as far as possible, homogeneous. 
 The Apostolic injunction is: "Let all things be 
 done decently and in order." There must be 
 Adaptation. 
 
 The time must be adapted to the words. The 
 great design of singing is to stimulate religious 
 feeling. This is done by suggesting to the mind 
 appropriate words, the import of which is im- 
 pressed upon the heart by suitable sounds ; 
 therefore, the tune and the words must harmonize ; 
 they must be a unit — two things congenial in their 
 nature, blended into one. Any contrariety in their 
 spirit or tendency must of necessity create con- 
 fusion and unpleasantness, thus defeating the 
 object sought to be accomplished. 
 
 Singing is a refined species of elocution. The 
 sounds are intended to give expression to the 
 words, just as in oratory the gesticulation of the 
 speaker and the glance of his eye are designed to 
 give life and efficiency to his utterances. The sing- 
 ing of words expressive of sadness or solemnity to 
 a lively tune ; or words of a jubilant or rapturous 
 character to a grave, dull, monotonous air, would 
 be as antagonistic, inelegant and intolerable as 
 would be the portrayal of the terrors of the law 
 by the minister in soft and soothing tones, or the 
 exhibition of the " precious promises " in a violent 
 and vociferous manner. 
 
 The fiery syllables which were uttered by 
 Jehovah on the summit of Mount Sinai were 
 
198 THE SERVICE OF SONG. 
 
 invested with terrific power and grandeur, by the 
 quaking of the mountain, the thunderings and 
 the lightnings, and the clangor of the trumpet 
 which waxed louder and louder. But when " the 
 Friend of sinners " opened His mouth on Mount 
 Olivet to pronounce blessings upon His followers, 
 all was peaceful and serene, thus most happily 
 illustrating, and most successfully energizing the 
 words of the Redeemer, which, although not with 
 out penal sanctions, were, nevertheless, 
 
 " Like the sweet south, 
 That breathes upon a bed of violets, 
 Stealing and giving odors." 
 
 So, there will be found in the Scriptures, from be- 
 ginning to end, a beautiful and philosophical cor- 
 respondence between the means used and the end 
 to be accomplished. 
 
 For the want of this, how often have we failed 
 to derive profit and pleasure from the service of 
 song? When everything promised well, we have 
 been painfully disappointed. The hymn was, 
 perhaps, a master-piece from the pen of Wesley 
 or Watts. The tune was known to be a general 
 favorite. The people sang correctly and with a 
 due degree of energy. The different parts were 
 pitched upon the right key, and the music itself 
 was good. Still there was something wrong; the 
 performance utterly failed to produce the antici- 
 pated effect. All was cold, barren, dead, and the 
 sense of dissatisfaction experienced by all present 
 
THE SERVICE OF SONG. 199 
 
 continued until the close of the hymn brought 
 relief. What was the matter? This is a problem 
 of easy solution. There was a glaring want of 
 adaptation— an attempt was made to unite vivacity 
 with Btateliness, and the want of congeniality was 
 ivat as it is when a hoary-headed grand-sire 
 of three score and ten is joined in wedlock to a 
 blooming maiden of sixteen. 
 
 The words, on the occasion, may have "been the 
 following : 
 
 " Salvation, O the joyful sound! 
 'Tis pleasure to our ears; 
 A sovereign balm for ev'ry wound, 
 A cordial for our fears." 
 
 These gladsome lines, sung to the grief-burdened 
 notes of a funeral tune, resulted in such a complete 
 contradiction — such a ludicrous jumble — such an 
 outrageous attack upon common sense and good 
 taste, as to cool the ardor of devotion and expose 
 the service to ridicule. It was the bearer of glad 
 tidings coming to us in tears, and delivering his 
 message in slow and mournful accents. Precisely 
 similar is the effect when words that bend, and 
 almost break with sorrow, are sung to a brisk and 
 exhilarating tune. It is like snow in harvest, or 
 vinegar upon nitre. 
 
 On the contrary, when there is a becoming simili- 
 tude between the words and the tune, they both 
 move along together gracefully and lovingly, like 
 twin sisters, smiling, and, to each other, giving 
 
200 THE SERVICE OF SONG. 
 
 countenance and support at every step. It is 
 concord, doubtless, that gives sweetness and sub- 
 limity to the songs of angels. 
 
 This subject is especially commended to the 
 careful consideration of those who lead in the 
 singing. It is an easy matter to raise a common 
 metre tune to a common metre hymn ; but to apply 
 to the words a tune which will, in the most effectual 
 manner possible, carry them to the heart, melting 
 it, humbling it, and uplifting it in adoring love to 
 the God of all grace, is a work that requires knowl- 
 edge and prayerful consideration. There must be 
 a knowledge of the import and spirit of the hymns 
 in common use ; there must be constantly on 
 hand a fair supply of tunes of the. several metres ; 
 and, from these tunes, there must be a judicious 
 selection. 
 
 To do this with faultless discrimination, requires 
 skill in hymnology and music beyond what would 
 be ordinarily expected ; but to make two classes 
 of hymns and two classes of tunes, thus securing 
 a general distinction between the grave and the 
 sprightly, is, comparatively, an easy achieve- 
 ment. Let the buoyant, animating tunes and 
 words constitute one department; let the hymns 
 and words of the opposite character constitute 
 the other: when the time for service comes, let 
 this classification be borne in mind, and the poetry 
 and air will be properly consorted without diffi* 
 culty. Let no chorister, whether learned or other- 
 
THE SERVICE OF SONG. 201 
 
 wise, shrink from the effort to do his work well. A 
 great responsibility is upon him. The benefit to be 
 derived from the singing by the congregation de- 
 pends, in a great degree, upon the manner in 
 which it is conducted. 
 
 The tune and the words must be adapted to the 
 time, the place, and the occasion. 
 
 There are two classes of emotions which it is 
 the office of music to excite — the mournful and the 
 joyful ; and those who select the hymns and the 
 tunes should mentally inquire — "what is the lead- 
 ing characteristic of this occasion? — what particu- 
 lar class of feelings should be especially appealed 
 to I" The adaptation of the tune to the poetry 
 might be perfect, and yet the selection might be 
 so wide of the mark as to render the music an 
 abrupt intrusion upon the meditations of the 
 assembly. To this point let careful attention be 
 given by ministers and choristers. 
 
 Bishop Pierce, of the Methodist Episcopal 
 Church, South, gives us an incident which will 
 help to illustrate. A minister (of what denomi- 
 nation we are not informed) conducting Divine 
 service at night, was giving out that excellent 
 morning hymn which commences : 
 
 " We lift our hearts to Thee, 
 O Day-star from on high ! 
 The sun itself is but Thy shade, 
 Vet cheers both earth and sky." 
 
 During the singing, nearly all the lights went out, 
 
202 THE SERVICE OF SONG. 
 
 and darkness prevailed ; but the preacher, nothing 
 daunted, continued the reading, and announced 
 the third stanza, which is as follows: 
 
 " How beauteous nature now! 
 How dark and sad before ! 
 With joy we view the pleasing change, 
 And nature's God adore." 
 
 This reminds us of a venerable and useful min- 
 ister who, on a bright and beautiful morning, arose 
 in the pulpit to commence the service, and gave 
 out the hymn — 
 
 " The day is past and gone, 
 
 The evening shades appear." 
 
 Some in the congregation sung. Was this right ? 
 
 Speaking of the want of adaptation as it ex- 
 isted in former days, Mr. N". D. Gould says : " We 
 have known many strange and egregious impro- 
 prieties of this kind. When there was any public 
 occasion which required singing, such as an ordi- 
 nation or installation of a minister, dedication of 
 a church, installation of a Masonic lodge, Fast, 
 Thanksgiving, Christmas, etc., it seemed that, in- 
 stead of selecting words appropriate for the occa- 
 sion, the inquiry was, rather, what tunes were the 
 most popular, or would most please. We will 
 mention one or two examples : When Judgment 
 Hymn, the air said to have been written by Martin 
 Luther, was first introduced to the public in 
 this country, and performed by the Handel and 
 Haydn Society, with the words, ' Great God, 
 
THE SERVICE OF SONG. 203 
 
 what do I see and hear,' with instrumental accom- 
 paniment, the effect was powerful ; the fame of 
 
 on Bpread through the country, and, it being 
 understood that it was not difficult to perform, 
 copies were procured by a choir for the purpose 
 of singing it at an ordination! Billings' 'Anthem 
 for Easter,' words, i The Lord is risen indeed,' was 
 
 1. and considered proper on all the foregoing 
 occasions." 
 
 A Judgment tune, sung to Resurrection words, 
 at an ordination, dedication, or thanksgiving 
 service ! 
 
 In the same connection, we have the following 
 narrative by a gentleman who was leisurely travel- 
 ing on horseback from a city into the adjoining 
 country. He says : " Seeing a gathering at a 
 school-house near the road, remote from any other 
 building, I dismounted, tied my horse, approached 
 the house, inquired the occasion of the collection; 
 was told that their singing-master had made an 
 anthem for an ordination that was to take place 
 in a few days, and that the singers had met to 
 learn it. Being a stranger, the crowd that had 
 gathered about the house to hear the performance 
 politely made a passage for me, even into the in- 
 terior. The singers, I found, all held a manuscript 
 copy of what they were singing ; the leader, with 
 his coal off, beating time with his head, both 
 hands, and one foot. Knowing the impropriety 
 
204 THE SERVICE OF SONG. 
 
 of entering a room where singers are in the midst 
 of rehearsing a tune, I held back at first ; but no, 
 as though they feared I should lose some import- 
 ant strain by delay, the spectators hurried me on 
 to the sight and hearing of the performers. "When 
 they had gotten through, and sounded^ out the 
 Amen, long and loud, the leader and author po- 
 litely handed me a copy of the anthem ; and as 
 their articulation was such that I had not been 
 able to distinguish a single word of what I had 
 heard sung, I, therefore, set about reading the 
 lines, and found, to my astonishment, that they 
 were the familiar words of boyhood, being a fable 
 taken from an old spelling-book, commencing as 
 follows : ' An old man found a rude boy up one 
 of his trees, stealing apples, and desired him to 
 come down,' " etc. 
 
 We have another illustrative instance to give, 
 which was received from a minister who was 
 present on the occasion. The officiating preacher 
 was a stranger to the people, and the people were 
 strangers to him. At the appointed hour, he arose 
 in the pulpit and read, you will suppose, 
 
 " Before Jehovah's awful throne," 
 
 " Come, let us join our cheerful songs," 
 
 or some other hymn of undoubted merit and ap- 
 propriateness. But you must understand that the 
 preacher, being about to introduce himself to the 
 people, desired something of a more personal 
 
1 1 ICE OF SONG. 205 
 
 character. Then, you will conjecture that the 
 words were the followii. 
 
 " We bid thee welcome in the name 
 Of Jesus, our exalted Head." 
 
 But these surmises are all widely different from 
 the reality. Our newly inaugurated pastor sur- 
 prised his Hock by reading out for his first hymn 
 these words : 
 
 " Unveil thy bosom, faithful tomb; 
 
 Take this new treasure to thy trust, 
 And give these sacred relics room 
 To slumber in the silent dust." 
 
 The second hymn selected and sung was like 
 unto the first It commences with the familiar 
 words : 
 
 " Why do we mourn departing friends?" 
 
 These are, of course, extreme cases, but they 
 are also representative of a class of improprieties 
 which are by no means of rare occurrence. In 
 y thing pertaining to the sanctuary, how ex- 
 lingly desirable is the exercise of sound judg- 
 ment and good taste I 
 
 Asrain, the spirit which pervades the singing 
 should be adapted to the tune and the words, 
 also to the time, place and occasion. All the 
 selections and arrangements may be appropriate, 
 but song must have a soul as well as a body. 
 ling must always be the great characteristic 
 ajood ringing. Th^ bare reading of the words 
 
206 
 
 THE SERVICE OF SONG. 
 
 would be more effectual than a thoughtless, soul- 
 less attempt to sing them. There must be spirit 
 in Church singing ; not simply a musical spirit, 
 such as that which predominates at the theatre or 
 the opera; but a Sabbath spirit— a devotional 
 spirit — a spirit in unison with the sentiments which 
 Ave utter. Without this, the music can not possibly 
 give expression to the poetry. 
 
 Feeling is the soul of eloquent speaking. The 
 orator must have a vivid conception of the mean- 
 ing and force of the language which clothes his 
 ideas — his winged and glowing thoughts must go 
 out upon the assembly warm from the heart ; and 
 so it must be in singing whenever its legitimate 
 effect is produced. The mind, having been with- 
 drawn from sublunary scenes, must be intently 
 fixed upon the words used; and these, being 
 clearly apprehended, and appreciated, will natur- 
 ally and spontaneously give tone and significance 
 to the strains in which they are sounded forth. 
 
 The writer's mind recurs, at this moment, to a 
 precentor, chorister, or tune-raiser, whichever ap- 
 pellation may be preferred, who seemed to have 
 no lack of confidence in his musical capabilities, 
 and who evidently took great pleasure in filling 
 the office which he had voluntarity assumed. While 
 the minister was in the act of reading the first two 
 lines of the stanza, our leader, with an air of self- 
 importance, surveyed the congregation, as if 
 greatly delighted with the idea of conferring hap- 
 
THE SERVICE OF SONG. 207 
 
 piness upon so many people. The last syllable 
 of the couplet bad scarcely escaped the preacher's 
 
 lips, when our accommodating friend pitched the 
 tune on rather a high key, and proceeded so 
 rapidly as almost to defy competition. Nor did 
 he cease to gaze upon the audience with an air of 
 idle indifference and self-complacency. His whole 
 demeanor seemed to say — "This is easy work for 
 me — I am doing it to perfection — it is as natural 
 for me to sing as it is for the brook to ripple along 
 over its pebbly bed — it is not even necessary for 
 me to think of the words, or of worship, or of any- 
 thing else in particular." Thus our wandering- 
 minded, icy-hearted, high-strung, galloping cantil- 
 lator continued to the close of the hymn ; and 
 that delectable exercise, instead of satiating, only 
 whetted his appetite for the next one. Some- 
 times, before or after the service, he would sing 
 solo — he never got tired of singing — and then, 
 having it all to himself, he seemed to enjoy his 
 freedom hugely ; he scampered along in double- 
 quick- time, and his accelerated and unfeeling 
 clatter reminded those who had the misfortune to 
 be near him of the sound of the blacksmith's 
 hammer when he makes haste to strike while the 
 iron is hot ; or, of a child beating drum on a 
 broken kettle. The utter thoughtlessness which 
 marked all the performances of this well-meaning 
 man amounted to an affliction in the case of those 
 who tried to be devotional. 
 
208 TIIE SERVICE OF SONG. 
 
 "As general rules, accordant with common sense 
 and the dictates of nature, all who appreciate the 
 sentiment sung, will observe, 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 passages will be considered as requiring no 
 considerable change from the common movement 
 or quantity ; but a peculiar distinctness of utter- 
 ance, or some distinction in the tone or modulation 
 of the voice, expressive of the sentiment. A good 
 judgment and due attention, to sentiment will 
 generally dictate the proper expression, especially 
 when the "heart is truly pious." 
 
 " The psalm may be sung," says Mr. Freeman, 
 "with precision, every note in the tune being cor- 
 rectly sounded, and yet there may be a want of 
 expression, and the music may, therefore, be with- 
 out effect. The expression of the voice should be 
 accommodated to the nature of the sentiment ex- 
 pressed, and for this purpose the sentiment must 
 be understood" 
 
 Mr. Gould says : " The words we sing must be 
 so clearly apprehended and felt as to make them 
 our own. We must speak them out ; for the words 
 will not, without our aid, make any impression on 
 our own feelings, or the hearts of others. Reason 
 teaches us that, if words are sacred, the mind 
 should be directed toward the Being we address, 
 and carried away from man and earth, and from 
 
Tin: BEEVIOB OF SONG. 209 
 
 a.1 thought of making a display of musical talent. 
 If the words are Bolemn and Bublime, the mind 
 
 Bhonld be fixed on the grand and awful sci 
 which time and eternity present. If plaintive or 
 
 pathetic we should bring the scenes they arc in- 
 tended to represent home to our own heart-. If 
 supplicatory, our minds should be impressed with 
 the fact that it is as solemn to address the throne 
 of grace in sacred song, as to use the same lan- 
 gnage in the voice of prayer. With these feelings 
 and views, individuals and choirs can scarcely 
 fail of giving that kind of expresion which will do 
 good ; and without them all is solemn mockery." 
 
 " The voice of the Church," says Mr. Willis, " as 
 heard in her solemn music, should be full of joy — 
 but full of dignity. Full of tenderness — but full 
 of manly depth. Full of sorrow and hearty con- 
 trition — but full of earnest strength. Full of 
 love — but full of awe : and, therefore, utterly free 
 from sentimentality and languishment." 
 
 "Let a congregation," says Mr. Furber, "be 
 required to sing, now soft, now loud, now fast, now 
 slowly, now crescendo, now diminuendo, and now 
 witli prolonged and gliding notes, and always 
 with such deference for punctuation that a comma 
 would bring an entire assembly to a sudden, 
 startling pause, and the attempt to do this, besides 
 being in itself a pretentions failure, would del 
 end which psalmody contemplate 
 
 In singing, our observance of rules must become 
 14 
 
210 
 
 THE SERVICE OF SONG. 
 
 a habit — a sort of second nature, our music being 
 a genuine emanation from the heart 
 out of the fire which burns within. 
 
 the blazing 
 
 Finally, it has been contended that the style of 
 music should be adapted to the peculiarities of the 
 race by which it is used. A writer in one of our 
 quarterlies has advanced some interesting views 
 on the subject. He traces the difference between 
 the Teutonic major mood and the Celtic minor. 
 The fourth and seventh degrees of the Teutonic 
 scale are omitted in the Celtic. The peculiar 
 wildness which characterizes Scotch melodies is 
 wholly due to this fact. In Celtic music, the minor 
 mood predominates ; in Teutonic, the major mood. 
 The Teuton can not appreciate and enjoy the Cel- 
 tic music ; nor can the Teutonic style charm the 
 Celt, a fact not easily accounted for. 
 
 Attention is also called by this writer to the 
 fact that the middle and western parts of Virginia, 
 North Carolina, South Carolina, and Georgia were 
 settled chiefly with a people of Celtic blood; 
 therefore, it is believed that Celtic provincialisms, 
 social habits, and religious sentiments, are the 
 prevailing characteristics of the inhabitants of 
 the Southern States. 
 
 This being the case, the general use of German 
 music by the Southern people is unwise in the ex- 
 treme. German music teachers never can success- 
 fully instruct those who are of Celtic descent, and 
 
THE SERVICE OF SONG. 211 
 
 we ought, therefore, to employ properly qualified 
 Celto-American, or Anglo-American teach< 
 
 We receive, with some abatement, the general 
 principle which underlies our author's reasoning: 
 
 nations have their peculiar style of music, as well 
 as their peculiar laws and customs; and men are 
 apt to place a high estimate upon that which has 
 come down to them from a former age, and with 
 which they have been familiar from childhood. 
 But we may err in the application of this principle. 
 It is a fact, that throughout our whole country, 
 those very tunes which the writer in the Review 
 gives as specimens of " the German choral," such 
 as Old Hundreth, Afedivay, and Nottingham^ have 
 well subserved the purposes of worship. Con- 
 gregations composed of persons of both German 
 and Scottish extraction, have sung them, enjoyed 
 them, been benefited by them, and, for aught that 
 has appeared to the contrary, the representatives 
 of each country in an equal degree. 
 
 The principle of adaptation would seem to re- 
 quire a selection of tunes comprising favorite 
 pieces of both styles of music. In entirely dis- 
 carding the Teutonic element, we should lose 
 much; and to ignore the good, old, revival, 
 Celtic minors, sung with such happy effect by our 
 pioneer ancestors and their children, would be to 
 make a void in our Church music which the finest 
 modern compositions never could till. 
 
 The wants of a mixed population may be most ef- 
 
212 THE SERVICE OF SONG. 
 
 fectually met by a collection of pieces correspond- 
 ingly miscellaneous. We can hardly suppose that 
 our friend would object to a work comprising a 
 judicious selection of German pieces, together 
 with a liberal supply of such old minors as Sup- 
 plication, Solemnity and Liberty Hall. 
 
 "With him, we prefer that which is American to 
 that which is imported, whenever it can be made 
 available. 
 
 We can scarcely overstate the importance of a 
 clear and distinct Articulation in devotional sing- 
 ing.. We can not confess our sins in music ; we 
 can not ask forgiveness in music ; we can not 
 thank and adore the Giver of all our blessings in 
 music. There must be an exercise of mind as 
 well as the pleasurable sensations produced by 
 sweet sounds. Mere music is too indefinite and 
 intangible a thing to be the vehicle of worship ; it 
 must be combined with suitable words. From 
 sacred history, we learn that this alliance has ex- 
 isted from time immemorial. 
 
 If, then, we pretend to utter words when we 
 sing, the utterance should, of course, be as correct 
 and intelligible as possible : an indolent, artificial 
 or slovenly enunciation can only be excused on 
 the ground of ignorance, or of radical defective- 
 ness in the vocal organs. 
 
 A good articulation is as important to the singer 
 as it is to the speaker. Even if the matter which 
 
THE SERVICE OF SONG. 213 
 
 the orator intends to discuss could by some means 
 be known to the audience without the use of 
 language, yet if he essay to employ words, a 
 decent respect for the persons addressed requires 
 that these words be spoken, not as in ridicule or 
 mockery, but with propriety. 
 
 Those who sing are expected also to listen, and 
 in every congregation there are silent auditors. 
 Now, if the words which are sung be so drawled, 
 tortured, and jumbled together as to produce an 
 unmeaning and ridiculous jargon, what better is 
 that than speaking in the church in an unknown 
 tongue? Is it not even more intolerable? St. 
 Paul reproves the Corinthians for singing and 
 praying in a language that the people did not 
 understand, and he declares that he had rather 
 speak live words intelligibly than ten thousand 
 words in an unknown tongue. " Except ye utter 
 by the tongue words easy to be understood, how 
 shall it be known what is spoken?" 
 
 The editor of the Home Circle gives an 
 account of an old man who, from sheer laziness, 
 as it seemed, had acquired a trick of lapping his 
 tongue under nearly every word he uttered in sing- 
 ing — as "Culm thoul Fount" Some take un- 
 warranted liberties with the letter d, By separat- 
 ing it from the word to which it belongs, and carry- 
 ing it over to the succeeding word, thus causing 
 
214 THE SERVICE OF SONGr. 
 
 deficiency in the former and redundancy in the 
 latter, as 
 
 " An dare we yet alive?" 
 "An dif our fellowship below" — 
 
 Others have an indescribable method of twirling 
 certain letters, particularly the letter v. A dis- 
 tinguished author informs us that this -habit pre- 
 vailed extensively in this country some years ago. 
 He says that, in some places, there seemed to be 
 an effort made by the sexes to outvie each other 
 in this whirling, whizzing operation, and that the 
 feminine contestants invariably took the palm. 
 
 Bass singers not unfrequently ignore articula- 
 tion almost entirely. Having apparently but little 
 use for the tongue, they keep up a sort of un- 
 earthly drone or groan, from the beginning to the 
 end of the tune. 
 
 Others attempt to edify us by a constant 
 nasal twanging, taking care to begin the stanza a 
 little in advance of the rest of the singers, and to 
 sigh out the last syllable solo, that we may be 
 enabled to appreciate the excellence of the per- 
 formance ! 
 
 The omission of letters, syllables, and even 
 words, is a common occurrence. But time would 
 fail us to point out all the different phases of a 
 vicious articulation. 
 
 These inaccuracies may, we think, be cor- 
 rected with ease. The Italians have a proverb — 
 "Read well — sing well." All who read well 
 
THE SERVICE OF SONG. 215 
 
 do nor sing well; yet good reading is evidently 
 the basis of u<khI singing. Let a half hour each 
 
 day be Bpenl in rending aloud, with the express 
 design of acquiring a perfect articulation; then 
 let the learner exercise himself in singing occa- 
 sionally with direct reference to this object, and 
 the difficulty will soon vanish. The habit will be 
 formed of expressing every vowel, syllable, and 
 word cleanly. 
 
 " In the management of the voice, the first 
 object,'' says Mr. Turner, "will be to obtain a 
 natural tone in its purest state. A pure voice is 
 that which comes forth neat and clean from the 
 cliest, passing freely through the mouth. To pro- 
 duce 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 and enfeebled; or it 
 will cause that peculiar action of the nose, which 
 renders the tone nasal." 
 
 Mr. Hirst says : " The precise articulation of the 
 words is air excellence that can not be neglected 
 without injury to good music. Some singers are 
 in the habit of giving a strange and fanciful, yet, 
 to all persons who have any skill in language, 
 disgusting pronunciation to many words ; so much 
 so, that at times it would be difficult to ascertain 
 what language they use." 
 
 Mr. Nathan observes: "The formation of the 
 mouth should not be altered while singing a vowel, 
 
216 THE SERVICE OF SONG. 
 
 otherwise the correct pronunciation of such words 
 as yes, no, smile, me, she, sigh, and many others, 
 is destroyed, or changed into unmeaning expres- 
 sions, as yeas, noa, smoil, moy, mea, shea floy, 
 siglia, and so on. Is it natural to hear such a 
 perversion of orthography from the lips of well 
 educated persons, who would, no doubt, be very 
 tenacious in speaking, but yet will make no scruple 
 in thus departing from propriety in singing, when, 
 in fact, one of the chief beauties in the science is 
 elegant pronunciation?" 
 
 To secure this, let it always be borne in mind 
 that the consonants must be spoken, and the 
 vowels sounded, that freedom being accorded to 
 the voice which is claimed by the spirit of song. 
 The sound must not be stifled in the throat of 
 the singer, nor mutilated between the teeth. 
 
 Attention should also be given to Accent, in 
 music. In reading, every word of more than one 
 syllable has its accented letters, and every sen- 
 tence has its emphatic words ; so hrsinging, the 
 tune is divided into measures, and each measure 
 has its accented, and its unaccented parts. It has 
 been forcibly said that there is no more music in 
 singing without accent than there is in the hum- 
 ming of a bee. Such singing would be fitly repre- 
 sented by reading when every syllable and every 
 word received precisely the same stress of voice. 
 A graceful and impressive accentuation does not 
 
Tin: -l i: vice of SONG. 217 
 
 require us to sing the unaccented parts of the 
 measure in an ordinary tone, and then to pour out 
 a full volume of voice on the accented notes. On 
 the contrary, we should Bing the accented sylla- 
 bles with customary ease and force, restraining 
 tin' voice on the unaccented parts. The degree of 
 softness must, of course, depend upon the style of 
 the music and the meaning of the words. Habit 
 and a due appreciation of the spirit of the song, 
 will enable us to place the accent correctly, almost 
 without effort. An author who wrote twenty-five 
 years ago gives us the following directions : 
 
 M In common time remember well, by art, 
 The first and third is the accented part ; 
 And if your music triple time should be, 
 Your accent is the first of every three." 
 
 Much depends also upon the proper management 
 of tlie breath. 
 
 "Power or softness, volubility or sweetness, 
 depend greatly on the prudent management of 
 the breath. By a proper inflation of the lungs at 
 the beginning of a note, the singer is enabled to 
 give that gradual swell and diminution of voice 
 which forms one of the most exquisite beauties 
 of the scien< 
 
 Breath should be taken at every pause in the 
 music, but never in the middle of a word. It 
 should not be lavished too freely upon the first 
 note or two, lest the supply be exhausted before 
 an opportunity occurs to replenish. In that case 
 
218 
 
 THE SERVICE OF SONG. 
 
 the voice loses its firmness and smoothness, and 
 sinks into the tremulonsness of extreme old age. 
 
 "Tonal utterance requires .prolongation of 
 sound. When this necessary condition of song is 
 wanting, as it must be, if every pause which the 
 sense of the hymn admits is allowed to suspend 
 the voice, melody is destroyed, and singing be- 
 comes declamation. Even that momentary cessa- 
 tion of tone which is necessary in taking breath, 
 constitutes an imperfection in singing, and the art 
 of concealing the act of breathing, so as to break 
 as little as possible the flow of a melody, is always 
 cultivated by the best vocalists." 
 
 Care should be taken in singing to avoid all un- 
 authorized embellisliments. In reading, we should 
 grossly misrepresent the author if we were to 
 interpolate a half dozen words in every sentence ; 
 but many persons, in singing, do a like injustice 
 to the composer of the tune, without compunction. 
 What are intended to be grace notes and slurs are 
 introduced into every measure with the view of giv- 
 ing to the tune that vivacity and elegance which the 
 author failed to impart to it. This mending opera- 
 tion is bad enough in an amateur performance, but 
 in public worship, it is incomparably worse. Of 
 course no one can follow the innovator in all his 
 windings and warblings : he must run around, 
 above, and beneath, by himself; and the effect is to 
 offend the ears and distract the minds of the wor- 
 shipers, thus seriously marring the beauty and 
 
THE SERVICE OF SONG. 219 
 
 effect of the service. There are, doubtless, many 
 
 Bingers, both male and female, who have nncon- 
 
 asly contracted this habit of ornamentation, 
 
 and who would do well to correct it as speedily as 
 
 hie. 
 
 Attitude in singing is a subject which deserves 
 sideration. Standing was unquestionably the 
 posture observed by the singers in the olden time. 
 They were directed " to stand every morning to 
 thank and praise the Lord, and. likewise at even." 
 The Psalmist says : " Praise ye the Lord. Praise 
 ye the name of the Lord : praise Him all ye ser- 
 vants of the Lord. Ye that stand in the house of 
 the Lord, in the courts of the house of our God." 
 From the fact that the standing posture for 
 singers is frequently alluded to in the Scriptures, 
 and sitting never, we may certainly conclude 
 that the former is preferable. Superiors may be 
 expected to sit in the presence of inferiors ; but 
 standing is a reverential attitude such as becometh 
 those who would worship the Most High in song. 
 
 A standing position is also much to be preferred 
 because it gives such freedom to the chest, and 
 such power to the vocal organs generally, as can 
 not be commanded by those who remain seated. 
 
 It is frequently very difficult to overcome that 
 fueling of languor and drowsiness which IS apt to 
 steal upon those who, being accustomed to pin si- 
 cal activity, si r down quietly in the church, wear- 
 
220 THE SERVICE OF SONG. 
 
 ing more than their usual quantity of clothing. 
 This sleepy influence must be overcome, or it 
 will assuredly assert its dominion over its sub- 
 jects. To sit during the entire service, is 
 most favorable to Morpheus ; but to stand up fre- 
 quently, and exercise the voice and the heart in 
 singing, is well calculated to arouse the energies 
 of both body and mind, and to promote that 
 spiritual fervor which should ever characterize 
 our worship. 
 
 " The restoration of the old, chaste music, about 
 the year 1808, awakened an interest in singers of 
 preceding generations. Ministers and Churches 
 were satisfied that poor singing made a miserable 
 congregation ; and, as one writer says, made an 
 open window for the preacher's instructions to 
 escape. It was now fondly anticipated that a 
 generation of singers would rise up and sing. 
 Rise up and sing, did we say? This might be 
 said of some congregations now, as it was of those 
 who sang praises to God in the days of the patri- 
 archs and prophets ; but it is entirely inapplicable 
 to religious meetings in these days, when wor- 
 shipers take their seats when they enter the vestry 
 or place of worship, and many of them never rise 
 till the closing benediction or doxology. This 
 custom has not been of long continuance ; and we 
 believe, if Christians were awake to the best inter- 
 ests of their own souls, and the souls of sinners, 
 they would not sluggishly sit and sing, when 
 
Till: SERVICE OF SONG. 221 
 
 neither the voice nor the spirit of the song seems 
 to rise above tl which they OCCUpj 
 
 Let no one but an invalid claim to have suffi- 
 cient reason for sitting during the singing. We 
 are informed that the Pilgrim fathers sometimes 
 sang thirty stanzas at one time, standing all the 
 while, after standing through a long prayer ! The 
 singing of one psalm sometimes occupied a full 
 half hour, and the prayer frequently a longer 
 tim 
 
 Not long since, Dr. Guthrie, a distinguished 
 divine of Edinburg, expressed from the pulpit 
 " a wish to disburden his conscience " on a matter 
 which had long pressed upon it. He said that the 
 proper attitude for singing was standing — proper, 
 because it was an act of worship ; and proper, be- 
 36 it was the better fitted for an act of singing. 
 II" said he believed that there was a prejudice in 
 favor of sitting during the singing of the Psalms, 
 on the ground that it was a good old Scotch cus- 
 tom. This was an entire mistake. The good old 
 Scotch custom was to stand ; and sitting was lirst 
 introduced into Scotland by the recommendation 
 of the Westminster Commissioners, who desired 
 uniformity in worship in both parts of the island. 
 It was introduced into Scotland in compliance 
 with English prejudices. 
 
 This subject is eminently worthy of regard. 
 Doubtless there might be an improvement, even 
 in Churches where it is customary to stand at the 
 
222 THE SERVICE OF SONG. 
 
 beginning and close of the service, and to sit dur- 
 ing the singing of the second hymn. Why not 
 always stand when we engage in the service of 
 praise ? Where it is the custom to kneel in prayer, 
 it seems to he especially appropriate to stand in 
 
THB SERVICE OF SONG. 223 
 
 CHAPTER V. 
 
 INSTRUMENTAL MUSIC. 
 
 Invention of Musical Instruments — Egypt Claims Precedence — Also 
 the Chinese — Devotion of the Grecians to Music — Romans — 
 Music in Great Britain — The Organ — T)r. A. Clarke on Instru- 
 mental Music — Richard Baxter's View — Home and Richmond — 
 What Richard Watson says — David — Silence of Christ and 
 the Apostles on the subject — J. Wesley's advice as to Organs — 
 Portrait of a Good Organist — Various kinds of Instruments — 
 We should always Sing Spiritually — Church Service should be 
 Attractive — Objections Neutralized — The best Arrangement. 
 
 We have already seen that musical instruments 
 were invented by Jubal, about five hundred years 
 after the Creation. 
 
 Instrumental, as well as vocal music, was com- 
 mon among the Jews, from the days of Moses until 
 their national existence ended under the crushing 
 Bway of Imperial Rome. It was used, as we have 
 seen, in their public worship, in their wars, and at 
 their social gatherings, whether for mourning or 
 rejoicing. 
 
 Egypt puts in her claim as the inventor of in- 
 struments of music. Tradition states that, " the 
 Nile having overflowed Its banks at the periodical 
 time for the rise of that wonderful river; on its 
 subsidence to its usual level, several dead animals 
 
224 THE SERVICE OF SONG. 
 
 were left on the shore ; and, among the rest, a 
 tortoise, the flesh of which being dried and wasted 
 in the sun, nothing remained within the shell but 
 nerves and cartilages, which, being lightened and 
 contracted by the heat, became sonorous. Mer- 
 cury, walking along the banks of the river, hap- 
 pened to strike against this shell, and was so 
 pleased with the sound produced that the idea of 
 the lyre suggested itself to his imagination. The 
 first instrument he constructed was in the form of 
 a tortoise, and was strung with the sinews of dried 
 animals." 
 
 The Mercury here mentioned was so called by 
 the Latins, but was named Hermes by the Greeks, 
 and Thent or Thoth by the Egyptians. He was 
 secretary to Osiris, one of the kings of Egypt. 
 
 The Chinese also claim to be the inventors of 
 musical instruments. Their first prince, Fo Hi, it 
 is said, " made a most beautiful lyre and guitar, 
 adorned with precious stones, which produced a 
 most noble harmony, curbed the passions, and 
 elevated man to virtue and heavenly truth." 
 
 Great attention was given to music in Babylon 
 during the captivity of the Jews, about five hun- 
 dred and sixty years before Christ. At the sound 
 of the " cornet, flute, harp, sackbut, psaltery 
 dulcimer, and all kinds of music," the people were 
 required to fall down and worship the image which 
 Nebuchadnezzar had set up. 
 
 The Grecians were renowned for their knowl- 
 
THE BBRVftJE OF 90NG. 225 
 
 edge of astronomy, philosophy , poetry, music, and 
 the other branches of Bcience. But, as Fermely 
 Bays, "in the period of their greatest barbarism^ 
 
 this art (music) outweighed every other merit" 
 
 Music is mentioned in the Iliad and Odyssey 
 upward of fifty times, and always with rapture. 
 Vocal music seems to have been most general. 
 Homer speaks of singing without instruments ; but 
 never of instrumental music apart from vocal. 
 
 The Romans cultivated music with some success, 
 having received much aid in that, as in the other 
 sciences, from the Grecians. 
 
 Music, both with and without instruments, has 
 been assiduously cultivated in Great Britain from 
 an early period of her history to the present time. 
 
 When the Puritans left their native shores and 
 took up their abode in the New World, they 
 eschewed all display in Divine worship; and, 
 of course, rejected instrumental music with 
 Cromwellian determination. This proscription 
 continued for a century. Eventually, the pitch- 
 pipe was allowed in the Church ; then the tuning- 
 fork, the flute, the hautboy, the clarionet, the 
 bassoon, etc., and, chief among the rest, the organ. 
 
 There is a difference of opinion as to the time 
 when this noble instrument was initiated into the 
 service of the Church. Some fix the date in the 
 fourth century ; some in the eighth, and others 
 contend for a still later period. The following 
 description, it is said, was written one thousand 
 *5 
 
226 THE 'SERVICE OF SONG. 
 
 three hundred years ago : " The organ is an instru- 
 ment of divers pipes, formed with a kind of tower, 
 which by means of bellows is made to produce 
 a low sound ; and, in order to express agreeable 
 melodies, there are in the inside, movements made 
 of wood, that are pressed down with the finger of 
 the player, and produce the most pleasing and 
 brilliant tones." 
 
 Hirst quotes St. Jerome's assertion, of doubtful 
 authority, of an organ with twelve pairs of bellows, 
 which might be heard at the distance of nearly a 
 mile ; and another at Jerusalem that might be 
 heard at the Mount of Olives. It is said that, in 
 A. D. 757, an organ was presented to Pepin, King 
 of France. During the tenth century, the use of 
 the organ became general in Germany, Italy, and 
 England, but differed materially from the organ 
 of our day. 
 
 A few centuries ago, the rage for rigid simpli- 
 city banished the organ from Scotland, designa- 
 ting it "The deviVs box c? whistle pipes" 
 
 The first organ used in America, if we are cor- 
 rectly informed, was imported in August, 1713, by 
 Thomas Brattle, Esq., for Queen's Chapel, Boston. 
 The first organ of American manufacture was 
 built by Edward Bromfield, of Boston, in the year 
 1745. 
 
 Much has been said, pro and con, on the subject 
 of instrumental music in Church service ; some 
 contending that instruments should be used, not 
 
 
Till: BBRVICE OF SONG. 227 
 
 alone, but as an accompaniment to the voice; 
 others maintaining that the music should he 
 
 strictly vocal. 
 
 In this controversy, "the law of the Lord"' is, of 
 course, the only arbiter; but a wide difference of 
 
 opinion exists as to what the Scriptures teach on 
 the subject, as will be seen from the following ex- 
 tracts: Dr. Adam Clarke asks — "Did ever God 
 ordain instruments of music to be used in His 
 worship! Can they be used in Christian assem- 
 blies according to the spirit of Christianity I Has 
 
 is Christ or His Apostles ever commanded or 
 Banctii >ned the use of them ? Were they ever used 
 anywhere in the Apostolic Church? Does the 
 use of them at present in Christian congregations 
 ever increase the spirit of devotion ? Does it ever 
 appear that bands of musicians, either in their 
 collective, or individual capacity, are more spirit- 
 ual, or as spiritual as the other parts of the Chris- 
 tian Church? Is there not more pride, self-will, 
 stubbornness, insubordination, lightness and fri- 
 volity, among such persons than among other 
 professors of Christianity found in the same 
 
 _ious community? Is it ever remarked or 
 known, that musicians in the house of God have 
 ever attained to any depth of piety, or superior 
 soundness of understanding, in the things of God? 
 Is it ever found that those Churches and Chris- 
 tian societies which have, and use instruments of 
 music in Divine worship, are more holy, or as 
 
228 THE SERVICE OF SONG. 
 
 holy as those societies who do not use them? 
 And is it always found that the ministers who 
 recommend them to be used in the worship of 
 God are the most spiritual and useful preachers ? 
 Can mere sounds, no matter how melodious, where 
 no sentiment is or can "be uttered, be considered 
 as giving praise to God ? Is it possible that pipes 
 or strings of any kind can give God praise ? Can 
 God be praised with sounds which are emitted by 
 no sentient being, and have in themselves no 
 meaning ? If these questions can not be answered 
 in the affirmative, then is not the introduction of 
 such instruments into the worship of God anti- 
 Christian ; calculated to debase and ruin the spirit 
 and influence of the Gospel of Jesus Christ ? And 
 should not all who wish well to the spread of pure 
 and undefiled religion, lift up their hands, their 
 influence and their voice against them?" 
 
 The pious and acute Richard Baxter, speaking 
 of music, says : "It is not an instituted ceremony 
 merely, but a natural help to the mind's alacrity ; 
 and it is a duty, and not a sin, to use the help of 
 nature and lawful art, though not to institute sac- 
 raments of our own. As it is lawful to use the 
 comfortable help of spectacles in reading the 
 Bible, so it is of music, to exhilarate the soul to- 
 ward God. Jesus Christ joined the Jews in the 
 use of it, and never spoke a word against it. . . . 
 It is not a human invention, as the last Psalm, 
 and many others show, which call us to praise the 
 
THK BEBVIOB OF SONG. 239 
 
 Lord with instruments of music. Why should 
 the experience of Borne privileged, Belf-created 
 person, or half-man, that knows not ichat melody 
 /.v, be set up against the experience of all others, 
 and deprive them of all such helps and mercies, 
 as these people say they find no benefit by 1" 
 
 Dr. Gouden, bishop of Exeter, who lived in the 
 time of both the Charleses, says: "Who doubts 
 but that David, and the whole Church of the Jews, 
 served God in spirit and in truth, amid those joy- 
 ful and harmonious sounds which they made with 
 singers and instruments of music? The gift and 
 use of music is so sweet, so angelical, so heaven- 
 ly and Divine, that it is a pity God should not 
 have the use of it in His service, and the Church 
 an holy and comfortable use of it. Such an 
 orient pearl ought not to be used only in civil 
 conventions, or abused in wanton carols and vain 
 effusions, which is to put a jewel in a swine's 
 snout. Certainly the Christian Church hath more 
 cause to rejoice than the Jews had." 
 
 To the same effect are the sentiments of Bishop 
 :ie, Leigh Richmond, and many others equally 
 distinguished for piety and learning. 
 
 "Instrumental music," says the Rev. Richard 
 Watson, "was first introduced into the Jewish ser- 
 by Moses, and afterward, by the express 
 command of God, was very much improved by 
 tie- addition of several instruments in the reign of 
 David."' 
 
230 THE SERVICE OF SONG. 
 
 The introduction of instrumental music into the 
 Church service by Moses, was, we suppose, more 
 a matter of inference with Mr. Watson than of 
 knowledge, inasmuch as the Scriptures give no 
 definite information on the subject. 
 
 As to the conduct of David, and the authority un- 
 der which he acted, there should be no controversy. 
 "When David was old and full of days, he made 
 Solomon, his son, king of Israel. And he gathered 
 together all the princes of Israel, with the priests, 
 and the Levites," to order and establish the ser- 
 vices of the Sanctuary. The Levites were num- 
 bered and divided into companies, and to each 
 !i vision, appropriate functions were assigned. 
 Hence, it is said that "four thousand praised the 
 Lord with their instruments which I made, said 
 David, to praise therewith. And David divided 
 them into courses." 
 
 That David was, at this time, a good man and 
 Divinely inspired, there can be no question ; for 
 when Hezekiah restored the temple service which 
 had been neglected during his predecessor's reign, 
 it is said that "he set the Levites in the house of 
 the Lord with cymbals, with psalteries and with 
 harps, according to the commandment of D-avid, 
 and of Gad the king's seer, and Nathan the pro- 
 phet, for so was the commandment of the Lord 
 by His prophets." It is, therefore, evident that 
 David, in making his arrangement for instrumen- 
 tal music, acted as a man of God, under Divine 
 
THE SERVICE OF SONG. 231 
 
 direction, with the concurrence of ''Gad the king's 
 seer, and Nathan the prophet" The criticism 
 
 by which it is attempted to be shown that David 
 1 on his own responsibility in this matter, and 
 against the Divine will, is utterly futile. 
 
 The supposition that the prophet Amos cen- 
 sures David for the introduction of musical instru- 
 ments into the Church, is almost too improbable 
 to deserve notice, and especially as the author, 
 who thus construes the words of the prophet, 
 quotes with approbation the following eulogy on 
 David, written by Mr. Delaney : "To sum up all, 
 David was a true believer, a zealous adorer of 
 God, teacher of His law and worship, and inspir- 
 er of His praise. A glorious example, a perpet- 
 ual and inexhaustible fountain of true piety. A 
 consummate and unequaled hero ; a skilful and 
 fortunate captain ; a steady patriot ; a wise ruler ; 
 a faithful, generous and magnanimous friend, and, 
 what is yet rarer, a no less generous and magnan- 
 imous enemy. A true penitent ; a Divine musi- 
 cian ; a sublime poet, and an inspired prophet. 
 By birth, a peasant ; by merit, a prince ; in youth 
 a hero ; in manhood, a monarcli; and in age, a 
 saint." 
 
 Among the last acts of David's life, was this or- 
 dering of instrumental music in the Sanctuary. 
 This was done in his old age, v. hen he was a 
 Saint. How, then, could he have contravened the 
 Divine will in a matter of so much importance? 
 
232 THE SERVICE OF SONG. 
 
 The passage in the book of Amos, which is 
 supposed to be reprehensive of the conduct of 
 David in regard to musical instruments, was writ- 
 ten more than two hundred years after David had 
 entered into rest, and by no means requires an 
 interpretation which would censure the "sweet 
 Psalmist." 
 
 The prophet addresses the unfaithful Israelites 
 as follows : "Ye that lie upon beds of ivory, and 
 stretch themselves upon their couches, and eat 
 the lambs of the flock, and the calves out of the 
 midst of the stall ; that chant to the sound of the 
 viol and invent to themselves instruments of music 
 like David ; that drink wine in bowls, and anoint 
 themselves with the chief ointments ; but they are 
 not grieved for the affliction of Joseph." — Amos 
 vi. 4-6. 
 
 "This is an elegant description of the bad use 
 men too often make of a plentiful fortune ; so 
 that it shuts out all serious consideration, and 
 makes them void of compassion toward persons 
 in want and misery, and to regard nothing but 
 
 their present gratification Who, though 
 
 but private persons, make use of all manner of 
 musical instruments the same as David did when 
 he was a king ; and employ as great a variety of 
 music for their own diversion as he did in the 
 service of God."* 
 
 *Benson. 
 
TIIK SERVICE OF SONG. 233 
 
 This is certainly a reasonable exposition, and 
 should, it would seem, be satisfactory to all. 
 
 Moreover, it" this official act of David was un- 
 authorized, may not other ordinances of his fall 
 under condemnation ; and if his conduct in a case 
 of this sort was reprehensible, how can his writ- 
 ings be received as infallible truth? 
 
 Again; the use of instrumental music is incul- 
 cated by others of the inspired writers besides 
 David. Are they, also, to be censured? 
 
 David sinned grievously, it is true, on a certain 
 occasion, but he sincerely repented and obtained 
 forgiveness. There is not, as we conceive, the 
 slightest ground for the insinuation that he trans- 
 gressed in the arrangement of the temple service 
 just as he was about to fall on sleep, after having 
 ved his generation by the will of God." "We 
 reach the conclusion, therefore, that instrumental 
 music, in connection with vocal, was used in the 
 service of God in the olden time with Divine ap- 
 probation. 
 
 The question, then, arises as to its lawfulness 
 and expediency under the Christian dispensation. 
 On this subject, nothing was said, so far as we 
 know, either by Christ or his Apostles. 
 
 ••After the most diligent inquiry/' says the 
 learned Dr. Burney, "concerning the time when 
 instruments of music had admission into the 
 ecclesiastical service, then 1 is reason to conclude 
 that, before the reign of Constantine, as the con- 
 
234 THE SERVICE OF SONG. 
 
 verts of the Christian religion were subject to 
 frequent persecutions and disturbances in their 
 devotions, the use of instruments would hardly 
 have been allowed ; and, by all that can be col- 
 lected from the writings of the primitive Christians, 
 they seem never to have been admitted. But after 
 the full establishment of Christianity as the na- 
 tional religion of the Roman Empire, they were 
 used in great festivals, in imitation of the He- 
 brews, as well as pagans, who, at all times, have 
 accompanied their psalms, hymns, and religious 
 rites, with instruments of music." 
 
 Why this silence of the New Testament writers, 
 and this abstinence from the use of instrumental 
 music for sacred purposes in the early ages of the 
 Christian Church ? "Was it a legal ceremony, in- 
 stituted by Moses, and abolished when the gospel 
 dispensation was initiated ? We think not. In- 
 strumental music was devoted to religious uses 
 before the giving of the law. Miriam the proph- 
 etess, the sister of Aaron, to celebrate the deliver- 
 ance from Pharaoh and the Egyptians, " took a 
 timbrel in her hand, and the women went out after 
 her with timbrels and dances." Therefore, the 
 custom not having been introduced by the cere- 
 monial law, it is not conclusive that it was abol- 
 ished when that law was abrogated. 
 
 Many of the forms and postures adopted in 
 Divine service under the former dispensation are 
 still continued ; why, then, may not this mode of 
 
THE SERVICE OF SONG. 230 
 
 praising God be allowed ? Tf it were an arbitrary 
 
 and harsh enactment which derived all Its value 
 simply from the appointment of God, and sub- 
 mission to Bis authority, some would think it 
 
 might be discontinued without a special revoca- 
 tion. But this is not the case. Good music, 
 whether vocal or instrumental, charms the ear, 
 and can not be regarded as a burden, either to the 
 performer or the listener. 
 
 We hold that vocal music partakes as much of 
 a typical character as does instrumental music, 
 and that neither was ever intended to be em- 
 blematical of anything but the praises of God in 
 heaven. The argument, then, which would exclude 
 the one on the ground of its being a Levitical cere- 
 mony, would also abolish the other. Of what 
 good thing under the Christian dispensation could 
 instrumental music have been typical I 
 
 The silence of Christ and His Apostles may, as 
 we conceive, be appropriately urged in favor of its 
 legitimacy in the present day. The gospel w r as first 
 preached to the Jews. The Apostles sometimes 
 worshiped in synagogues; but we have no inti- 
 mation that the use of instruments of music in the 
 worship of God as it obtained in the synagogue 
 service was contrary to the spirit of Christianity. 
 
 Wht-n St. John was permitted to listen to the 
 
 f the celestial choir, he heard "the voice 
 
 of harpers, harping with their harp-." Why, then, 
 
 should the inhabitants of heaven be represented 
 
236 THE SERVICE OF SONG. 
 
 as doing that which, is not proper to be done on 
 earth ? 
 
 It may "be said that this is figurative language, 
 and that a literal harping is not meant. But if 
 instrumental music be so utterly unsuited to the 
 purposes of worship as some imagine, it is strange, 
 indeed, that it should be made the emblem of 
 Divine worship on high. 
 
 Inasmuch, therefore, as instrumental music was 
 allowed in the Church service by Divine authority, 
 and inasmuch as this grant has never been revoked 
 by the Head of the Church, therefore, it is still 
 lawful to use instruments as aids to devotion. 
 
 The question, then, becomes one of expediency 
 simply. It is the duty of the Christian to reject 
 whatever is of evil tendency, and to cherish what- 
 ever is calculated to advance the Redeemer's 
 kingdom, without demanding in every case ex- 
 press Scriptural warrant. Many things are lawful 
 which are not expedient, and that which was ex- 
 pedient in days gone by may now be inexpedient. 
 The great general principle which is applicable to 
 all times and places is thus enunciated by the 
 Apostle : " Whether, therefore, ye eat or drink, or 
 whatsoever ye do, do all to the glory of God." 
 We are as sacredly bound to refrain from that 
 which is inexpedient as we are to eschew what is 
 positively forbidden in the Scriptures. Without 
 putting it into the category of merely legal cere- 
 monies, there were, doubtless, reasons for its em* 
 
THE SERVICE OF SONG. 237 
 
 ployment under the Jewish dispensation which do 
 not now exist. In former times, Jerusalem was 
 the great metropolitan city of the Church, and the 
 temple was the grand rallying point for believers 
 throughout the world. Immense multitudes were 
 here assembled, from time to time; and, as much 
 of the singing was responsive, thousands of voices 
 joining in the burden or refrain at the appropriate 
 instant in the exercises, instruments may have 
 been needed to control the immense mass of 
 sound. 
 
 Again, under the former dispensation, the senses 
 were more directly appealed to than they are 
 under the auspices of the Christian Church. Then 
 it was meet, not only that the eye should be daz- 
 zled by a gorgeously ornamented sanctuary, but 
 also that the ear should be charmed with instru- 
 mental, as well as vocal music. Now, although 
 the use of instruments is not forbidden, yet it is 
 thought by many that the human voice unaccom- 
 panied best befits the simplicity and spirituality 
 of the gospel. 
 
 The following judicious advice was long ago 
 given to the Methodists by John Wesley : "Let 
 no organ be placed anywhere till proposed in the 
 Conference." This distinguished minister of Christ 
 believed in the legitimacy of instrumental music 
 in Divine worship, even in these latter times; 
 otherwise he would have uttered an emphatic voice 
 against it. The Conference could not have legal- 
 
238 THE SERVICE OF SONG. 
 
 ized that which was forbidden in the Scriptures. 
 Still, as the New Testament evidently does not 
 require the use of organs, and as many of the 
 people were opposed to them, precipitate and 
 arbitrary measures in the premises could only do 
 harm. It was inexpedient to introduce organs 
 into the churches until the prejudices against 
 them were, in the judgment of the Conference, 
 sufficiently allayed to admit of their favorable 
 reception. 
 
 In the year 1811, there was some controversy in 
 Liverpool in regard to organs in two of the 
 churches in that city. The question was discussed 
 in the Wesleyan Conference ; the introduction of 
 organs into both churches was sanctioned, and no 
 mischief followed. 
 
 Dr. Lowell Mason says: " A judicious accom- 
 paniment seems to be indispensable to complete 
 success. Such an accompaniment guides, sustains, 
 strengthens, and relieves the vocal parts. It pro- 
 motes good tone and correct intonation, and ren- 
 ders vocal music pleasing and effective. Bat the 
 art of accompaniment seems to be as little under- 
 stood and as much abused by instrumentalists as 
 is the art of singing by vocalists." 
 
 " The organ," says the Kev. J. R. Scott, " not 
 only adds sweetness, variety, and compass to the 
 song, but is highly useful in sustaining the singers' 
 voices, promoting accuracy of pitch and time. . . . 
 Only let its effect be, not to smother and overpower, 
 
Tin: SERVICE OF SONG. 2M 
 
 but to enhance the force of the sentiment sung." 
 
 We freely admit that the highest degree of 
 
 musical gratification can not be afforded without 
 
 the aid o£ instruments; but we contend, neverthe- 
 
 . that in congregational singing, "complete 
 success" may be achieved without them. We are 
 by no means disposed to admit that the best effect 
 of the service of song can only be realized when 
 the music is faultless, or when its charms are such 
 as to lead us captive. 
 
 A high authority says: "Music is an exceedingly 
 trbing thing; and, particularly in its more 
 embellished and elaborate form, it naturally with- 
 draws attention from all else, even from the words 
 associated with it, and concentrates the mind upon 
 itself." 
 
 An American traveler in Germany, a few years 
 since, asked, in what Church he could find the best 
 music. The answer was : " There is no music 
 here, except once or twice a year, on the occasion 
 of some great festival." "But, do not the people 
 sing in Church I" " O, yes ; they sing hymns, but 
 there is no music." 
 
 Here was a clear distinction between mere mu- 
 sical enjoyment and the praise of God in song. 
 In all our meditations upon this subject, let the 
 idea of worship be prominent. Congregational 
 Binging should, of course, be good; it should 
 please the ear. inform the mind, and affect the 
 heart. It should always appropriately embody 
 
240 THE SERVICE OF SONG. 
 
 the sentiment, and this, we think, can be success- 
 fully done by the voice alone. 
 
 A chorister whose talent, knowledge, and ex- 
 perience, will not enable him to pitch the tune 
 correctly without adventitious aids, had better 
 give place to a more competent leader. A con- 
 gregation of worshipers who can not maintain the 
 proper key, or a correct intonation, through the 
 tune, especially when assisted by a well trained 
 choir placed in their midst, had better give atten- 
 tion to the rudiments of music ; or, if they will 
 be patient, practice alone will enable them to 
 overcome many difficulties. Who of us has not 
 frequently heard melodious, harmonious, soul- 
 stirring singing — singing that was in the highest 
 degree effective — where there was no instrumental 
 accompaniment ? 
 
 It is said that " a good organ may be made an 
 invaluable aid to congregational singing, as is 
 proved all over the continent of Europe, where the 
 most majestic music is made by the people follow- 
 ing the lead of the organ, and frequently without 
 the help of a choir." 
 
 We suppose that Germany is here especially 
 referred to. All that can be affirmed by our 
 author is, that where musical education prevails, 
 the people sing well with the aid of an organ. 
 We will here take the responsibility of affirming, 
 that, where the people are musically educated, 
 they can sing well without the help of an instru- 
 
THE 3BBYI0E OF SONG. 241 
 
 ment We thus reach fche conclusion that anin- 
 Btmment Ls not indispensably necessary. 
 
 A greai difficulty lies in the fact that, in America 
 cially, musical education has been too much 
 ignored. Hence, in procuring organists, and other 
 instrumental performers, the Churches frequently 
 have recourse to the opera or the theatre! To 
 mention the custom is to condemn it. 
 
 T<> show what likelihood there is of obtaining 
 for the Churches suitable performers, we give the 
 following portrait of a good organist : " 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 worship. He should be a man of quick 
 Ability, 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 rail forth, in different stanzas, emotions 
 of a different character. lie should understand 
 the nature of Ins instrument and the object of its 
 introduction into the Church, as an accompani- 
 ment to the voices — subservient to vocal effect, or 
 rather designed to promote it. Were such organ- 
 employed, there would be fewer complaints 
 of loud and meaningless playing — of long, flour- 
 ing and fanciful interludes, foreign to tin- sub- 
 and unlit for the Church." 
 
 The organ is too large and too expensive for 
 16 
 
242 THE SERVICE OF SONG. 
 
 most of the Churches in America, and hence, the 
 temptation to introduce smaller instruments of 
 various sorts. The historian exhibits to us the 
 unhappy results of such a state of things, Going 
 back thirty years from the present to scenes which 
 he witnessed in some churches on this side of the 
 Atlantic, he says, after speaking of the clarionet, 
 bassoon, hautboy, etc., that "to tune the bass- 
 viol with these variable instruments caused much 
 necessary, and more unnecessary sawing and snap- 
 ping of strings and squeaking of the wind instru- 
 ments, to the no small annoyance of hearers 
 
 This exercise of tuning could be borne with, for 
 once, at the commencement of worship ; but this 
 was not the end — they must be tried and proved 
 
 before each singing Soon there came a 
 
 struggle between voices and instruments, and the 
 instruments struggled fcr mastery among them- 
 selves The strings of the double-bass, 
 
 when that was introduced, must be sawed with 
 such violence that the crash of the string on the 
 finger-board made a more conspicuous noise than 
 the vibration. This display, added to the tuning 
 of the instruments, while the minister was read- 
 ing the hymn, if not during other services, must 
 have been of wonderful assistance to his devotional 
 feelings!" 
 
 It is admitted by some that the organ is un- 
 suited to times of revival, social religious meet- 
 ings, and sacramental services. At such seasons, 
 
 
TIIE SERVICE OF SONG. 243 
 
 Christians are wont to dispense with all unneces- 
 sary forms, that they may worship God with that 
 earn . simplicity, and faith which bring 
 
 blessings upon the soul. But why should not this 
 same fervor of spirit always characterize believers 
 when they enter the sanctuary ? " God is a Spirit, 
 and they that worship Him must worship Him in 
 spirit and in truth." In the great congregation, 
 let the hearts of the faithful be so fired with a 
 holy zeal as to send out a genial warmth upon the 
 entire assembly. Interludes and voluntaries on 
 the organ, and the general predominance of sound 
 over sentiment, tend to cool the ardor of devotion. 
 Divine service must have its forms, even under 
 this dispensation of the Spirit; but dalliance 
 and parade in the service should be avoided. 
 The multitude, it is true, should be attracted, but 
 not with gorgeous displays and merely sensuous 
 enjoyments. There is that in "newness of spirit " 
 which will more favorably, and more powerfully 
 impress the popular heart than all the parapher- 
 nalia that art can devise. 
 
 It is contended by many judicious and faithful 
 members of the Church that, while we should reso- 
 lutely oppose the use of unbecoming forms and 
 ceremonies in religious services, it is, nevertheless, 
 our duty to make the worship as pleasing and at- 
 tractive as its peculiar nature will allow. It is 
 •d that th<' effect of instrumental music, espe- 
 cially upon the young, is most beneficial; and that 
 
244 THE SERVICE OF SONG. 
 
 it is our duty to use all legitimate means to attach 
 them to that Church which we prefer. . The church 
 edifice should "be neat and imposing ; the preach- 
 ing should not only be evangelical, but popular ; 
 and the music in the church should be such as to 
 edify and satisfy persons whose taste has been 
 properly directed and cultivated. 
 
 Moreover, the cabinet organs, so much, and 
 so successfully used in many of the smaller 
 churches throughout the country, render nuga- 
 tory much that has been said in regard to 
 the difficulty of procuring proper organists ; 
 inasmuch as there are, in most places, ladies con- 
 nected with the Church who are competent and 
 willing to perform on these instruments. Experi- 
 ence, too, has done much toward meeting the ob- 
 jections which have been urged against the use 
 of instrumental music in the Church. AVith the 
 most determined opposers, one year's probation 
 is often sufficient to extirpate prejudice, and to 
 enroll them with the advocates of the organ. 
 
 In many churches, the introduction of an instru- 
 ment would evidently be inexpedient; but where 
 circumstances favor, we are inclined to the opinion 
 that there should be, as the best arrangement pos- 
 sible, an organ and a choir to lead in the song ; 
 and that all the people should stand up with book 
 in hand, containing both the words and the notes, 
 that they may unite in the singing, understand- 
 ing^, heartily, spiritually. 
 
THE SEBVIOE OF SONG. 245 
 
 CHAPTER VI. 
 
 S PI RITUAL SINGING. 
 
 The Young Convert — Are we Prepared to Sing in Heaven — 
 Indifference — The Psalmist Praised God Heartily — Ardor of 
 the Apostles and Early Christians — Heartfelt Song should 
 Celebrate the later Triumphs of the Cross — Formality in Sing- 
 ing the Great Evil — Science in Singing should be Recognized 
 
 The question still recurs — How should we sing ? 
 The answer is — with a reverential, believing, lov- 
 ing, joyful, thankful heart. While the carnal 
 mind has dominion over us, we can not properly 
 praise God. We may hear the gospel, and sing 
 and pray, as the means of conversion ; but we can 
 not perform acts of worship while the heart is un- 
 changed. We must wait patiently for the Lord ; 
 we must cry unto Him ; He must take our feet out 
 of the horrible pit, out of the miry clay, and set us 
 upon a rock. Then it is that we are prepared 
 to sing the ,; new song." The young convert lifts 
 up his voice and exclaims, u O Lord, I will praise 
 Thee : though thou wast angry with me, Thine 
 anger is turned away, and thou comfortedst me. 
 Behold, God is my salvation ; I will trust, and not 
 be afraid; for the Lord Jehovah is my strength 
 and song; lie also is become my salvation." 
 
 Do we possess the spirit of praise I This is the 
 
246 THE SEKVICE OF SONG. 
 
 important question which each one of us should 
 propound to his own heart. This glad, enraptur- 
 ing spirit animates all the heavenly hosts ; and, 
 on earth, it fires the souls of all who are traveling 
 to Zion. It is manifest, therefore, that destitution 
 of this spirit of adoring love furnishes just cause 
 for alarm. If we are unprepared to unite in the 
 worship- song in houses made with hands, how 
 shall we unite with the millions who throng the 
 courts of the upper Sanctuary ? What though our 
 Heavenly Father looked in boundless compassion 
 upon our fallen race; what though Jesus our 
 Savior died on the Cross for the sins of the world ; 
 what though the Comforter has come to abide 
 with the Church ; what though the Bible, the 
 preached word, the sacraments, and the influence 
 of holy example, are all ours ; what though the 
 heavenly Jerusalem stands in imperishable beauty 
 and grandeur, with her jeweled walls, her gates 
 of pearl, her trees perennially green and fruitful, 
 her flowers of immortal fragrance, her azure skies, 
 her Sun that never goes down, and her countless 
 companies of shining, rejoicing worshipers, with 
 their everlasting songs of celestial sweetness — it is 
 plain that we never can enter there without hearts 
 attuned to praise. 
 
 Having received the Spirit of adoption, we must 
 hold constant communion with God, that we may 
 be prepared to worship Him in this life and in 
 that which is to come. 
 
THE ski: vice OF SONG. 247 
 
 Prayer and praise must be conjoined. ; '0 Lord, 
 open Thou our Lips, and our month shall show 
 forth Thy praise." 
 
 It is painful to see the indifference which is fre- 
 quently manifested by many who profess to be 
 worshipers. Hear Him who abhors a soulless 
 offering : " This people draw near to Me with their 
 mouth, and with their lips do honor Me, but have 
 removed their heart far from Me." Hear Him 
 speaking to the careless formalist : " Take thou 
 away from Me the noise of thy songs ; for I will 
 not hear the melody of thy viols." 
 
 " God is a Spirit just and wise, 
 He sees our inmost mind ; 
 In vain to heaven we raise our cries, 
 And leave our souls behind." 
 
 Dr. Adam Clarke says that a good singer, who 
 has not the life of God in his soul, is vox et prceterea 
 nihil.* But another author thinks there is some- 
 thing more, and reminds us that " whatsoever is 
 not of faith is sin." 
 
 Singing is a highly expressive art; it purports 
 to be the outgushing of the soul. Therefore, sing- 
 ing which has no emotion in it is evidently a cold 
 and barren failure. 
 
 We need scarcely remark that in every attempt 
 t<» worship God, there should be a vivid conscious- 
 ness of the solemnity and importance of the act; 
 that thoughts of business or of pleasure, thoughts 
 
 • A voice, and besides it — nothing. 
 
248 THE SERVICE OF SONG. 
 
 of the multitude who may be present, thoughts 
 of the elegance of the poetry, or the excellence 
 of the music — all thoughts of all things — should 
 "be swallowed up in the great thought that God is 
 in us and around us, and that He is infinitely 
 worthy of our adoration. 
 
 We are to be " rooted and grounded in love." 
 Love is the genial soil from which are to spring 
 the sweet flowers and wholesome fruits of obedi- 
 ence and resignation, gratitude and joy. It is 
 love which animates the angels and the spirits 
 of just men made perfect, in their ceaseless 
 songs around the throne. " The love of Christ 
 constraineth us," is the experience of all the 
 faithful on earth; and without love, or the de- 
 sire for it, all our singing is but "as sounding 
 brass, or a tinkling cymbal ;" a noise which God 
 would have removed from Him. 
 
 How repeatedly and emphatically do the Scrip- 
 tures denounce a merely formal religion ! How 
 urgently do they inculcate the necessity of holi- 
 ness of heart, and fervency of spirit ! If we our- 
 selves demand hearty sincerity in the thanks 
 which are offered to us for the favors we confer, 
 how much more has God a right to require us to 
 worship Him " in spirit and in truth !" 
 
 The " monarch minstrel" sang and worshiped 
 with seraphic ardor. 
 
 Hear the Psalmist as he exclaims : " I will praise 
 Thee, O Lord, with my whole heart." 
 
THE SERVICE OF SOXG. 249 
 
 "I will praise Thee with all my heart." 
 
 "Glory ye in His holy name; let the heart of 
 them rejoice that seek the Lord." 
 
 • Serve the Lord with joyfulness, and with 
 gladness of heart." 
 
 " O God, my heart is fixed ; I will sing and give 
 praise even with my glory." 
 
 "I will be glad and rejoice in Thee : I will sing 
 praise to Thy name, O Thou most high." 
 
 u Bless the Lord, O my soul, and all that is 
 within me, bless His holy name." 
 
 " I will sing unto the Lord as long as I live : I 
 will sing praises unto my God while I have any 
 beinsr." 
 
 The apostles would also lead us into the experi- 
 ence of this same glowing love, transporting joy, 
 and exultant hope : " Be filled with the Spirit " — 
 " making melody in your heart to the Lord" — 
 " Let the word of Christ dwell in you richly in all 
 wisdom " — " singing with grace in your hearts to 
 the Lord" — "I will pray with the spirit, and I will 
 pray with the understanding also : I will sing with 
 the spirit, and I will sing with the understanding 
 also." 
 
 "Without Me," says the Savior, "ye can do 
 nothing. If we would pray, " the Spirit of grace 
 and supplications" must be poured out upon us. 
 "The Spirit helpeth our infirmities." So, if we 
 would sing acceptably, this sam<' Holy Spirit must 
 excite within as ardent desires and grateful <'im> 
 
250 THE SERVICE OF SONG. 
 
 tions. God will assuredly accept the sacrifice 
 which Himself moves us to offer. 
 
 The spirit of the apostles and the primitive 
 Christians was a loving, jubilant spirit. Though 
 beaten with stripes, stoned, imprisoned, banished 
 to dreary solitudes, counted " the filth and off- 
 scouring of all things," expecting to lay down 
 their lives for the truth ; yet, forbearing to mur- 
 mur, they wandered over the world sowing precious 
 seed, " rej oicing that they were counted worthy 
 to suffer such things," and, with ecstatic songs, 
 antedating their arrival at their Father's house. 
 With them praise was habitual. 
 
 The Apostles gazed steadfastly into heaven as 
 long as they could see aught of the radiant cloud- 
 chariot which conducted their ascending Lord to 
 His home of glory ; and having received the prom- 
 ise of His second advent, they returned to Jeru- 
 salem with joy, and "were continually in the 
 temple, praising and blessing God." 
 
 The disciples, after the Pentecostal outpouring 
 of the Spirit, " did eat their meat with gladness 
 and singleness of heart, praising God." 
 
 This same rapturous spirit should characterize 
 all Christians in the present day. The Comforter 
 has come to abide with believers forever. Vital 
 Christianity is shedding its cheering light upon 
 the dark places of the earth. False religions are 
 tottering to their fall. Judaism, Romanism, Pa- 
 ganism, and Mohammedanism, are all dying of in- 
 
Till: SERVICE OF SONG. 251 
 
 herenl weakness and old age; while pure religion, 
 in youthful vigor, and with gigantic strides, 
 marches on to conquest, and l»y faith sees — 
 
 " Her flag on every height unfurl'd ; 
 
 Her morning drum beat round the world." 
 
 In tins glad day of holy triumph, shall Christian 
 zeal abate, or Christian courage fail? Shall a 
 deadly paralysis seize the Church just as the 
 trumpet- tongued voice of victory is about to startle 
 the universe with its echoes ? Surely Emmanuel's 
 hosts will march valiantly forth to the great de- 
 cisive conflict. This is the day which Abraham 
 saw and was glad, and shall not our hearts burn 
 within us? and shall not our songs herald forth 
 our irrepressible joy ? With all our sins and sor- 
 rows, this is a bright and glorious era, and the 
 hosannas of believers should be correspondingly 
 rapturous. 
 
 In the Methodist Discipline, the question has 
 long been asked — " How shall we guard against 
 formality in singing?" And the several items of 
 directionquoted in a fornn-r chapter from the Disci- 
 pline, are all given in answer to this important 
 question. The Church justly concludes that for- 
 mality effectually vitiates the service — that while 
 the faults in our congregational singing may be 
 numerous and grievous, the great fault, and the 
 which embraces all others, is formality. The 
 jtion i< imw as pertinent, and as worthy of 
 ^deration, a- it ever was. Let as, i. e., "botfi 
 
252 THE SERVICE OF SONG. 
 
 the writer and the reader, ask ourselves — " How 
 may we guard against formality in singing ? " 
 
 The following is especially worthy of considera- 
 tion: "Do not sutler the people to sing too 
 slow. This naturally tends to formality, and is 
 brought in by those who have either very strong 
 or very weak voices." 
 
 Those who have very strong voices are, of course, 
 able to overpower the rest of the singers, and to lead 
 them at will. It is not unfrequently the case that 
 great strength and great indolence meet together 
 in the same individual. Persons whose voices are 
 very weak are but too prone to lag behind, and 
 the effect is to produce coldness, heaviness, dull- 
 ness. They retard the song, as invalids hanging 
 upon the rear of an army impede the progress of 
 the advancing hosts. 
 
 Slow singing is sometimes the cause, and some- 
 times the effect of formality, and obtains in many 
 of our churches, to the great detriment of the wor- 
 shipers. There is in us a natural disposition to 
 be at ease — to take our time — and this habitual 
 laziness too often pervades and ruins our devo- 
 tions. 
 
 Here let science be recognized as the handmaid 
 of religion. While thoughtless rapidity is to be 
 avoided, let us carefully eschew a dozy, drawling 
 style of singing. We hesitate not to affirm that 
 incalculable advantage would result to the Ameri- 
 can Churches by the banishment of this pernicious 
 
T1IK SERVICE OF SONG. 253 
 
 custom of tardy singing, and the observance of 
 the time which marks the productions of scientific 
 composers. A great reform is needed at this 
 point, and blessings will be upon the heads of 
 those by whom it is effected. 
 
254 THE SERVICE OF SONG. 
 
 SECTION III— WHAT SHOULD WE SING? 
 
 CHAPTER I. 
 
 SnOULD WE SING PSALMS EXCLUSIVELY? 
 
 Presumption m favor of Compositions of Uninspired Poets — View 
 of the Seceders — The Title of the Psalms — "Song of Songs" — 
 Ralph Erskine's View and Conduct — Suitableness of Matter for 
 Praise — Testimony of Isaiah — Offering Strange Fire — 
 "Psalms, Hymns and Spiritual Songs" — Example of Simeon, 
 Anna the Prophetess, etc. — Early Christians — Common Version 
 and Rous' Compared — General Assembly of the Church of 
 Scotland. 
 
 If we are to use words in singing, and if these 
 words are made especially influential by the 
 sounds to which they are wedded, then the char- 
 acter of the sentiments expressed becomes a mat- 
 ter of the utmost importance. Where are we to 
 find poetry adapted to the purposes of sacred 
 song? What do the Scriptures teach on the sub- 
 ject? Nearly all the Churches use, in the service 
 of praise, those compositions of uninspired poets 
 which are thought to be in accord with the 
 teachings of the Old and New Testaments. This 
 having long been the custom, there is a pre- 
 sumption in its favor, and it is for those who 
 
THE SERVICE OF SONG. 255 
 
 entertain the contrary view to show that the pre- 
 vailing practice La anscriptural. 
 
 The Seceders* from the Established Church of 
 land and their descendants, the ministers and 
 members of the Associate Reform Church, contend 
 that, in our devotional singing, we are bound to 
 coiiline ourselves exclusively to a literal version 
 of the Book of Psalms ; and, consequently, that 
 all those who use the compositions of men are 
 guilty of grave error, both in theory and in prac- 
 tice For the support of this allegation, we cer- 
 tainly have a right to demand irrefragable Scrip- 
 tural authority. 
 
 The opposers of the exclusive system gladly 
 admit that the Book of Psalms constitutes a part 
 of the word of God; that the Psalms were de- 
 signed to be sung in the Church under the Jewish 
 dispensation, and that most of them, when prop- 
 erly versified, have high claims as sacred lyrics, 
 even in the present day. It is glaringly unjust to 
 charge the advocates of the liberal view with the 
 sin of rejecting the Psalms, or of supplanting 
 them by unauthorized human productions. On the 
 contrary, the Psalms are highly prized and jeal- 
 ously guarded as an integral part of the sacred 
 canon. The only question in controversy is — 
 Should we sing Psalms exclusively ? 
 
 Our Seceder friends argue that the Psalms were 
 
 'We use the term " Seceder" in this chapter with the utmost respect 
 for those who are designated by it. Other Scottish Churches agree with 
 them. 
 
256 THE SERVICE OF SONG. 
 
 written by inspired men to be snng in the Church ; 
 that they were appointed to be sung by Divine 
 authority ; that this appointment has never been 
 revoked ; that the Head of the Church has never 
 authorized the use of any other songs in His wor- 
 ship, and that the Psalms are, therefore, to be 
 sung to the end of time, to the exclusion of all 
 other compositions. 
 
 The following is one of the chief passages of 
 Scripture adduced in favor of this theory : 
 " Hezekiah the king, and the princes, commanded 
 the Levites to sing praise unto the Lord with the 
 words of David, and of Asaph the seer."* This 
 command was given by this pious sovereign when 
 he reformed the temple service ; and, as has been 
 well said, the verse and the chapter prove too much 
 for the purpose of the Seceders. In verse twenty- 
 fifth, it is said that "Hezekiah set the Levites in 
 the house of the Lord with cymbals, with psalter- 
 ies, and with harps, according to the commandment 
 of David, and of Gad the king's seer, and of 
 Nathan the prophet." If the former quotation 
 contains a Divine warrant for the exclusive use 
 of the words of David and Asaph in sacred song 
 in all ages ; then, upon the same principle of in- 
 terpretation, the latter passage positively enjoins 
 the use of instruments of music in all church- 
 singing to the end of time. In the former case, 
 Hezekiah and the princes command the use of the 
 
 * 2 Chronicles xxix. 30. 
 
THE SERVICE OF SONG. • 257 
 
 words of "David and Asaph. In the latter case, 
 both Gad the seer, and Nathan the prophet, 
 unite with David in ordaining the use of musical 
 instruments; so that if there is any difference, 
 the obligation to employ cymbals, psalteries and 
 harps, at all times when we sing praises to God, 
 is greater than the obligation to restrict our 
 singing to the Book of Psalms. The advocates 
 of the exclusive doctrine admit that we are not 
 required to use instruments of music ; yea, 
 they as a general rule, strongly disapprove of 
 the introduction of these instruments into the 
 Church, although they are called in the Scriptures, 
 M musical instruments of God." We see, there- 
 fore, that the chief proof- text upon which they 
 rely utterly fails to sustain their position. 
 
 It is obvious that Hezekiah himself did not act 
 upon the principle which is so strenuously con- 
 tended for by these brethren. On his recovery 
 from sickness, thirteen years after he had issued 
 the order to sing the words of David and Asaph, 
 Hezekiah composed a song, or songs, and he de- 
 clares, "We will sing my songs to the stringed 
 instruments, all the days of our life in the house 
 of the Lord." * This conduct of the good king, 
 demonstrates the fact that he did not understand 
 his own ordinance as it is understood by the 
 Seceders. 
 
 Furthermore, the command of Hezekiah to sing 
 
 * Isaiah xxxviii. 20. 
 17 
 
258 
 
 THE SERVICE OF SONG. 
 
 the words of David and Asaph, even if interpre- 
 ted according to the exclusive view, fails to estab- 
 lish the strange position which has been assumed. 
 David wrote upward of seventy of the Psalms, 
 and to Asaph are ascribed ten or twelve; the 
 others are attributed to Moses, Heman, Jeduthun, 
 Solomon, and others. It is urged that the 
 entire Book, which contains one hundred and 
 fifty Psalms, constitutes the true Psalmody of the 
 Church. But the decree of Hezekiah only em- 
 braces those which were written by David and 
 Asaph ; and as there are at least sixty in the col- 
 lection which were not composed by these authors, 
 the injunction of the king falls utterly short of 
 establishing the hypothesis of the Seceders. 
 
 Our brethren further argue, that the title which 
 has been given to the Book in question, indicates 
 the correctness of their doctrine : it is called 
 Psalms or Songs, and hence, we are to infer that 
 it was given to the Church to be her only a Psalm 
 Book" through every period of her history. We 
 respectfully submit that the premise is too nar- 
 row to support the conclusion. Even if we were 
 to admit that the word Psalms is always to be in- 
 terpreted Songs, the only proper conclusion would 
 be that the Psalms were designed to be sung in 
 the Church. It would by no means follow that 
 the Psalms are to be perpetually and exclusively 
 used. 
 
 But let us inquire more particularly into the 
 
T1IK SERVICE ov SONG. 
 
 meaning of the word Psalms. Does the original 
 Hebrew word Teh illim y which is translated Psalms, 
 invariably orgenerally, signify Songs? It does not, 
 only as the genus includes the species. Its proper 
 meaning is Praise; hence, the Book of Psalms 
 is properly denominated the Book of Praises, in- 
 cluding the praise which is rendered in song, and 
 praise in various other forms. Therefore, the 
 learned have classified the Psalms, as follows : 
 Prayers, sixty-six ; Songs of Thanksgiving, twen- 
 ty-nine ; Songs of Praise and Adoration, thirty ; 
 Psalms on general topics of instruction, forty; 
 ten are prophetical, and three historical. Such 
 are the component parts of this Book of 
 Praises. The Catechism, used by the Seceders, 
 lies us that "in our prayers we praise God," 
 and it is manifest that He may be praised in all 
 the ways indicated in the foregoing classification. 
 The particular titles of some of the Psalms, as 
 well as their subject-matter, plainly show that 
 they are not all songs. The seventeenth is desig- 
 nated a ''Prayer of David," and the ninetieth 
 the "Prayer of Moses." It is evident from all 
 these considerations, and also from the etymology 
 of the word, that the Book of Psalms is properly 
 the Book of Praises, and not the Book of Songs 
 exclusively. 
 
 The fact that it is called the Book of Psalms in 
 the New Testament does not militate against this 
 view of the subject. The New Testament writers 
 
260 THE SERVICE OF SONG. 
 
 quoted from the Greek Septuagint translation, and 
 not from the original Hebrew. In other instances 
 besides the one under consideration, they made 
 citations from the Septuagint that are obviously not 
 in accordance with the original Hebrew, but only 
 where the blunders of the Greek translation were 
 such as not to weaken the special proofs for which 
 the quotations were made. 
 
 But what shall we say of the Song of Solomon ? 
 Suppose we admit that the word Psalms means 
 Songs only, and that it is thus demonstrated that 
 the Book of Psalms is the true and only Psalmody 
 of the Church, do we not involve ourselves in inex- 
 tricable difficulty? The Canticles not only bear the 
 general title — Song — but Solomon's Song is said to 
 be The Song of Songs, or the most excellent 
 of songs ! According to this reasoning, we must 
 sing the Book of Psalms always and exclusively, 
 and we must also especially sing Solomon's Song, 
 always and exclusively ! As a substitute for this 
 transparent absurdity, we present the reasonable 
 proposition, that wherever matter for praise is 
 suggested, whether in the Old or New Testament, 
 we are fully at liberty to appropriate it ; and, as 
 the advocate of this view, we quote the eminent 
 Ralph Erskine, one of the founders of the Seceder 
 Presbytery in Scotland. He says : "When the 
 motion was made of turning all tlie Scripture 
 songs into common metre, for the same use with 
 the Psalms of David I was also urged to make a 
 
THE SERVICE OF SONG. 261 
 
 version of this song," i. e., the Song of Solomon. 
 He further says in reference to the same Book: 
 u If more seem to be said upon any verse than is 
 directly imported in it, I hope it will be reckoned 
 no great fault, if what is said be deducible from 
 it, or necessary for the further explication of it, 
 and for adapting this paraphrase upon an Old 
 Testament song to a New Testament dispensa- 
 tion. " Let it, therefore, be borne in mind that this 
 distinguished scholar and divine of the Secession 
 Church teaches us that we are not bound to con- 
 line ourselves, in our songs of praise, to the Book 
 of Psalms, and that we are by no means required 
 to sing a literal version of any portion of the 
 Scriptures. 
 
 But it may be said that the Song of Solomon 
 was never used in the temple worship. That 
 being the case, the position that the title, Psalm, 
 or Song, imposes no obligation upon us to use the 
 Book of Psalms exclusively, is fully established. 
 
 It is urged, too, that the character of the mat- 
 ter embraced in the Book of Psalms indicates 
 that it was designed to be the only Psalm Book 
 of the Church. We claim a place in the front 
 rank of those who extol the Psalms, yet, we 
 would not perpetrate the error of exalting them 
 above all other portions of the word of God. 
 We have already seen the variety of topics treated 
 on in the Psalm- : it might reasonably be sapp< 
 that, in the wide range of subjects, some portions 
 
262 THE SERVICE OF SONG. 
 
 of this delightful Book would be less suited to 
 purposes of praise than some other portions of the 
 Holy Scriptures. 
 
 Compare passages in the sixty-ninth Psalm with 
 the sublime Doxologies recorded in the Apostolic 
 Epistles. The Psalmist, predicting the wrath which 
 awaited the enemies of Christ, says : 
 
 "Let their table become a snare before them; 
 and that which should have been for their welfare 
 let it become a trap. 
 
 " Let their eyes be darkened that they see not ; 
 and make their loins continually to shake. 
 
 " Pour out thine indignation upon them, and let 
 thy wrathful anger take hold of them. 
 
 " Let their habitation be desolate, and let none 
 dwell in their tents. 
 
 " . . . . Let them be blotted out of the book of 
 the living, and not be written with the righteous." 
 
 Thus saith the Apostle : " Now unto the King 
 eternal, immortal, invisible, the only wise God, be 
 honor and glory forever and ever. Amen." He 
 says again : " Now unto Him that is able to do 
 exceeding abundantly above all that we ask or 
 think, according to the power that worketh in us, 
 unto Him be glory in the Church by Christ Jesus, 
 throughout all ages, world without end. Amen." 
 > w Judge of the merits of that theory which incor- 
 porates the former verses into the Psalmody of 
 the Church of Christ, while it rejects these spirit- 
 ual and rapturous utterances. 
 
THE SERVICE OF SONG. 263 
 
 This mere inference as to superior suitableness, 
 even if it were Legitimate, could, of course, prove 
 nothing. 
 
 Before we abandon our Hymn Books to take up 
 Rous' version of the Psalms, for the reason that 
 the version is better adapted to the purposes of 
 worship, let us take a specimen from each. "VYe 
 quote tirst from 
 
 THE VERSION. 
 
 The preacher rises in the pulpit and gives out: 
 
 " I like an owl in desert am 
 
 That nightly there doth moan, 
 I watch, and like a sparrow am 
 
 On the house-top alone. 
 My bitter en'mies all the day 
 
 Reproaches cast on me ; 
 And being mad at me, with rage 
 
 Against me sworn they be." 
 
 Let us now read a part of 
 
 THE HYMN, 
 
 which is only the representative of a class : 
 
 "O for a thousand tongues to sing 
 My great Redeemer's praise! 
 The glories of my God and King, 
 The triumphs of His grace! 
 
 " My gracious Master and my God, 
 Assist me to proclaim — 
 To spread through all the earth abroad 
 The honors of Thy name. 
 
 " Jesus ! the name that charms our fears, 
 That bids our sorrows cease; 
 'Tis music in the sinner's ears, 
 'Tis life, and health, and peace." 
 
264 THE SERVICE OF SONG. 
 
 We can not consent to ignore the testimony of 
 the prophet Isaiah on the subject which we are now 
 discussing. The fact that this inspired man plainly 
 dissents from the view of our Seceder brethren 
 should settle the question. If he had believed as 
 they do, he would certainly have used and recom- 
 mended the Psalms as the only authorized songs 
 of praise. But, so far from this, he himself writes 
 a song and prophetically enjoins that it shall be 
 sung " in that day," the glorious gospel day which 
 he saw in the distance. He says : 
 
 " In that day shall this song be sung in the land 
 of Judah : we have a strong city : salvation will 
 God appoint for walls and bulwarks. Open ye 
 the gates that the righteous nation which keepeth 
 the truth may enter in. Thou wilt keep him in per- 
 fect peace whose mind is stayed on Thee, because 
 he trusteth in Thee. Trust ye in the Lord forever : 
 for in the Lord Jehovah is everlasting strength." * 
 
 The prophet also gives us another song to be 
 used " in that day." The theory which we oppose 
 utterly forbids the singing of these songs in Divine 
 worship. 
 
 But what shall we say as to suitableness of 
 matter. It has been said, as a reason why 
 we should sing the Psalms only, that they are 
 " full of Christ." We think we can easily prove 
 by our Seceder brethren themselves that their 
 theory is incorrect. They argue that the Psalms 
 
 * Isaiah xxvi. 1-4. 
 
11 IF. SERVICE OF SONG. 
 
 are "full of Christ;" therefore, they should con- 
 stitute the only psalmody of the Church. We 
 
 reply that the Book ol the prophecy of Isaiah is 
 "full of Christ;" and, therefore, upon their own 
 principle, the Book of Isaiah should constitute 
 the only psalmody of the Church. 
 
 We duly appreciate the glowing delineations of 
 the coming Messiah which endear the Psalms to 
 the pious heart; but we can not admit that David 
 and the rest of the Psalm writers had clearer 
 views of Christ than were entertained and ex- 
 by " the evangelical prophet." 
 AVe might challenge the friends who differ with us 
 to point to any other portion of the Old Testament 
 where the character and work of the Redeemer are 
 as explicitly set forth as they are in the prophecy 
 of Isaiah. In that sublime book of the Scriptures, 
 the great doctrines of salvation are clearly taught. 
 Christ is there evidently set forth before us in His 
 Divinity and in His humanity; in the lowly cir- 
 cumstances of His birth and life, and especially 
 in His vicarious death. This is the great central 
 doctrine in the system of Christianity ; and if we 
 would exult iii the glorious truth that "by His 
 stripes we are healed," we have only to read and 
 appropriate the fifty-third chapter of this gospel 
 prophecy. How can we be blamed for rejecting a 
 theory which requires us to believe that David 
 was more lical than Isaiah? 
 
 Again, it is urged that we have no authority 
 
266 THE SERVICE OE SONG. 
 
 for making and singing hymns, although they 
 be thoroughly Scriptural. Our songs, it is said, 
 have already been prepared for us by Divine 
 direction, and we have no authority in the premi- 
 ses further than to prepare and sing a metrical 
 and literal version of these psalms. But who 
 collected the Psalms into one book by the ap- 
 pointment of God, for the express purpose of 
 giving to the Church in all ages a form of words 
 to be used in praise ? This question has never 
 been answered, nor can it be. It is supposed that 
 the compilation was the werk of Ezra ; but who 
 can positively tell ? And where is the evidence 
 that the compiler himself used this book only, in 
 the service of praise, and that this exclusive theory 
 was to be binding -for all time to come \ 
 
 It has been seriously intimated that those who 
 sing hymns other than the versified Psalms are 
 guilty of the sin of offering strange fire before the 
 Lord, and are liable to the punishment which was 
 inflicted upon Nadab and Abihu. Surely they 
 who thus speak ought to give us a Divine war- 
 rant for the dogma to which they attach so much 
 importance, and the rejection of which is likely, 
 in their view, to be attended with fatal con- 
 sequences. Even the inspired writers did not 
 venture, without Divine sanction, to anathematize 
 those who differed with them. Our friends who 
 so emphatically warn us of our danger have at- 
 
THE SERVICE OF SONG. 267 
 
 tempted to give their authority, but with what 
 success we have already seen. 
 
 What right, we may ask. have we to pray or 
 preach in our own words \ The answer which our 
 ler brethren would give is, that prayer is a 
 Christian duty ; that preaching is a Divinely estab- 
 lished institution ; and that, while all our jury- 
 ing and preaching are to be based upon the Scrip- 
 tures, we are, nevertheless, at liberty to use such 
 forms of prayer and sermonizing as to us may 
 seem best, under the guidance of the Holy Spirit. 
 But why may we not adopt this principle in re- 
 gard to singing, especially, as we have in the 
 Bible no required forms of praise? This plea 
 having been set aside, there can be no other 
 plausible one, unless it be to the effect that we 
 must confine ourselves to the Psalms to avoid the 
 errors in doctrine which may creep into the hymns 
 composed by uninspired men. But how does it 
 happen that we are more liable to error in 
 singing than in preaching and praying ? Has not 
 almost every phase and shade of heterodoxy had 
 its apologist and advocate in the. pulpit ? And if 
 there is a great power in song to make the sen- 
 timents uttered influential, what are we to say of 
 the preaching of the eloquent orator, who, with 
 great logical and rhetorical ability, addresses the 
 multitude ? 
 
 Is there no danger of heterodoxy in extempora- 
 neous, or written prayers ? — prayers composed by 
 
268 THE SERVICE OF SONG. 
 
 men ? We have the answer in the semi-idolatrous 
 petitions to the saints, and the prayers for the dead, 
 which are offered up in the Romish Church. If, 
 then, to promote orthodoxy, we should refrain 
 from composing and singing hymns, we ought, on 
 the same principle, to refrain from preaching and 
 prajdng, unless the service be conducted in the 
 words of inspiration. 
 
 The course pursued by our anti-hymn singing 
 friends does not afford the slightest guarantee 
 against error in doctrine. The fact that the 
 language of the Psalms is sometimes obscure and 
 often typical, renders it necessary, in the judg- 
 ment of the Associate Reform ministers, to lecture 
 on the Psalm before it is sung, whenever circum- 
 stances are favorable for exposition. The explan- 
 ation given is, of course, received and borne in 
 mind during the singing. Now, what security 
 have we against false doctrine in the lecture, 
 and, consequently, in the understanding which 
 pervades the singing? Our Hymn Books are 
 generally compiled by our ablest and best men, 
 and are adopted by the highest ecclesiastical au- 
 thority. This, it would seem, would be as 
 effectual a safeguard against error as the most 
 zealous defender of the faith could demand. The 
 explications given of the Psalms, from time to 
 time, before singing, are, from the very nature of 
 the case, much more likely to propagate heresy 
 than the hymns used in the Churches. If we 
 
THE SERVICE OF SONG. 269 
 
 wanted to foster Judaism, that deadly error which 
 the apostles combated with at zeal and suc- 
 
 -. we might reasonably suppose that the use 
 of an exclusively Jewish psalmody would tend to 
 such a result. We plead the Arianistn of the 
 lers of lister, as a significant illustration of 
 tin 1 fact that Psalm singing affords no security 
 against the enibracement and advocacy of un- 
 scriptural doctrines. 
 
 But we have not space to reply to the minor ob- 
 jections which have been urged against the cus- 
 tom of h\ inn-singing ; nor is it necessary to assail 
 the pigmies after having grappled with the giants. 
 
 We confidently abide at our stand-point, and 
 claim a complete vindication, on the ground that 
 no valid objection can be urged against the com- 
 posing and singing of hymns embodying the 
 doctrines of Christianity, this practice of the 
 Churches being eminently Scriptural. 
 
 The positive evidence that our hymns may 
 be founded upon any portion of God's word, 
 and especially upon the New Testament, is 
 abundant. It is said, "Let the word of Christ 
 dwell in you richly in all wisdom; teaching and 
 admonishing one another in psalms, hymns, and 
 spiritual songs, singing with grace in your hearts 
 to the Lord. 3 
 
 No language could possibly set this whole sub- 
 ject in a clearer light than is shed upon it by 
 
 • Col. iii. 16. 
 
270 THE SERVICE OF SONG. 
 
 these words of the Apostle. It is surprising to 
 see that the abortive attempt has been made to 
 evade its force by showing that the Apostle meant 
 only the Psalms, when he says : "Psalms, hymns 
 and spiritual songs." The idea is that in the 
 Book of Psalms, there are "psalms, hymns, and 
 spiritual songs," the peculiar characteristics of 
 each being slightly different. As it regards the 
 philological argument, it is enough for us to say 
 without going into details, that the Seceder inter- 
 pretation represents the Apostle as directing us to 
 sing psalms, psalms, and psalms ! or to make the 
 best of it, psalms, and psalms, and spiritual songs. 
 He who can receive such an interpretation, let him 
 receive it. We confess that we are curious to 
 know how the friends who differ from us ,ever 
 arrived at the certain knowledge that the Apostle 
 meant only the psalms, hymns, and spiritual 
 songs contained in the Book of Psalms, to the 
 exclusion of all other inspired songs, as well 
 as the songs and hymns of human composition. 
 If St. Paul meant simply the Psalms, it is mar- 
 velous that he should have commenced by exhort- 
 ing the Colossians thus : " Let the word of Christ 
 dwell in you richly." Can we suppose that the 
 phrase, "word of Christ," was the most apt ex- 
 pression which the Apostle could use to designate 
 the Psalms of David ? By " the word of Christ," 
 he must have meant the teachings of Christ and 
 the evangelists and apostles — the doctrines of 
 
THE SERVICE OF SONG. 271 
 
 salvation as revealed faintly in the Old Testament, 
 and vividly in the Now. Ir is incredible that the 
 Apostle intended to enjoin it upon as to have the 
 mind fixed upon the New Testament teachings — 
 to have the word of Christ dwelling in our hearts 
 richly — while at the same time we were forbidden 
 sing the words of Christ, and required to go 
 hack to the days and writings of David for words 
 to be used in song. Let it not be forgotten that 
 he puts in the word "spiritual" — "spiritual 
 songs " — as it would seem, for the express purpose 
 of guarding us against the error into which, as we 
 conceive, our anti-hymn brethren have fallen. If 
 we adopt their view, we must bravely surmount 
 all difficulties, and reach the conclusion that the 
 Apostle used all the words contained in the verse 
 under examination simply to teach us that it is 
 our duty to sing the Psalms exclusively. We 
 prefer to take the passage in its plain and obvious 
 meai dug. According to the acknowledged rules 
 of interpretation, it triumphantly sustains the 
 theory and practice of nearly all the denomina- 
 tions of Christians in the world. 
 
 AVe are directed to teach and admonish one 
 another in psalms, hymns, and- spiritual songs. 
 But what are we to teach? Of course, the lessons 
 embraced in our songs must be taken from the 
 But, from what pari \ From the 
 Book of Psalms alone I The Apostle gives us a 
 satisfactory answer. It is as follows : " All 
 
272 THE SERVICE OF SONG. 
 
 Scripture is given by inspiration of God, and is 
 profitable for doctrine, for reproof, for correction, 
 for instruction in righteousness." * These two 
 passages taken together give us a clear view of 
 the subject. This last one can not be understood 
 as referring to the Old Testament alone. Most 
 of the New Testament was extant at the time the 
 Apostle wrote this Epistle to Timothy, and even 
 those Books of the sacred canon which were not 
 then written were evidently included prospectively 
 in the term — "All Scripture." 
 
 In singing spiritual songs apart from the 
 Psalms, we are only following the example of 
 good old Simeon, Anna the prophetess, Mary the 
 mother of Jesus, and, doubtless, all the primitive 
 Christians. Yea, our course is vindicated by the 
 example of those whom St. John saw "in the 
 midst of the throne." They sang a new song — a 
 song that recognized and adored Christ as already 
 come, and as having finished His work and entered 
 into His glory. They cried — " Worthy is the Lamb 
 that was slainP\ Shall we refuse to sing this 
 song which is sung by " every creature in heaven ?" 
 This refusal is demanded by the system of psalm- 
 ody which we oppose. 
 
 The early Christians, no doubt, sang the Old 
 Testament Psalms, together with hymns and 
 spiritual songs suggested by the Scriptures of the 
 New Testament. Basil of the fourth century cites 
 
 "II Timothy iii. 16. tRev. vi. 12. 
 
THE SERVICE OF SONG. 273 
 
 a hymn which was then said to be very ancient. 
 It is translated by Dr. Pye Smith, as follows: 
 '•Jesus Christ— joyful light of the Holy! Glory 
 of the eternal, heavenly, holy, blessed Father! 
 Having now come to the setting of the sun— be- 
 holding the evening light, we praise the Father, 
 and the Son, and the Holy Spirit of God. Thou 
 art worthy to be praised of sacred voices, at all 
 seasons, O Son of God, Who givest life. Where- 
 fore the universe glorifieth Thee !" 
 
 There are other hymns extant equally ancient. 
 It was of such hymns that Clemens of Alexandria, 
 about A. D. 175, wrote as follows : " Gather to- 
 gether the children to praise the Leader of chil- 
 dren, the eternal Logos, the eternal Light, the 
 Fountain of mercy. Filled with the dew of the 
 Spirit, let us sing sincere praises, genuine hymns 
 to Christ our King." 
 
 At a later period, it is said of the martyr 
 Jerome that " as he went to execution he sang 
 the Apostles' creed and the hymns of the Church, 
 with a loud voice and a cheerful countenance. 
 He kneeled at the stake and prayed. Being then 
 bound, he raised his voice and sang a paschal 
 hymn, then much in vogue in the Church : 
 
 " ' Hail! happy day, and ever be adored, 
 
 When hell was conquered by great heaven's Lord.' " 
 
 The younger Pliny, who lived in the beginning 
 of the second century, having inquired into the 
 assemblies of the Christians in order to give an 
 
274 THE SERVICE OF SONG. 
 
 account of them to the Emperor Trajan, informs 
 him that he could learn nothing of their sacra- 
 ments, but that they assembled in the morning be- 
 fore daylight to sing a hymn to Christ, as to a god. 
 
 "The 'psalms, hymns, and spiritual songs' of 
 the Apostolic Churches, were an outguslring of 
 the new spirit of Christianity, which does not 
 seem to have restricted itself to the ancient songs 
 of the temple, or of the synagogue. Even the 
 miraculous endowments of the first Christian age 
 appear to have manifested one class of their phe- 
 nomena in the inspired improvisation of Psalms. 
 The earliest Christian historians agree in affirm- 
 ing, that the Christian communities of their times 
 employed in Divine worship, not only the Psalms 
 and other metrical passages of the Old Testament, 
 but also hymns, original to the age, and which 
 the religious character of the times demanded for 
 its own expression. Tertullian states, that each 
 participant in the ancient agapce, was invited at 
 the close of the feast to sing as he might prefer, 
 ' either from the Holy Scriptures, or from the dic- 
 tates of his own spirit, a song of adoration to 
 God.' " 
 
 Hymns and spiritual songs, as well as the 
 Psalms, were sung by the Waldenses, and other 
 Christian communities, during the eclipse of faith 
 which marked the medieval ages. We have seen 
 with what spirit and success hymns were com- 
 posed and sung by Luther and others during the 
 
Tin: skuvice of song. 275 
 
 great Reformation. Passing over a number of 
 
 anthers, we com-' down to the 'lays of Isaac Watts, 
 who was succeeded in the great work of hymn- 
 writing by Charles Wesley. 
 We review the history of the hymn-singing 
 
 Churches of the present day with grateful emo- 
 tions. Our Heavenly Father does not treat us as 
 if we were guilty of daring presumption ; but, by 
 causing His face to shine upon us, He is continu- 
 ally increasing our weight of obligation to Him, 
 and is, as it were, calling upon us to sing unto 
 Him "a new song." 
 
 AVe propose, now, to inquire more particularly 
 into the practice of the Seceders. Do they act on 
 their own principle ? That principle is thus enun- 
 ciated: "A correct and faithful version of the 
 whole Book of Psalms should be exclusively em- 
 ployed in the psalmody of the Church to the end 
 of time." Rous' version is regarded as being 
 "correct and faithful." A champion in the cause 
 of exclusive Psalmody tells us that this ver- 
 sion " was adopted upon the principle that it is a 
 faithful translation of the original text." Again, 
 he Bays, that "this version is not an explanation, 
 but a translation of the Psalms." It and the 
 se translation "are both to be regarded as the 
 word of God." 
 
 Hence, the anti-Seceders are charged with the 
 sin of "rejecting the Psalm-Book which God has 
 given, and preferring their own effusions." They 
 
276 
 
 THE SERVICE OF SONG. 
 
 are solemnly warned that the course which they 
 are pursuing " involves an impious rejection of the 
 Psalms which God has given to his Church, as 
 unfit to be sung, and the substitution of hymns 
 of man's composure." The position is, therefore, 
 strenuously advocated, that we have no authority 
 for singing anything but the pure word of God, 
 as contained in the Book of Psalms ;" "the in- 
 spired Psalm-Book ; " " a correct and faithful 
 translation;" "a literal translation." To sing 
 anything else is to expose ourselves to condemna- 
 tion for rejecting "God's Psalter." Let us judge 
 of the Psalmody of these brethren by their own 
 standard. It is easy to see that Rous has made 
 many and large additions to the inspired word 
 We turn to the one hundred and second Psalm. 
 
 PROSE TRANSLATION. 
 
 I am like a pelican in the wil- 
 derness. 
 
 I am like an owl of the desert. 
 
 ROUS' VERSION. 
 
 Like a pelican in the wilderness, 
 
 Forsaken I have been. 
 I like an owl in desert am, 
 
 That nightly there dcth moan. 
 Thy wrath and indignation 
 
 Did cause this gtief and pain. 
 
 Because of Thy indignation and 
 Thy wrath. 
 
 It will be seen that, in Rous' version, at least 
 one-half is " mere human composition." 
 Let us examine the one hundred and fifth psalm. 
 
 ROUS' VERSION. 
 
 The Lord Almighty, and His 
 strength, 
 
 With steadfast hearts seek ye : 
 His blessed and His gracious face. 
 
 Seek ye continually. 
 
 PROSE TRANSLATION. 
 
 Seek the Lord and His strength 
 seek His face evermore. 
 
THE SERVICE OF SONG. 
 
 277 
 
 Here, again, we see that fully one-half of the 
 psalm is made up by the words of Rous, and not 
 the words of inspiration. Many other examples 
 might be given to the same effect. 
 
 Sometimes we find much of the metrical version 
 composed of mere repetitions of the inspired sen- 
 timent, the ''human composition" constituting 
 most of the psalm. 
 
 An instance of this is found in the eighty -fourth 
 Psalm. 
 
 TROSE TRANSLATION. 
 How amiable are Thy taber- 
 nacles, O Lord of hosts. 
 
 ROUS' VERSION. 
 How lovely is Thy dwelling place, 
 
 O Lord of hosts, to me ; 
 The tabernacles of Thy gj'ace, 
 
 Haw pleasant, Lord, they be. 
 
 Many scores of these human explanations are 
 Rous' additional thoughts, employed to fill np 
 the stanza and make metre. Thus 
 
 I'ROSE TRANSLATION. 
 
 Be thankful unto Him and bless 
 His name. 
 
 PROSE TRANSLATION. 
 I thought on my ways. 
 I delayed not. 
 
 ROUS' VERSION. 
 
 Praise, laud and bless His name 
 
 always ; 
 For it is seemly so to do. 
 
 ROUS' VERSION. 
 I thought upon my former ways, 
 And did my life well try. 
 I did not stay, nor linger long, 
 As those that slothful are. 
 
 It is a surprising fact that those who are so 
 afraid of the work and words of man, have incor- 
 porated in their psalmody enough of this sort of 
 human composition to make seven psalms of the 
 
278 THE SERVICE OF SOTXG. 
 
 size of Psalm First, or twenty-four of the size of 
 the one Jiundred and seventeenth. 
 
 In addition to these larger interpolations, the 
 Rev. Wm. Annan, to whom we are mainly indebted 
 for these examples, has marked more than three 
 hundred smaller additions to the sacred text. 
 
 Rous has also, on the principle adopted by his 
 advocates, frequently made an unwarranted use 
 of the great and holy Name. The following is 
 an instance : 
 
 The spearmen's host, the multitude 
 
 Of bulls, which fiercely lool ; 
 Those calves which people have forth sent, 
 
 O Lord our God, rebuke, 
 Till every one submit himself 
 
 And silver pieces bring. 
 The people that delight in war 
 
 Disperse, O Cod and King. 
 
 Is that a "literal version" which so often intro- 
 duces the names ascribed to the Deity where there 
 is nothing to answer to these words in the original? 
 
 Again, " many scores of adjectives, and similar 
 qualifying terms, are thrown in, and put where 
 the Holy Spirit never put them ; . . . . these are 
 examples of mere poetical license — mere patch- 
 work — human inventions to save the credit of the 
 stanza, lest it should appear ' like the legs of the 
 lame.' " 
 
 The admirers of Rous' version contend for the 
 exact words of Scripture. They attach much 
 blame to Dr. Watts for, in some instances, chang- 
 
THE SERVICE OF SONG. 279 
 
 ing " God's order of thought, which is, doubtless, 
 
 the best for His Church." But how is it in their 
 
 ived version? A few specimens must suffice: 
 
 ROUS' VERSION. 
 
 All my iniquities blot out, 
 Thy face hide from my sins. 
 I will not fear what flesh can do, 
 My trust is in the Lord. 
 
 PROSE TRANSLATION. 
 
 Hide Thy face from my sins and 
 blot out all my iniquities. 
 
 In God have I put my trust; I 
 
 will not fear what man can do unto 
 
 If Dr. Watts is reprehensible, how will his ac- 
 cusers stand acquitted in the face of the forty or 
 fifty inversions of " God's order of thought" which 
 they endorse? 
 
 Our friends have also omitted certain portions 
 of the inspired Psalms. The twentieth verse of 
 the seventy-second Psalm has no place in Rous' 
 version. It reads thus : " The prayers of David the 
 son of Jesse are ended." They have also left out 
 most of the titles of the Psalms which are often 
 found so valuable in interpreting the meaning of 
 the writers. Dr. Alexander and T. Hartwell Home, 
 together with other learned commentators, concur 
 in the opinion that all the titles which are extant are 
 of undoubted canonical authority. Of these there 
 are one hundred and twenty-five, only ten of which 
 are in Rous' version. It appears, therefore, that 
 one hundred and fifteen inspired titles containing 
 matter enough to make fifteen psalms of the size 
 of Psalm First, have been rejected by those who 
 kle for the Psalms entire as the only Psalm- 
 Book. They have acknowledged the validity of 
 
280 THE SERVICE OF SONG. 
 
 these titles by versifying and singing ten of them 
 which, as it regards evidence of inspiration, occupy 
 precisely the same position as the remaining one 
 hundred and fifteen. Might we not as well reject 
 the titles to the Apostolic Epistles ? Who would 
 have thought that those who have left out of their 
 version a considerable portion of the Book of 
 Psalms are the very persons who charge the hymn- 
 singing public with " laying aside the Psalms as 
 useless?" 
 
 This brief examination makes it perfectly mani- 
 fest that Rous' version is not a literal transla- 
 tion of the Psalms. On the authority of the 
 General Assembly of the Church of Scotland, we 
 pronounce it to be only a paraphrase. In their 
 acts, from the year 1644, to the year 1650, " they 
 uniformly call Rous, not a version (or translation), 
 but only a 'paraphrase.' In these official decrees 
 we find such phraseology as, ' paraphrase of the 
 Psalms,' ' new paraphrase,' ' our own paraphrase, 
 etc., and, finally, approving and ordaining said 
 paraphrase.'" Why not, then, sing the para- 
 phrases of Wesley and Watts, which are often as 
 literal as those of Rous? 
 
 In conclusion upon this point, we may be allowed 
 to decline accepting the principle urged for our 
 adoption by our Seceder brethren, inasmuch as 
 they themselves repudiate it! They argue that 
 the Psalms entire, and the Psalms only, must be 
 sung in Divine worship, and yet they add to the 
 
t:;k BERVIOK of song. 281 
 
 Psalms enough of "human composition" to make 
 fourteen psalms equal to Psalm First; and they 
 reject enough of the inspired text of the Psalms 
 to make fifteen psalms equal to Psalm First. It 
 has been truthfully said that Rous' version bears 
 the same relation to a correct translation of the 
 Book of Psalms that a piece of silk with live hun- 
 dred patches of cotton cloth bears to a whole piece 
 of silk. The investigation of this much contro- 
 verted subject only confirms us in the belief that 
 the Churches are at liberty to adopt as their 
 psalmody such "psalms, hymns, and spiritual 
 songs" as are consonant with the Scriptures of 
 the Old and Xew Testament. 
 
282 THE SERVICE OF SONG. 
 
 CHAPTER II. 
 
 UNINSPIRED SACRED LYRICS. 
 
 Watts and Wesley — Opinion of John Wesley — Dr. Abel Stevens' 
 estimate of Charles Wesley — Hymns on Holiness — Life-long 
 Devotion of the Wesleys to Sacred Song — Reservoirs of Sacred 
 Poetry— Review of Songs for the Sanctuary — Merits of the 
 Hymn-book of M. E. Church, South—Singing Hymns of Praise 
 — Hymns and Songs too little Read and Studied — Brief 
 Sketches of Hymn Writers— Great Volume of Sacred Song not 
 yet Complete. 
 
 We have reason to be thankful that in almost 
 every age of the Christian Church, God has raised 
 up men eminentl}^ qualified to write songs for the 
 Sanctuary. Many of these sacred lyrics, as we 
 have seen, expressed the spiritual life of the 
 Church in the early morning of her history ; others 
 are cherished as the last earthly hallelujahs of the 
 martyrs ; and others still there are which will 
 long be recognized as the battle shouts of the 
 Reformation. But of all the uninspired compos- 
 ers of holy song, Watts and Wesley, by general 
 consent, stand pre-eminent. Watts has left us 
 many versions and imitations of Psalms and parts 
 of Psalms, besides many very excellent and popu- 
 lar hymns. Many of these are remarkable for 
 elegance and force of diction; for beauty and 
 
THK SERVICE OF SONG. 283 
 
 grandeur of conception, and for the pious spirit 
 by which they are pervaded. 
 
 Charles W life was a continuous out burst 
 
 of Bacred song. A recent discovery 1ms added 
 
 much to his well-merited fame as a Christian poet: 
 we allude to a free and admirable version of about 
 one hundred and twenty of the Psalms in manu- 
 script. This valuable production was evidently, at 
 one time, theproperty of Lady Huntingdon, but was 
 afterward buried in the archives of a college, from 
 whence it was disinterred and sold a few years ago. 
 lr providentially fell into the hands of Mr. Henry 
 Fish, and now constitutes the principal part of 
 the Wesleyan Psalter^ a most delightful volume, 
 recently issued from a Methodist Publishing 
 House in America. In the Introductory Essay 
 by Mr. Fish, it is said that "though Charles Wes- 
 ley has not always confined himself to the letter 
 of the Psalms which he versified, yet in every case, 
 he has embodied the spirit, and in many of them, 
 he has kept close to the sense of the original." 
 Mr. Fish says again: "He (Charles Wesley) has 
 sung in his own style — a style characterized by 
 sinooothness, and harmony, and pathos, and 
 power, and beauty, and occasionally by sublimity 
 and grandeur. There is nothing in the form of 
 poetry, within the compass of uninspired lan- 
 guage, to surpass in composition many of the 
 Psalms in this volume." 
 
 The "bard of Methodism" was a wonderfully 
 
284 THE SERVICE OF SONG. 
 
 voluminous writer. About four thousand six hun- 
 dred of his hymns have been printed, and about 
 two thousand still remain in manuscript. An 
 irrepressible fervor of soul — a deep, vivid, and 
 abiding religious experience — is the distinguish- 
 ing characteristic of his immortal lyrics, which 
 embody the great revival spirit which burned so 
 intensely in the hearts of the Wesleyan Reformers. 
 This crowning excellency in hymn-composition 
 has, doubtless, tended to detract from the renown 
 of Charles Wesley. The world's heart is natural- 
 ly cold; the world's mind is captivated by every 
 other species of beauty sooner than by the beau- 
 ties of holiness. The common intellect and the 
 common heart' are ever ready to stand off at a 
 distance and admire the attributes of the Deity, 
 or the love displayed in the Atonement ; but when 
 they are urged to draw nigh to God — when they 
 are entreated to let "the King of Glory come in," 
 they shrink from the contact, and seek more 
 congenial associations. Even those who bear 
 the name of Christ but too frequently lag so 
 far behind in their heavenward journey, as 
 almost to lose sight of the Savior. Hence, that 
 which is of a general or abstract character, is 
 more likely to elicit applause from the multitude 
 than that which makes a direct appeal to each 
 individual, bringing light and fire into the mind 
 and heart. In the long roll of eminent hymn- 
 writers, many honored names are to be found 
 
THE SERVICE OF SONG. 285 
 
 identified with the joyful verities of Christian ex- 
 perience; but peerless amongst these stands the 
 name of Charles Wesley — a name that will grow 
 dearer to the heart of the Church as ages roll 
 away. Just as the great community of believers 
 advance in true holiness, in the same ratio will 
 the fame of the "sweet singer" of modern times be 
 enhanced. 
 
 James Montgomery, himself a world-renowned 
 poet, thus speaks of Charles Wesley : "Christian 
 experience, from the deeps of affliction, through 
 all the gradations of doubt, fear, desire, faith, 
 hope, expectation, to the transports of perfect love, 
 in the very beams of "the beatific vision ; Chris- 
 tian experience furnishes him with everlasting and 
 inexhaustible themes; and it must be confessed 
 that he has celebrated them with an affluence of 
 diction, and a splendor of coloring, rarely sur- 
 passed. At the same time he has invested them 
 with a power of truth, and endeared them both to 
 the imagination and the affections, with a pathos 
 which makes feeling conviction, and leaves the 
 understanding little to do but to acquiesce in the 
 decisions of the heart." 
 
 Charles Wesley's Arminianism has also been 
 truthfully regarded as another draw back upon his 
 reputation as a sacred poet; but this objection 
 will ultimately pass away. Tin 1 violent contro- 
 versy on the "five points,'' which so long agi- 
 tated the Churches, has, in a measure, subsided. 
 
286 THE SERVICE OF SONG. 
 
 It will, of course, break out occasionally in differ- 
 ent localities, but a pacific spirit will, we think, 
 hereafter pervade the Church, as a whole. In fact, 
 present indications are hopefully prophetic. It 
 has already been discovered that the poet of 
 Methodism wrote, not as an ecclesiastical partisan, 
 but as an earnest Christian. The great founda- 
 tion doctrines of salvation which are breathed 
 forth in his hymns, are preached from Sabbath to 
 Sabbath in all the orthodox pulpits in the land ; 
 and his soul-stirring lyrics have been found to ac- 
 cord so well with the Scriptures, that they are 
 now used in other than Methodist Churches, much 
 more extensively than ever before. Again, we 
 predict for Charles Wesley a still more radiant 
 future than was promised him in the early dawn 
 of his fame. As that ardent, loving spirit which 
 absorbed his soul, advances to the mastery of 
 cold and inveterate prejudice, so will the proper 
 appreciation of the substantial merit of his hymns 
 be promoted. 
 
 Much has been said as to the relative claims of 
 Wesley and Watts. The present writer freely ad- 
 mits that he comes to the investigation with pre- 
 dilections in favor of Wesley. Perhaps the Chris- 
 tian world is not yet ready to unhesitatingly award 
 the palm of superiority to either of them ; nor 
 is it a matter of very special importance. 'Still, 
 the too prevalent disposition to slight the claims 
 of Wesley, evinced in many of the works on 
 
THE SERVICE OF SONG. 287 
 
 Hymnology which have appeared since his death, 
 makes us desirous to place him and his writings 
 in their true light. We give the following f r0 m 
 tin 1 pen of the Rev. Richard Watson, one of the 
 
 ablest of writers. It is proper, however, to remark 
 that the version of Psalms to which we have 
 alluded had not come to light when Mr. Watson 
 wrote. That production wonld certainly have in- 
 tensified his appreciation of the poetical abilities 
 of Charles Wesley. Mr. Watson says : "Watts 
 excels Mr. Charles Wesley only in the sweeter liow 
 of his numbers, and in the feeling and sympathy 
 of those hymns which are designed to administer 
 comfort to the afflicted. In composition, lie was 
 in all respects, decidedly his (Wesley's) inferior, 
 in good taste, classic elegance, uniformity, correct; 
 rhyming, and vigor. As to the theology of their 
 ective hymns, leaving particular doctrines out 
 of the question, the great truths of religious ex- 
 perience are also far more clearly and forcibly 
 embodied by Mr. Charles Wesley than by Dr. 
 Watts." 
 
 Mr. Watson also heartily endorsed the opinion 
 of John Wesley in regard to the hymns of Charles 
 Wesley then in use. John Wesley says: "In 
 these hymns there is no doggerel, no botches, 
 nothing put in to patch up the rhyme, no feeble 
 expletives Here is nothing turgid or bombastic 
 on the one hand, or low and creeping on the other. 
 Here are no cant expressions, no words without 
 
288 THE SEKVICE OF SONG. 
 
 meaning. Here are (allow me to say) "both the pur- 
 ity, the strength, and the elegance of the English 
 language ; and, at the same time, the utmost sim- 
 plicity and plainness, suited to every capacity." 
 One of the latest historians of Methodism,* an 
 accomplished writer and critic, remarks as fol- 
 lows : " The whole soul of Charles Wesley was 
 imbued with poetic genius. His thoughts seemed 
 to bask and revel in rhythm. The varieties of his 
 metres (said to be unequaled by any English 
 writer whatever,) shows how impulsive were his 
 poetic emotions, and how wonderful his facility 
 in their spontaneous utterance. In the Wesley an 
 Hymn Book alone, they amount to at least twenty- 
 six, and others are found in his other productions. 
 They march, at times, like lengthened processions 
 with solemn grandeur; they sweep at other times 
 like chariots of fire through the heavens ; they are 
 broken like the sobs of grief at the grave-side ; 
 play like the joyful affections of childhood at the 
 hearth, or shout like victors in the fray of the 
 battle-field. No man ever surpassed Charles 
 Wesley in the harmonies of language. To him 
 it was a diapason." Mr. Stevens adds: "More 
 than a quarter of a century since, the Methodist 
 hymns were sold at the rate of sixty thousand 
 volumes annually in England ; they have been 
 issued at an immensely larger rate in America. 
 Their triumphant melodies swell farther and far- 
 
 *Abel Stevens, LL.D. 
 
THE SERVICE OF SONG. 289 
 
 ther over the world every year, and their Influence, 
 moral and intellectual, is beyond all calculation." 
 
 In this connection, we oughl not to ignore the 
 fact that, as it regards hymns on holiness, diaries 
 Wesley confessedly stands "alone in his glory." 
 
 In the Hymn-Books of the various Methodist 
 Churches there are a number of excellent hymns 
 on this subject. Of these, a few are translations 
 from the German and French, by John Wesley, 
 the residue are from the pen of Charles Wesley, 
 an enduring monument, no less of his genius than 
 of his piety. In these soul-thrilling lyrics, his 
 heart evidently guided his pen. 
 
 A- corroborative of a previous remark, we may 
 stare, that some of these l^nins on holiness are 
 freely used in Divine worship outside of the pale 
 of Methodism. We make especial mention of the 
 one commencing — 
 
 " O for a heart to praise my God, 
 A heart from sin set free ! 
 A heart that always feels Thy blood, 
 So freely spilt for me!" 
 
 It has at last been ascertained that the Wesleys 
 were not enthusiasts ; that they did not teach the 
 doctrine of absolute, angelic, or Adamic perfection ; 
 but that they advocated in admirable prose, and 
 in inimitable poetry, the great Christian truth that 
 we are required to Love God with all the heart, and 
 our neighbor as ourselves. The world has as yet 
 found no page in Charles Wesley's poetry which 
 i- extravagant or onscriptural. 
 
 '9 
 
290 THE SERVICE OF SONG. 
 
 The devotion of the Wesleys to sacred song was 
 ardent and life-long. They published their first 
 Collection of Hymns in 1738, and their last Col- 
 lection in 1788 ; and during the intervening half 
 century, they issued upward of forty lyrical pub- 
 lications suited to private, social, and public wor- 
 ship — to adults and to children — and to every 
 grade of religious experience from the first striv- 
 ings of the Spirit, to the close of the believers 
 final conflict with sin and death, and his victorious 
 entrance upon the incorruptible inheritance. To 
 the delightful and invigorating exercise of praise, 
 they devoted the freshness of youth, the strength 
 of manhood, and the waning energies of old age. 
 And now, having reached the Eternal City of 
 Song, they lift up their voices sweetly, loudly, and 
 perpetually in praise to the Giver of " every good 
 and perfect gift." 
 
 The reservoirs of sacred poetry are numerous and 
 inexhaustible. There are extant about seventy 
 metrical versions of the entire Book of Psalms ; 
 and of partial versions, ranging from one to more 
 than one hundred Psalms, there are, in the English 
 language alone, about one hundred and forty. 
 Besides the Psalms, a large portion of the Holy 
 Scriptures was written in poetic style, and furnishes 
 fit themes for praise. We must also remember 
 that, of uninspired sacred poets, the two great com- 
 posers of whom we have made special mention are 
 only the chiefs ; the hymn-books of the Churches 
 
THE BERYIOE 01? SONG. 201 
 
 have been enriched with many very valuable con- 
 tributions from other writers ; nor is the Church of 
 God dependent for her songs upon the dead and 
 those now living. Should her sublunary history 
 be prolonged, worthy successors of those sacred 
 poets who have already written their names upon 
 the roll of immortality, will be raised up to cele- 
 brate the great doctrines and facts, and especially 
 the later and more triumphant achievements of 
 Christianity. 
 
 Critical notices of all the collections of psalms, 
 hymns, and songs now used by the Churches 
 would require several volumes; we must, there- 
 fore, leave the perusal of these sacred lyrics to the 
 intelligent reader. We are unwilling, however, to 
 close this chapter without again indicating how 
 ample and excellent is the supply in this depart- 
 ment. 
 
 There is upon our table a well-printed and sub- 
 stantially bound octavo volume of 503 pages, pub- 
 lished in the city of New York, entitled, " Songs 
 for the Sanctuary." It is a hymn and tune book 
 now used in many Presbyterian Churches, in Bap- 
 tist and Congregational Churches, and, to some 
 extent, by other denominations of Christians. The 
 work was compiled, nine or ten years ago, by the 
 Rev. Charles S. Robinson, D. D., now Pastor of 
 Memorial (Presbyterian; Church, in New York 
 City. 
 
 In the year 1872, a new edition was brought out, 
 
292 THE SERVICE OF SONG. 
 
 every page being made fresli and attractive by 
 entirely new electrotype plates. This book of 
 Songs for the Sanctuary has now reached a circu- 
 lation of 275,000 copies. 
 
 In its present form, it contains 1,343 hymns, 53 
 selections of psalms and other pieces for chanting, 
 and 27 doxologies ; in all 1,424, besides an Ap- 
 pendix of songs and tunes, Indexes, and a list of 
 authors of hymns. About two-thirds of the hymns 
 are set to music ; for the residue, it is expected 
 that those who lead in the music will exercise their 
 judgment in the selection of tunes. 
 
 The table of contents exhibits the following ar- 
 rangement of subjects, viz. : Public worship ; the 
 Scriptures ; God — being and attributes ; Jesus 
 Christ — advent, life and character, sufferings and 
 death, resurrection and ascension, adoration ; the 
 Holy Spirit ; the Way of Salvation — lost state of 
 man, atonement and pardon, invitations of the 
 Gospel, repentance and reception of Christ; the 
 Christian — conflict with sin — encouragements, love 
 for the Saviour, graces, fellowship, prayer, priv- 
 ileges, duties, afflictions ; the Church ; Death ; 
 Judgment ; Heaven ; Miscellaneous. With several 
 hymns on each division in this wide range of 
 topics, suitable words for song may always be 
 found. 
 
 As to the character of the hymns, the extensive 
 circulation of the book is a very significant indi- 
 cation of the wisdom of the author's selections. 
 
Tin: BERTH i: OF BONO. 293 
 
 There seems to be a due .admixture of old and new 
 pieces, and it has been the aim of the compiler to 
 give the bes( commonly received version of the 
 hymns, so that the singer's attention may not be 
 diverted from the sense by words to which lie is 
 unaccustomed. 
 
 As illustrative of the devotion of eminent poets 
 to sacred song, we may remark that the selections 
 in the work before us are taken from the writings 
 of 271 authors. There are, by Watts 201, C. 
 Wesley ??. Montgomery 63, Anne Steele 46, Dodd- 
 ridge 45, John Newton 37, J. Hastings 27, Kelly 
 24, and 904 by 263 other authors-. 
 
 From the foregoing it is easy to see who, in the 
 compiler's judgment, are the great composers. 
 Watts and Wesley stand at the head of the list, 
 the former being regarded as pre-eminent. 
 
 To accommodate all, there is the " Psalter 
 Edition," the u Chapel Edition,'' the edition with 
 hymns without the music, and the "Quartet and 
 Chorus Choir/ " 
 
 We may add that this volume of Songs for the 
 Sanctuary was received into public favor without 
 any official endorsement whatever, and will, we 
 are persuaded, tend greatly to the consummation 
 of the compiler's expressed desire, that all the 
 peoph* should "take unrestrained part in this por- 
 tion of Divine worship." 
 
 We are now prepared to consider the merits 
 of the Hymn-Book of the Methodist Episcopal 
 
294 THE SERVICE OF SONG. 
 
 Church, South, published at Nashville, Tenn. 
 The following historical facts* may not be un- 
 interesting : John Wesley was justly considered 
 by the fathers of Methodism, a master of meth- 
 od, as well as an excellent judge of what was 
 desirable and necessary for the edification of the 
 Church. When, therefore, they wanted a hymn- 
 book for the American Church, they prepared one 
 upon the model of Mr. Wesley' s large hymn-book, 
 first published in the year 1779. The one thus 
 prepared being too small, a second part was added, 
 drawn up substantially upon the same model as 
 the former. This double book was found inconve- 
 nient, and was, moreover, still essentially defec- 
 tive. The old book, that is, the one wdiich pre- 
 ceded the Hymn-Book now in use by the M. E. 
 Church, South, was then prepared ; and, as if the 
 compilers were afraid of innovation, the same gen- 
 eral plan was adopted ; and the defectiveness of 
 this book being felt, in the year 1836, a supple- 
 ment was added. Most of the hymns in this sup- 
 plement were taken from the supplement of the 
 British book ; but, unfortunately, the plan of that 
 supplement, and scores of its most desirable 
 hymns, were not adopted. 
 
 In the year 1847, the old book spoken of 
 was superseded by the new one. The first Gen- 
 eral Conference of this Church, held in the city 
 
 * Taken chiefly from an article in the Quar. Review of the M. E. 
 Church, South. 
 
THE SERVICE OF SONG. 295 
 
 of Petersburg, Virginia, in the year 1846, ap- 
 pointed a committee consisting of the Rev. 
 Thomas O. Summers, D. D., the Rev. W. M. 
 Wightman, D. D., the Rev. Whitefoord Smith, 
 D. 1)., the Rev. J. Hamilton, D. D., and the Rev. 
 A. B. Longstreet, D. D., to compile a hymn-book 
 wvo. A year's patient labor, the first named 
 being chief in the work, resulted in the production 
 of a book which has proved to be entirely satis- 
 factory to the Church, and is the more highly 
 prized the more it is used. 
 
 1. The excellence of the " Hymns" is seen in its 
 systematic arrangement and in its abundant va- 
 riety. The benefit of a simple and philosophical 
 disposal of the various parts of the work was expe- 
 rienced and highly appreciated before it had been 
 in use six months. Let the reader glance at the table 
 of contents, and he will Bee that every necessary sub- 
 ject is embraced, and that each has its proper place 
 in the volume. Part I., adapted to Public Worship, 
 comprises the Being and Perfections of God — Me- 
 diation of Christ— Offices of the Holy Ghost — In- 
 stitutions of Christianity — The Gospel Call — Peni- 
 tential Exercises — Christian Experience — Death 
 and the Future State — and Special Occasions. 
 Part IT.— Social Worship — embraces — ( lommnnion 
 of Saints and Prayer. Part TIL — Domestic Wor- 
 ship— includes— The Family and the Closet. The 
 book closes with Benedictions and Doxologies. 
 The volume constitutes a complete thesaurus of the 
 
296 THE SEKVICE OF SCNG. 
 
 choicest sacred lyrics. We can conceive of no 
 want in the department of praise, felt either by 
 congregations, families, or individnals, which may 
 not be supplied from the one thousand and sixty- 
 three hymns and doxologies of which the work is 
 composed. While it covers the entire field of the- 
 ology and Christian experience, it embraces no less 
 than thirty-seven varieties of metre. 
 
 2. We notice the literary and poetical excellence 
 of the hymns. On this point but little need be 
 added to the simple statement that the book is in- 
 debted to the sanctified genius of upwards of one 
 hundred pious lyrists. The following are the 
 names of some of the authors, with the number 
 of hymns composed by each : C. Wesley 542, 
 Watts 151, Doddridge 62, J. Wesley 37, Mont- 
 gomery 21, Newton 16, Cowper 11, Beddome 11, 
 Gibbons 9, Heber 7, A. Steele 8, S. Wesley, Jr., 
 7, Hart 6, Brady and Tate 6, Addison 5, Grant 5, 
 and 142 by eighty-five other authors. 
 
 It must be borne in mind, too, that only the 
 choice productions of these illustrious votaries of 
 song have been admitted. We may safely say 
 that, in procuring materials for this justly popular 
 Hymn-Book, the whole world of sacred poetry, 
 then extant, was laid under contribution. 
 
 3. The crowning excellency of the book is its 
 Orthodoxy and its Spirituality. The tenets which 
 it inculcates have been rigidly scrutinized, and no 
 heterodoxy has been discovered. The few stanzas 
 
THE BERVICE OF S< 207 
 
 which have been considered by some as of doubt- 
 ful signification, arc satisfactorily explained when 
 
 subjected to the ordinary rules of interpretation. 
 The Bishops in their preface remark: "This 
 Hyum-Book is truly Wesleyan, or rather Scrip- 
 tural in its sentiments, also in the prominence 
 given to those subjects which are of the greatest 
 importance in the Christian life." 
 
 Many of these hymns are marked by a spiritual 
 buoyancy — a holy joyfulness— that admirably fits 
 them for purposes of worship. Some of them, it 
 is true, are penitential and precatory, and it is well 
 for us sometimes to sing our prayers. We wor- 
 ship God by making, in faith, an hnmble, direct 
 appeal to Him as the Author of our being and the 
 Father of our mercies. 
 
 Some of the pieces in the book are of a didactic 
 cast ; but they are very far from being prosy homi- 
 lies. They first speak forcibly of the greatness 
 and goodness of God, and then call upon us, as 
 with a trumpet's voice, to rise up and render to 
 Him the thanks and the adoration which are justly 
 ffifl due. 
 
 But a large proportion of the hymns under review 
 are properly hymns of praise, precisely such as 
 ought to constitute at least three-fourths of our 
 songs in the house of the Lord. We have preach- 
 ing in the sermon, and prayer before and after it ; 
 therefore, if our hymns are mostly praying and 
 preaching hymns, a tiresome monotony in the 
 
298 THE SEEVICE OF SONG. 
 
 service is apt to be the result. Let an agreeable 
 variety, and at the same time a graceful and effec- 
 tive homogeneity, be imparted to the worship by 
 incorporating into it prayer, preaching, and praise, 
 in due proportions. 
 
 The Hymn-Book of which we speak is good ; let 
 it be judiciously used. On every occasion of 
 public and social worship, as a rule, would it not 
 be well for the minister to select at least two 
 hymns of praise? The Rev. Henry Allon says, 
 perhaps too emphatically: " Church-song is re- 
 stricted to the lyrical form of poetry, for this alone 
 can express the consentaneous emotion and wor- 
 ship of a congregation. It does not, therefore, 
 tolerate didactic poetry — hymns which are merely 
 disguised sermons, which expound doctrines, or 
 analyze feelings. It (Church-song) is the expres- 
 sion of feeling, not the description of it. A con- 
 gregation can not sing a creed or a homily. It 
 may not preach to God ; it can not preach to 
 itself." 
 
 For the purposes of worship, the preference is 
 certainly to be given to such hymns as 
 
 " All hail the power of Jesus' name — " 
 
 ** Come let us join our cheerful songs 
 With angels round the throne." 
 
 What we especially need in our Church-song, is 
 the eagle's wings upon which the pious soul may 
 
THE BEBVICE OF SONG. 
 
 soar Sun-ward. These we have in the book under 
 review pure, seraphic, sublime thoughts. We 
 might also ennmerate among the minor excel- 
 lencies of the llynin-Book, the copious index ; the 
 titles prefixed to all the hymns, aud the authors' 
 names which, having been ascertained with great 
 care, accompany their hymns respectively, only a 
 few pieces in the book being anonymous. 
 
 We present the various and excellent collections 
 of hymns and songs with which the Churches are 
 supplied, as a complete answer to the question, 
 " What should we sing?" We cannot look upon 
 them without regretting that they are so little 
 studied by those for whose especial benefit they 
 have been published. How many thousands of 
 intelligent church members have never jet given 
 their Hymn- Book a careful reading ! How many 
 ministers have contented themselves with using the 
 more familiar pieces, without exploring the invalu- 
 able treasures contained in the book which they 
 use, perhaps, daily ! It is a very interesting and 
 profitable exercise to carefully peruse volumes of 
 this kind, criticising every stanza, and marking 
 every hymn, as didactic, precatory, or as a hymn 
 of praise. In this way, many most beautiful 
 couplets and stanzas will, for the first time, attract 
 the reader's attention, and many admirable hymns 
 hitherto unused by him. will be discovered. This 
 highly entertaining exercise will prQve to li- 
 very beneficial in a spiritual point of view, and 
 
300 THE SERVICE OF SONG. 
 
 cannot fail to produce a vastly higher apprecia- 
 tion of the book than was previously felt. 
 
 Among other excellencies of the Hymn-Book 
 under review, we have mentioned the fact that the 
 authors' names, respectively, are prefixed to nearly 
 all the hymns. Many of these hymns, apart from 
 those composed by Watts and Wesley, are favorite 
 pieces which have been used by thousands of those 
 who now sing with the angels and the redeemed 
 in heaven. 
 
 A brief account of the writers of some of 
 them may not be unacceptable.* We begin with 
 the Rev. John Newton, who wrote — 
 
 "How tedious and tasteless the hours — " 
 "Approach my soul the mercy seat — " 
 "Amazing grace! how sweet the sound — " 
 "In evil long I took delight — " 
 "Though troubles assail and dangers affright — " 
 
 and eleven others in the Collection. 
 
 Mr. Newton was the son of respectable parents, 
 and received the rudiments of a classical educa- 
 tion. His father was a mariner, and the son also 
 went to sea. After a series of strange adventures 
 by sea and land, he was finally "impressed" and 
 carried on board of an English vessel of war, 
 which was about to sail for the East Indies. He 
 was promoted to the rank of midshipman, but his 
 conduct was extremely irregular. At length in a 
 fit of folly he deserted from the service ; but, being 
 
 * Condensed from "Methodist Hymnology," by D. Creamer, Esq. 
 
THE SERVICE OF SONG. 301 
 
 retaken, he was brought in chains to the vessel, 
 was publicly flogged, and expelled from the quar- 
 ter-deck. He finally entered into the service of an 
 English slave-dealer on the west coast of Africa. 
 This was in the year 1746. Here his degradation 
 and sufferings were extreme. He tells us that 
 while he was sick with a burning fever, he often 
 found it difficult to procure a draught of water ; 
 and that when his appetite returned, his hunger 
 was often appeased by the food which w r as secretly 
 brought to him by the slaves who were in chains, 
 from their own scanty supplies. He also suffered 
 greatly for want of clothes, and was sometimes 
 exposed to incessant rains, accompanied with 
 strong winds, for thirty or forty hours together, 
 without any shelter whatever. He sometimes 
 stood on the rocks and washed his clothes, and 
 then let them dry on his person while he slept. 
 And. worse than all, his heart, according to his 
 own confession, was darker than his outward con- 
 dition. 
 
 This is the same John Newton, who afterward 
 became the eminent minister and author, so well 
 known for his numerous "Letters" on religious 
 subjects, and the " Olney Hymns," which he wrote 
 in connection with Cowper, Newton being the 
 author of all of them with the exception of about 
 sixty. He was a poet of very humble order, but his 
 hymns are highly prized as the sincere effusions of 
 a Loving heart. 
 
302 THE SERVICE OF SONG. 
 
 The Rev. John Cennick is designated as the 
 author of 
 
 "Jesus my all, to heaven is gone," 
 "Children of the heavenly King." 
 
 • 
 
 In the year 1739, Mr. Cennick became acquainted 
 with Messrs. John and Charles Wesley, and was 
 appointed by the former his first teacher in Kings- 
 wood School. This appointment was probably 
 made on the recommendation of Mr. Whitefield, 
 whose example in preaching Calvinistic doctrines 
 was followed by Mr. Cennick. He left Kings- 
 wood, after which he joined Mr. Whitefield, and 
 became very popular for a time. Subsequently 
 he joined the Moravians, in connection with whom 
 he remained until his death, in the year 1775. 
 He is spoken of as possessing a sweet simplicity 
 of spirit, with ardent zeal in the cause of Christ, 
 and is considered the founder of the Moravian 
 Churches in Dublin and the north of Ireland. 
 His hymns are upward of eight hundred in num- 
 ber, and fill two thick volumes ; but the most of 
 them are mere doggerel. The two which we have 
 mentioned, however, are among the most popular 
 and useful of our hymns. 
 
 Mr. Cennick also wrote several volumes of 
 " Village Discourses," which still circulate among 
 the Calvinistic Dissenters in England. 
 
 " Come, Thou fount of every blessing," 
 
 lias been ascribed to the Rev. Robert Robinson, 
 
TIIK SERVICE OF song. 303 
 
 but its authorship is now attributed to Lady Hun- 
 tingdon, the pious, gifted, and distinguished 
 patroness of the Calvinistic Methodists in Great 
 Britain, in the time of the Wesley s and WhitefielcL 
 
 That old favorite hymn, 
 
 "On Jordan's stormy banks — " 
 
 and three others in the Collection, are said to 
 have been written by the Rev. Samuel Stennett, 
 D. D. He was a native of Exeter, England, and 
 was ordained to the pastoral office in the Baptist 
 Church in the year 175S, he being then thirty- one 
 years of age. After exercising himself in the 
 office of the ministry with great acceptability 
 and usefulness for thirty-seven years. Dr. Sten- 
 nett died in 1793, in his sixty-eighth year. In 
 the year 1824, his works, with an account of 
 his life and writings, were published in three 
 octavo volumes. His hymns, only thirty-four in 
 number, after those of Watts and Wesley, are 
 among the best in the English language. 
 
 We are indebted to the Rev. Joseph Hart for 
 the following : 
 
 "Come ye sinners, poor and needy — " 
 "Once more we come before our God — " 
 11 O, for a glance of Heavenly day — " 
 "That doleful night before His death—" 
 " Prayer is appointed to convey — " 
 "This, this is the God we adore." 
 
 Mr. Hart, late a minister of the Gospel in Lon- 
 
304 
 
 THE SERVICE OF SONG. 
 
 don, published in the year 1759, a volume of 
 " Hymns on Various Subjects, with The Author's 
 Experience." In his Preface, it is said — " The 
 following Hymns were composed partly from sev- 
 eral passages of Scripture laid on my heart, or 
 opened to my understanding, from time to time, 
 by the Spirit of God, or else hinted to me by 
 other Christians (of which latter there are indeed 
 very few): partly from impressions felt under 
 different frames of spirit at the times when they 
 
 were respectively written T. desire 
 
 wholly to submit them, with myself, to the all- 
 wise disposal of that God, the sweet, enlivening 
 influences of whose blessed Spirit I often felt 
 
 while they were composing."^ 
 
 Although Mr. Hart must be numbered among 
 the least of the poets, yet some of his Hymns 
 have become an imperishable inheritance to the 
 people of God. In doctrine he was Calvinistic. 
 
 Bishop Reginald Heber wrote — 
 
 " From Greenland's icy mountains," 
 
 " Brightest and best of the sons of the morning," 
 
 and six others of the " Hymns." 
 
 He was born in Yorkshire, England, in the 
 year 1783. While a student, he greatly dis- 
 tinguished himself by obtaining several prizes ; 
 soon after, which he was elected to a fellowship 
 in All Souls' College, when he visited Germany, 
 Russia, and the Crimea. For several years 
 
TlIK SK II VICE OF SONG. 305 
 
 after his return, he devoted himself zealously 
 to his duties as a parochial priest On the 
 death of Bishop Middleton, he accepted the See 
 
 of Calcutta, and subsequently made visitations 
 through various districts of his very extensive 
 diocese. Having arrived at Tirutchinopoli, in the 
 discharge of his Episcopal duties, April 1, 1820, 
 the next day, while bathing, he was seized with 
 an apoplectic lit, of which he died. Bishop Heber 
 /id to have been an excellent man, and a zeal- 
 ous advocate of the cause of Christ. 
 
 In the year 1827, a small volume of hymns 
 written by him was published, in relation to which, 
 it is said. " they breathe a devout spirit, recognize 
 the peculiar doctrines of Christianity, and, as 
 tical compositions, some of them possess con- 
 siderable beauty." The Bishop's best composition 
 in hymnic verse, and the one which has given him 
 the greatest reputation, is his well known " Mis- 
 sionary Hymn," of which we have made mention. 
 
 We must close these brief sketches with a few 
 remarks in regard to Bishop Ken, the author of 
 that excellent and oft-sung doxology — "Praise 
 God from whom all blessings flow." 
 
 Thomas Ken, some time Bishop of Bath and 
 
 Wells, was born in the year 1637, and died in the 
 
 year 1710. lie had the double honor of being <>ne 
 
 of the sewn prelal I to the Tower for pro- 
 
 Lng against the tyrannical usurpations of 
 
 spiritual authority by James II., and also of con- 
 20 
 
306 THE SERVICE OF SONG. 
 
 scientiously vacating his See rather than take the 
 oaths to William III., after having sworn alle- 
 giance to his predecessor. His poems are numer- 
 ous and of considerable merit, though he is now 
 generally known only by three — the Morning, 
 Evening, and Midnight Hymns, to each of which 
 is affixed the great Doxology to which we have 
 alluded. These were originally published in the 
 year 1697. 
 
 In reference to these hymns, Mr. Montgomery 
 remarks : " Had he endowed three hospitals, he 
 might have been less a benefactor to posterity. 
 There is exemplary plainness of speech, manly 
 vigor of thought, and consecration of heart, in 
 these pieces." 
 
 The following are the first lines of each of them : 
 
 "Awake, my soul, and with the sun" — 
 "All praise to Thee, my God, this night" — 
 "My God, I now from sleep awake." 
 
 We close these biographical sketches with de- 
 vout thanksgivings to our Heavenly Father for 
 the Bible — the grand text-book of sacred poetry, 
 and also for so many pious and gifted writers of 
 " psalms, hymns, and spiritual songs." 
 
 But the world's great volume of holy song is 
 not yet complete. " Who may presume to write 
 ' Finis ' upon any human form of prayer, or col- 
 lection of songs ? When Ambrose has brought his 
 contributions to worship-song, is Gregory to be 
 
THE SERVICE OF SONG. H07 
 
 forbidden? When Gregory has completed his 
 Hymnasium, is Luther to be interdicted '. When 
 Lather has filled the Churches of the Reformation 
 with sacred son-:, is Gerhard! to be declared con- 
 traband! When Sternhold and Hopkins have 
 presented their version of the Psalms, is Watts to 
 
 delivered over to c uncovenanted mercies?' 
 When Watts lias completed his wonderful canon 
 oi' psalms and hymns, are the contributions of 
 Wesley and Cowper, Montgomery and Keble to 
 
 iit into the Apocrypha ? Who will presume to 
 discriminate the inspiration? Blessed be the 
 Great Head of the Church, its hymnology lias 
 hitherto been a perennial inspiration of its spirit- 
 ual life. The great gift of sacred song has been 
 restricted to no age or nation : some great voice 
 has ever been heard attesting its endowment with 
 'the gift and faculty divine.' And it were as 
 foolish as it would be presumptuous to refuse its 
 later products. The ever varying and ever devel- 
 oping spiritual life of each generation will neces- 
 sarily adapt and create its' own hymnology; and 
 the presumption is, the inspiration of the later 
 Christian ages will be more precious than that 
 of the earlier. The ever enriching thought — the 
 ever enlarging experience — the ever deepening 
 sanctity of the Church, will produce a richer, 
 nobler song." * 
 
 •Alton. 
 
308 THE SERVICE OF SONG. 
 
 SECTION IV.— WHY SHOULD WE SING? 
 
 CHAPTER I. 
 
 WE SHOULD PEAISE GOD FOB WHAT HE IS IN 
 HIMSELF AND FOB WHAT HE IS TO US. 
 
 What constitutes the Glory of God? — The work of Creation proves 
 God to be Omnipotent — His power as great in the Moral as in 
 the Natural World — The Wisdom of God commensurate with 
 His Power — God is Love — The Mercy of God the most at- 
 tractive form of His Goodness — We are overwhelmed with 
 emotion when wc consider what God is to us. 
 
 The question — Why should we sing ? — is one of 
 fundamental importance, and hence, although it 
 has been, in effect, answered in the preceding 
 chapters, yet it deserves a more explicit notice ; 
 and, for its further consideration, may the Holy 
 Spirit suitably impress our hearts. 
 
 We should praise God for what He is in Himself. 
 When we undertake to contemplate the Divine 
 character, we find ourselves overwhelmed with 
 the grandeur of the theme, and all we can hope to 
 do is to grasp and realize as far as we may those 
 simple and yet sublime revelations of the nature 
 of the Deity which have been graciously made 
 to us. 
 

 THE SERVICE OF SONG. . 309 
 
 Infinite Power, infinite Wisdom, and infinite 
 Goodness, constitute the glory of God. 
 
 First, we have the attribute of Power. The 
 God in whom we trust must be " mighty and able 
 to save." If we are to look to Him for the pardon 
 of sin ; for spiritual regeneration ; for daily bread, 
 both for the soul and the body ; for protection from 
 danger; for support and comfort amid our trials 
 and sorrows ; for victory over the last enemy ; for 
 deliverance from the dominion of the grave, and 
 for " life and immortality;" — then we must be 
 a-snred that the Arm upon which we lean is 
 Omnipotent and Eternal. With this conviction 
 we turn to the Scriptures, and the first sentence 
 on the first page satisfies our anxious minds. 
 " In the beginning God created the heaven and 
 the earth." If He created all things, He must 
 have existed before all things. He is, therefore, 
 self-existent, and independent of all created things. 
 Then, we will not fear " though the earth.be re- 
 moved, and though the mountains be carried into 
 the midst of the sea." 
 
 The fact that the work of creation is ascribed 
 to God, is conclusive evidence of His Omnipo- 
 tence. By the ability which He gives us, we can 
 change the form or the color of matter, but no 
 man — no angel — can create the smallest mote 
 which floats in the evening Bunlight, or the Impal- 
 pable particles of dust which rise up from beneath 
 our feet. All the boasted divinities of the heathen 
 
310 . THE SERVICE OF SONG. 
 
 are utterly mute, sightless, and inanimate, but 
 "our God made the heavens." He created the 
 earth and all the other planets, and commissioned 
 them for their interminable journey around the 
 magnificent centre of the system. He sprinkled 
 the heavens with suns — peopled immensity with 
 countless millions of ponderous and radiant worlds, 
 and forever upholds them by the word of His pow- 
 er. And this is but His handiwork — the work of 
 His fingers. 
 
 In the moral world His power is equally great. 
 He has already triumphed gloriously over death 
 and hell, and has borne millions of the ransomed 
 to the heaven of heavens. 
 
 The power of God remains unimpaired by the 
 lapse of ages. From eternity to eternity; He con- 
 tinues ever the same, "without variableness or 
 shadow of turning." 
 
 Amid the revolutions and decay which mark 
 the annals of time, He still sits, supreme on His 
 throne — the "King of kings, and Lord of lords;" 
 and is, for aught we know to the contrary, con- 
 tinually calling into being new worlds, that they 
 may everlastingly roll and shine to His praise. 
 
 The final conflagration, while it will overwhelm 
 the ungodly with dismay, will only serve to thrill 
 the believer's heart with higher joy than he ex- 
 perienced during the succession of summer and 
 winter, seed-time and harvest, and day and night. 
 He looks out upon the sea of flame as it rolls its 
 
ill i : SERVICE ov SONG. 311 
 
 towering billows from pole to pole, and regards 
 the grand catastrophe as a stupendous display of 
 the Divine Omnipotence— the prompt and consol- 
 ing fulfilment of prophecy. As be gazes upon the 
 scene, he exclaims: "Thou, Lord, in the begin- 
 ning hast laid the foundation of the earth, and 
 the heavens are the work of Thy hands. They 
 shall perish, but Thou remainest ; and they all 
 shall wax old as dotli a garment; and as a vest- 
 ure shah Thou fold them up, and they shall be 
 changed: but Thou art the same, and Thy years 
 shall not fail." 
 
 "Hope, undismayed, shall o'er the ruins smile, 
 And light her torch at nature's funeral pile." 
 
 We arc 1 further taught in the Scriptures that the 
 AVisdom of God is commensurate with His Power. 
 The doctrine of Omniscience is also closely allied 
 to that of Omnipresence. When we reflect upon 
 our own ignorance, and when we consider that 
 there are mysteries which angels cannot solve, 
 then it is that the idea of infinite wisdom becomes 
 truly grand. Of course our conceptions of that 
 which is infinite must be imperfect, and yet it is 
 our privilege and our duty to contemplate this 
 attribute of the Deity with awe and delight. The 
 wisdom of God surveys the eternity that is past; 
 at the present time, it surrounds and penetrates 
 all matter, searches all hearts, fills immensity; 
 and with unerring certainty,' travels over the 
 limitless future. There is no song in heaven 
 
312 THE SERVICE OF SONG. 
 
 which the all-wise God does not hear ; no trans- 
 action on earth which He does not witness ; no 
 pang endured by the lost in hell of which He is 
 not cognizant. Well may the Psalmist exclaim : 
 " Whither shall I go from Thy Spirit ? or whither 
 shall I flee from Thy presence ?" God is with the 
 multitude in the city ; with the cottager on the 
 mountain-side ; with the pilgrim as he pursues his 
 lonely march through the desert; with the mari- 
 ner in mid-ocean, and with the exile on his deso- 
 late island. 
 
 In death, our spirits return to that God who 
 gave them, and the mortal part is watched and 
 guarded until the time comes for its everlasting 
 reunion with the soul. Our Omniscient Creator 
 and righteous Lord will ultimately "bring every 
 work into judgment, with every secret thing, 
 whether it be good, or whether it be evil." 
 
 How surpassingly excellent and wonderful is 
 the wisdom of God ! 
 
 But the combination of wisdom and power is 
 only calculated to excite alarm, unless evidence be 
 given that these attributes will operate for us, and 
 not against us. No enemy is so much to be dread- 
 ed as the one who confronts us with far-seeing 
 sagacity and unlimited ability. Contemplating 
 the Divine character, therefore, we anxiously 
 ask — is God kindly disposed toward us? or is 
 He our implacable and invincible foe ? We turn 
 to the Record, and there we read that — God is 
 
THE SERVICE OF SONG. 313 
 
 Love. The goodness of God is prominently 
 forth on almost every page of the Scriptures. The 
 Psalmist, addressing the Deity, says, beautifully, 
 forcibly, and comprehensively — "Thou art good, 
 and Thou d< 1." God is good in principle, 
 
 and good in action. As it regards His nature, He 
 aphatically the gracious one. As it regards 
 His dealings with His creatures, He is the all- 
 bo UXTIFUL POUREB FORTH OF ALL GOOD. He is 
 
 the grand source whence all goodness flows, 
 
 whether it be found on earth or in heaven. Good 
 
 c good men are so only because they have 
 
 d brought into association with the God of 
 
 goodness. 
 
 Jehovah, it is true, is just; but He is not tyran- 
 nical. Before His wrath smites, His love wooes. 
 He inflicts vengeance, but only upon those who 
 have rebelliously trampled upon His goodness. 
 How shall we compute or measure the exuberant, 
 unparalleled, unspeakable wealth of the Divine 
 love ( \Ve Burvey as far as we can the innumera- 
 ble rivers of beneficence which flow out from this 
 grand, exhaustless Reservoir, and, overwhelmed 
 with wonder and gratitude, we exclaim: 
 
 " Its streams the whole creation reach!" 
 
 The Mercy of God is certainly to us the most 
 enchanting form of His goodness — the most gra- 
 cious display of His love. The history of the 
 —their holiness and happiness — is in I 
 
314 
 
 THE SERVICE OP SONG, 
 
 a shining record of the goodness of God. The 
 story of man's stay in Eden has His unutterable 
 love both for its warp and woof. But we are 
 overwhelmed with pleasing astonishment when 
 we call to mind the fall of man, and the fact 
 that He has devised means whereby His banished 
 ones are brought back to His loving embrace. 
 
 If it were possible for us to get beyond the 
 domain of the King Eternal ; if we could forget 
 that He is the Author of our being and the Father 
 of our mercies ; if from our remote stand-point 
 we could view the character and works of Jeho- 
 vah as disinterested spectators, even then we 
 should be filled with awe and wonder at the con- 
 templation of a spectacle so august and glorious. 
 We should be excited, attracted — sweetly and 
 powerfully drawn toward this embodiment of 
 unlimited power and goodness, directed by infinite 
 wisdom. Bat if this would be the effect of a 
 distant, and merely abstract view of the Deity, 
 what must be the emotions of the soul when, un- 
 der the influence of the Spirit, we sing — 
 
 "This awful God is ours, 
 
 Our Father and our Love ; 
 He will send down His heavenly powers, 
 To carry us above !" 
 
 O, how expressive of condescending regard is 
 that word Mercy! Literally — the pain of His 
 heart. We read of His tk tender mercies," and of 
 " the riches of His goodness." 
 
THE SERVICE OF SONG. 315 
 
 In Creation we see the Hand of God ; in Re- 
 demption, we see His heart 
 
 11 Here the whole Deity is known, 
 
 Nor dares a creature guess 
 Which of the glories brighter shone, 
 The justice or the grace." 
 
 " Now the full glories of the Lamb 
 Adorn the heavenly plains : 
 Bright seraphs learn Immanuel's name, 
 And try their choicest strains." 
 
 In this matter of love, God must forever stand 
 pre-eminent. " Greater love hath no man 
 than this, that a man lay down his life for his 
 friends." The patriot may fall in defense of his 
 loved ones, and the u green graves of his sires;" 
 the mother, traveling over the snows of Russia, 
 may cast herself to the ravenous beasts who are 
 in pursuit, that while they are devouring her, the 
 children, who are dearer to her than life itself, 
 may escape ; but " God commendeth His love to- 
 ward us in that while we were yet sinners, Christ 
 died for us." 
 
 " O, Lamb of God, was ever pain, 
 Was ever love like Thine." 
 
 Human nature " sunk in shame," is to be digni- 
 fied — glorified. So far as we can determine, no 
 angel in heaven has so much cause to thank and 
 praise God as have ransomed sinners. Christ 
 was not ashamed to call us brethren — to take upon 
 Himself our nature — and in the union of the human 
 with the Divine nature, to ascend to Heaven and 
 
316 
 
 THE SEKVICE OF SONG. 
 
 take His seat at the right hand of the Father. In 
 His triumphant resurrection and ascension, and 
 admittance into glory everlasting, He is "our 
 forerunner." 
 
 " Up to the Lord our flesh shall fly 
 At the great rising day." 
 
 It is thought by many that the faithful will not 
 only be " equal to the angels," but oar nature 
 having been united to the Divine, and God having 
 made for us an infinite sacrifice, we shall stand 
 nearest the throne, and, as St. John seems to set 
 forth, will be leaders in the song of Redemption. 
 
 He withholds " no good thing " from His obedi- 
 ent children. For them the sun shines — the rain 
 falls — the flowers bloom — the earth brings forth 
 its fruits. God has given them life, and health, 
 and friends, and a safe abode. He has not only 
 bought them with a price ; but He has released 
 them from the guilt and power of sin, and has 
 adopted them into His own family. Not only 
 does Christ reign in their hearts, but they are 
 heirs apparent to thrones and crowns of enduring 
 stability and glory. 
 
 Let the child of God review his past life ; 
 let him at the same time look into his own heart, 
 and he will find abundant reason for praise. How 
 often has God delivered him from temptation — 
 soothed him in sickness— solaced him in seasons 
 of bereavement — guided and sustained him in the 
 midst of perplexity and disappointment, and given 
 
THE SERVICE OF SONG. 317 
 
 him the victory over Ma spritual foesl Whence 
 that sense of security which he continually feels — 
 that unutterable peace and joy, — that hope full of 
 immortality I 
 
 Let the believer, in imagination, bring near the 
 final triumph of faith over sin and sorrow ; death 
 
 and the grave ; the celestial gates 
 
 "On golden hinges turning," 
 
 to admit the way-worn traveler to Zion, and the 
 ineffable and endless joys consequent upon his 
 " abundant entrance" into that city whose temple 
 is the Lord God and the Lamb. Let him survey 
 the awful depths of that hell which he has escaped 
 and the delectable mountains, gilded with the 
 golden light of an eternal day, on whose summits 
 lie may stand in glory and peace, and let him re- 
 member that this "great salvation" is through the 
 unspeakable love of our Heavenly Father for His 
 I lions children — and will he be at a loss for 
 an answer to the question — Why should we sing? 
 
 To all these inestimable blessings, present and 
 prospective, the heart and tongue should respond 
 in accents of adoring love. A holy rapture should 
 possess the soul; thanksgivings burning with in- 
 tensest fervor should constantly ascend to Him 
 who has so graciously visited us. 
 
 When we essay to praise a God so glorious in 
 Himself, and s<> unceasing and bountiful in His 
 benefactions to us, His unworthy creatures, cold- 
 
318 THE SERVICE OF SONG. 
 
 ness and dullness can be nothing less than an 
 abomination in His sight. Our zeal should " no 
 languor know." Faith should bind us to the 
 Cross ; Love should set the soul on fire, and angel- 
 winged Hope should waft us onward to the trans- 
 porting scenes of the radiant future. 
 
THE SERVICE OF SONG. 319 
 
 CHAPTER II. 
 
 TIIE POWER OF SONG. 
 
 It banishes the evil Spirit from Saul — Tyrtaeus — What Terpancler 
 did with the Spartans — Alexander — Amabeus, the Harper — 
 The Abyssinian Trumpet — William the Conquerer — Effect of 
 Music on Murad IV. — Music at the battle of Quebec in 1760 — 
 Haydn moved to tears — The Theatre — The Starving Lion 
 Charmed — The Singing of Cookman — Singing by Soldiers in 
 Mexico — Effect of a Song on an Actress — Song at Camp- 
 meeting The Grey-headed Gambler The Nobleman's 
 
 Daughter — Reasons why we should Sing — "Sing Praises to 
 God! Sing Praises!" 
 
 Being persuaded that the general estimate of 
 the power of song is very far below the reality, 
 we would, if possible, contribute something 
 toward elevating the popular appreciation to the 
 proper standard. With this view, we call atten- 
 tion to some of the effects which music has pro- 
 duced. 
 
 Let us turn to the following brief, but beautiful 
 and wonderful narrative : " It came to. pass, when 
 the evil spirit from God was upon Saul, that David 
 took a harp, and played with his hand: so Saul 
 was refreshed, and was well, and the evil spirit 
 departed from him." 
 
 Here is a fact to be believed, whether we can 
 solve the mystery or not. The music from David's 
 
320 THE SERVICE OF SONG. 
 
 harp fell upon the ear of the unhappy monarch 
 
 " With power the pulse of anguish to restrain, 
 And charm the evil spirit from the brain." 
 
 When the prophet Elisha was called upon by 
 King Jehoshaphat to prophesy in regard to the 
 contemplated battle, his mind was so troubled by 
 the improper conduct of the young men at Bethel, 
 and their dreadful end, that he was disqualified 
 for the work. Hence, he said : " Now bring me a 
 minstrel. And it came to pass, when the minstrel 
 played, that the hand of the Lord came upon him." 
 
 Pythagoras* thought that the practice of music 
 would correct morals, and cure all the diseases of 
 the soul. 
 
 Of the honor in which minstrels were held, 
 many instances occur in Ossian. They were am- 
 bassadors between contending chiefs, and their 
 profession was held sacred. They and the Druids, 
 who were the philosophers and priests of those 
 times, whose interests were consolidated, were ex- 
 empted from taxes and military service ; and so 
 great was the veneration which the princes enter- 
 tained for their party, and so highly were they 
 delighted with their strains, that they sometimes 
 pardoned even capital offenses for a song. 
 
 The celebrated Tyrtaeus was not only a warrior, 
 but also a poet and a musician. The Spartans 
 paid him the highest honors ; and the soldiers, 
 before going on a military expedition, were sum- 
 
 * Many of these items are taken from Hirst, Hogarth, and Gould. 
 
THE SERVICE OF SONG. 321 
 
 moned to the king's tent to listen to his warlike 
 Bong 
 
 Thucydides says that when the Lacedemonians 
 went into battle, it was the practice to play soft 
 music for the purpose of preventing their courage 
 from becoming too impetuous; but that, on one 
 occasion, when the day was going against them, 
 Tyrtaeus, who was acting the part of a musician, 
 quitted the soft Lydian mode, and began to play 
 in the Phrygian style, which so re-animated the 
 retiring troops, that they returned to the charge 
 and gained the victory. 
 
 Plutarch relates that Terpander, by means of 
 his music, appeased a violent sedition among the 
 Spartans, and that Solon, merely by singing a 
 poem of his own composition persuaded the Athe- 
 nians to renew an unsuccessful war which they 
 had given up in despair. 
 
 Plutarch also mentions that when the celebrated 
 flute-player. Antigenides, played a martial air be- 
 fore Alexander, that monarch became so inflamed 
 that he sprang from the table and seized his arms. 
 
 Amabaeus, the harper, whenever he sang on the 
 stage, was paid for his performance an amount 
 nearly equal to a thousand dollars, Federal money. 
 
 Mr. Bruce states that the Abyssinian trumpet 
 is played slowly when no enemy appears in sight ; 
 but when the enemy is near, it is sounded very 
 quickly, and with great violence, and has the effect 
 of transporting the soldiers with absolute fury 
 
322 THE SERVICE OF SONG. 
 
 and madness, making them so regardless of life 
 as to throw themselves with gallantry into the 
 very midst of the enemy. The same effect is said 
 to be produced by the bagpipe upon the Scottish 
 Highlanders. 
 
 When William fought the desperate battle of 
 Hastings, by which he obtained the title of Con- 
 queror, he was accompanied by minstrels. 
 
 Luther says : " The devil specially hates good 
 music, because thereby men are made joyful. . . . 
 Music is the best soother of a troubled man where- 
 by his heart is again quickened, refreshed, and 
 made contented. It gives a quiet and joyful mind. 
 My affection overflows and gushes out toward it, 
 so often has it refreshed me, and relieved me from 
 great sorrows." 
 
 He says to a friend who was afflicted with 
 melancholy : " If the devil comes again and puts 
 gloomy thoughts and cares into your head, say, 
 'Out, devil! I must now sing and pray to my 
 Lord Christ ! ' then run to your organ, or call in 
 your good friends, and sing a tune or two till you 
 learn to defy the devil." 
 
 On another occasion he remarked : " Our sing- 
 ing distresses the devil, and hurts his feelings 
 amazingly ; but our impotence, and complaining, 
 and groaning, please him mightily, and make him 
 laugh in his sleeve." 
 
 The barbarous conqueror's heart is not proof 
 against the softening power of music. When 
 
THE SERVICE OF SONG. 323 
 
 Murad IV. had taken Bagdad By assault, in the 
 year L637, he ordered a general massacre of the 
 
 inhabitants. One Persian alone dared to raise 
 his voice: he demanded to be conducted to the 
 Emperor, as having something of importance to 
 
 communicate before lie died. Having prostrated 
 himself at the feet of Murad, Scakculi — for that 
 was the Persian's name — cried, with his face to 
 the earth, " Destroy not, O Sultan, with me, an 
 art of more value than the whole empire ; listen 
 to my songs, and then thou shalt command my 
 death.'' Murad consented. Scakculi drew from 
 under his robe a little harp, and poured forth, ex- 
 tempore, a sort of romance on the ruins of Bagdad. 
 The stern Murad, in spite of the shame which a 
 Turk feels in betraying the least emotion, was 
 melted into tears, and commanded the massacre 
 to be stopped. 
 
 At the battle of Quebec, in the year 1760, while 
 the British troops were retreating in great disor- 
 der, the pipers played a martial air; the retiring 
 soldiers heard, and returned to their posts with 
 alacrity and courage. 
 
 The character of the Peruvian Indians is un- 
 commonly sombre at the present time, perhaps in 
 consequence of the wrongs which they have suf- 
 fered ; but, on hearing the notes of the jaina, an 
 instrument of very > i 1 1 1 } > 1 « - construction made of a 
 large reed, the wildest horde, in the midst of up- 
 roar and debauchery, are instantly subdued into 
 
324 THE SERVICE OF SONG. 
 
 silence. Tears will steal into the eye, and the 
 sobs of the women are the only sounds that dis- 
 turb the almost unearthly music. 
 
 The vigorous poetry and music of the Marseilles 
 Hymn, acting, on minds already excited by the 
 events of a momentous crisis, aroused the popula- 
 tion of France to an enthusiasm which rose to 
 phrensy. Such is the influence of national airs 
 set to strong and stirring words. 
 
 Insanity, it is said, has often been cured by the 
 soothing strains of music. 
 
 "When Haydn heard a psalm sung in unison 
 by four thousand children, in St. Paul's Cathedral, 
 London, he was moved to tears. 
 
 It is supposed that one-half of those who fre- 
 quent the theatre are attracted thither by the 
 music. 
 
 In England, the power of music was tried upon 
 a lion with most surprising effect. The animal, 
 having been reduced to a state of starvation, food 
 was placed before him. Just as he commenced 
 eating, the wooing voice of music was made to 
 salute his ears. The voracious starveling instantly 
 dropped the delicious morsel to listen. The mu- 
 sic ceased, and again the lion proceeded to tear 
 the meat with that terrific energy which hunger im- 
 parts. But the rush of soothing sounds invariably 
 produced forgetfnlness of the tempting meal, the 
 experiment being repeatedly tried with the same 
 

 THE SERVICE OF SONG. 8*25 
 
 result Even the Bkeleton king of the forest is 
 captivated by music's charms. 
 
 The late Rev. Joseph Slatterie, of Chatham, 
 England, was once walking in that town, when 
 his attention ->wis arrested by a youthful voice 
 singing, 
 
 11 The sorrows of the mind 
 
 Be banished from the place; 
 Religion never was designed 
 To make our pleasures less." 
 
 Pleased alike with the sweetness of the voice, 
 and the cheerful tones in which the stanza was 
 sung, our friend looked around to see whence the 
 sinning proceeded; but for some time he looked 
 In vain. At length he saw a little sweep with his 
 head popping out of a chimney, and waving, with 
 it of triumph, his brush over his head. O, 
 Baid tin 1 venerable minister, it made me weep in 
 gratitude to think how singing the praises of God 
 contributes to make even a poor chimney-sweep 
 happy I 
 
 A minister in America, who was a stranger to the 
 congregation, was, on a certain occasion, called to 
 officiate in a cold and dreary Church. When he 
 entered it, the wind howled, and loose clapboards 
 and window-shutters clattered. The pulpit stood 
 high above the first floor; there waa no stove, but 
 i in the Church, and they beating their 
 
326 THE SERVICE OF SONG. 
 
 hands and feet to keep them from freezing. He 
 asked himself: "Can I preach ? Of what use can 
 it be ? What shall I do ? If I read a hymn, can 
 these two or three in the gallery sing ?" He con- 
 cluded to make the trial, and read, 
 
 "Jesus, lover of my soul,"*— 
 
 " They commenced," says the preacher, " and the 
 sound of a single female voice has followed me 
 with an indescribably pleasing sensation ever 
 since, and probably will while I live. The voice, 
 intonation, articulation, and expression seemed to 
 be perfect. I was warmed inside and out, and 
 for the time was lost in rapture." The minister 
 preached with unusual freedom and success, and 
 learned never to be discouraged by unfavorable 
 appearances. 
 
 The late lamented Cookman, who perished in 
 the steamship President, is said to have been a 
 most excellent singer. A writer says : " There 
 was no place for a choir where Cookman sang. 
 His voice was melody itself. The session of Con- 
 gress was about to close upon the administration 
 of Mr. Van Buren. Mr. Cookman had all his 
 arrangements made to visit England, on the 
 steamer President. The next Sabbath he was to 
 take leave of the members of Congress in his fare- 
 well sermon. The day came. An hour before the 
 usual time, the crowd was seen filling the pave- 
 ments of the avenue, and pressing up the hill to 
 
THK SERVICE OF SONG. 327 
 
 Representative Hall, which was soon filled to over- 
 flowing. Unable to get seats, many went away 
 disappointed. The whole space on the rostrum 
 and steps was filled with Senators and Representa- 
 tives. The moment had come. Mr. Cookman, 
 evidently much affected, kneeled in a thrilling 
 prayer, and rose with his eyes blinded with tears. 
 His voice faltered with suppressed emotion as he 
 gave out the hymn : 
 
 " 'When marshaled on the nightly plain.' 
 
 "It was sung by Mr. Cookman alone. I can 
 yet, in imagination, hear his voice as it filled 
 the large hall, and as the last sounds, with their 
 echoes, died away in the dome." 
 
 One who went through the Mexican campaign 
 says : " While stopping at the town of Matamoras, 
 a number of our soldiers, as was their custom, met 
 together to spend their time in rude and noisy 
 revelry. Amid these social gatherings, the sound 
 of vocal and instrumental music was always heard. 
 Indeed, the majority of our men were excellent 
 singers ; and, as they came from various parts of 
 the Union, the favorite airs of each section were 
 soon made familiar. Although they gene*ally 
 preferred Bach as were of a light and trilling 
 .still they often Bang the tunes most popu- 
 lar with the different Churches. Tin.- pen 
 to whom we have alluded had been assembled 
 
328 THE SERVICE OF SONG. 
 
 for some time ; the wine was flowing freely, 
 and their hilarity steadily increased ; everything 
 seemed to promise them enjoyment. At this time, 
 a soldier belonging to a Southern regiment entered 
 the room, and taking a seat in the midst of the 
 company, began singing, very deliberately, a 
 hymn, commencing, 
 
 " 'O, sing to me of heaven! ' 
 
 The tune was solemn and affecting; the lan- 
 guage was moving and impressive. The strange- 
 ness of the circumstance at once secured the 
 attention of all present, and, as the singer pro- 
 ceeded, the effect was striking ; the liquor ceased 
 to flow, the rude oaths were hushed, and the sound 
 of merriment died away. When the last verse 
 was concluded, a perfect stillness reigned ; the 
 spell of revelry had been broken, and their antici- 
 pated gayeties were doomed thus singularly to 
 disappointment." 
 
 The Rev. John E. Edwards, D. D., of Virginia, 
 traveling in Europe a few years ago, visited the 
 St. Nicholas Cathedral, at old Freyburg, in 
 Switzerland, where he heard the exquisite music 
 of the great organ built by Mozer. It was at the 
 hour of sunset, when his thoughts had "played 
 truant, and wandered away from the Alps, across 
 the seas, and paid a visit to the loved ones at 
 home." Dr. Edwards says: "I have never been 
 able to account for the effect produced on me. I 
 
THE SERVICE OF SONG. 329 
 
 was moved to tears, and could not tell why. My 
 
 heart beat quickly, strongly, and a strange sliiver- 
 
 nsation trembled along every nerve." 
 
 One who had recently returned from a sea voy- 
 givea us the following account: " On one of 
 the delicious afternoons in February, peculiar to 
 the West Indies, as the sun was declining below the 
 era horizon, the ship lay in a calm near the 
 Island of Cuba. The sea was uncommonly smooth, 
 and the sails lay listless against the masts. . . . 
 The sun was setting, and the whole ocean seemed 
 
 of liquid gold At this hour a few of the 
 
 officers assembled on the forecastle to contemplate 
 the scene ; and recalling the joys of other days, 
 to hold that converse which in a small degree 
 alleviates the privations of a seaman's life. . . . 
 The father dwelt in tenderness on his distant 
 family ; the brother recalled the unbidden assidui- 
 ties of a sister's love ; and the son felt his heart 
 softened by the recollection of a mother's care. . . . 
 Such was the state of feeling, when a clear, melo- 
 dious voice slowlypoured forth the first line of 
 that exquisite song — ' Home, sweet home !'.... 
 TVe had often heard that song, but never had it 
 
 come so thrillingly as then The singer 
 
 continued. As the song drew to a close, his emo- 
 tion increased with that of every one who listened. 
 At length, as the line, 'There's noplace like home,' 
 rose on the stillness of the hour for the last time, a 
 
330 THE SERVICE OF SONG. 
 
 rush of feeling was evident, and, in many, showed 
 itself in tears !..... Oh ! it was good to look 
 on men whom I had considered hardened in 
 iniquity, thus throwing open the flood gates of 
 long pent affections, that they might once more 
 gladden and purify the soul ! No one spoke ; and 
 after a few moments in which all else was banished 
 by the one dear thought of the distant home we 
 had exchanged for our ' home on the deep,' each 
 one sought his pillow, I doubt not, a better and 
 purer man." 
 
 A gay and thoughtless young lady left her home 
 on a pleasure-seeking tour to a fashionable water- 
 ing place. She arrived safely, but found, amid 
 the ceaseless hilarity, " an aching void within." 
 Being seated near an open window, she heard the 
 soft, smooth voice of a servant girl as it warbled 
 forth the words, 
 
 " O, for a closer walk with God," — 
 
 As she listened her soul was drawn out in prayer 
 with the words — 
 
 " The dearest idol I have known, 
 Whate'er that idol be; 
 Help me to tear it from Thy throne, 
 And worship only Thee! " 
 
 She wept penitential tears,- trusted in Christ, and 
 rejoiced with joy unspeakable and full of glory. 
 
 An actress, while passing a cottage on the way 
 
THE SERVICE OE SONG. 331 
 
 to the theatre, had hex attention arrested by a 
 
 voice Binging those familiar 1 i 1 1 • 
 
 " 1 Vpth of mercy! can there be 
 Mercy htill reserved for me?" 
 
 She stood and listened as the singer proceeded : 
 
 11 Can my God His wrath forbear — 
 Me, the chief of sinners, spare?" 
 
 The heart was softened, and tears were shed. The 
 words haunted her — 
 
 Can there be 
 
 Mercy still reserved for me?" 
 
 Neither the mustc nor the multitude at the theatre 
 could hush that echo ; and when she came out to 
 act her part, she stammered, grew confused, and 
 very plaintively sang before the astonished audi- 
 ence : 
 
 *' Depth of mercy! can there be 
 Mercy still reserved for me? 
 Can my God His wrath forbear — 
 Mc, the chief of sinners, spare ? " 
 
 and bursting into tears, she told them that her 
 studied part had passed from her memory, leaving 
 that touching hymn in its stead, and that she 
 could never rest until she sought and found the 
 mercy that was still reserved for her. She turned, 
 and left the stage, never to appear on it again. 
 
 The Rev. Robert A.Young, D.D., speaking of one 
 of our foreign missionaries, says : " I saw brother 
 
332 THE SERVICE OF SONG. 
 
 Cunnyngham last, a few years before lie sailed for 
 China. The woods were alive with horses and 
 oxen ; the servants were tearing and turning things 
 in every direction about the camps ; the tramp of 
 many feet was heard ; the hum of busy voices 
 arose from little clumps of spectators that had 
 gathered upon the encampment; Christian hearts 
 were beating ' high and warm ; ' praises went up 
 like the ' sound of many waters ; ' penitents wept 
 and prayed at the altar ; but, above all, the clear, 
 well- toned and welL trained voice of brother Cun- 
 nyngham arose, as he sang the hymn, commencing, 
 
 " ' O, may we meet in heaven ! ' 
 
 He was closing the services of a successful camp- 
 meeting, in Tennessee. The tones of that voice 
 linger in the ear of memory to this day. 
 
 " ' Perhaps in some far future land 
 
 We yet may meet, we yet may dwell.'" 
 
 In Macao, China, near Hong Kong, the principal 
 occupation of the inhabitants is gaming. Here, 
 on a certain occasion, a traveler found a company 
 of gamblers in a back room on the upper floor of 
 a hotel. At the table nearest him, there was an 
 American, about twenty-five years old, playing 
 with an old man. They had been betting and 
 drinking. While the gray-haired man was shuf- 
 fling the cards for " a new deal," the young man, 
 
THE SERVICE OF SONG. ^33 
 
 in a Bwaggering, careless way, sang, to a very 
 pathetic tune, the following words: 
 
 " One sweetly solemn thought 
 
 Comes to me o'er and o'er, 
 I'm nearer my home to-day 
 
 Than I've ever been before ; 
 Nearer the crystal gate 
 
 Where we lay our burdens down, 
 Nearer leaving my cross, 
 
 Nearer wearing my crown." 
 
 Hearing the singing, several gamblers looked up 
 in surprise. The old man, who was dealing the 
 cards, putting on a look of melancholy, stopped 
 for a moment, gazed steadfastly at his partner in 
 the game, and then dashed the whole pack of 
 cards on the floor under the table. Then said 
 he— "Where did you learn that tune?" The 
 young man pretended that he did not know 
 that he had been singing. " Well, no matter," 
 said the old man, " I've played my last game, and 
 that's the end of it. The cards may lie there till 
 doomsday, and I will never pick them up." The ol d 
 man having won money from the young man, about 
 one hundred dollars, took it out of his pocket, 
 and handing it to the young man said: "Here, 
 Harry, is your money, take it and do good with it. 
 I shall with mine." 
 
 As the traveler followed them down stairs, he 
 saw them conversing by the door-way, and over- 
 heard enough to know that the old man was say- 
 ing something about the song which the young 
 man had sung. 
 
334 THE SERVICE OF SOXG. 
 
 This song was, doubtless, learned at a mother's 
 knee, or in the Sunday School, and may have been 
 the means of the salvation of these two gamblers, 
 and' of multitudes through their influence. 
 
 We close these illustrative instances with but 
 one more narrative out of the many others that 
 might be given. 
 
 A nobleman of great wealth, whose pleasure 
 was drawn from his riches, his honors and friends, 
 had a daughter, who was the idol of his heart. 
 She was highly accomplished, amiable in her dis- 
 position, and winning in her manners. At length, 
 Miss attended a Methodist meeting in Lon- 
 don, was awakened, and soon happily converted. 
 Afterward, to her the charms of Christianity were 
 overpowering. The change was marked by her 
 fond father with great solicitude, and was to him 
 occasion of deep grief. He took her on long and 
 frequent journeys, and attended her in the most 
 engaging manner, in order to divert her mind from 
 religion ; but she still maintained her integrity as 
 a Christian. After failing in all his projects, he 
 introduced her into compan}^ under such circum- 
 stances that she must either join in the recreation 
 of the party or give high offense. It had been 
 arranged among his friends that several young 
 ladies should, on the approaching festive occasion, 
 give a song, accompanied by the piano-forte. The 
 hour arrived, the party assembled. Several pieces 
 
THE BERVIOE OF SONG. 335 
 
 had been performed to the great delight of the 
 
 company who were now in high spirits. Miss 
 
 was railed on for a song, and many hearts beat 
 high in hope of victory. Should she decline, she 
 was disgraced. Should she comply, their triumph 
 was complete. This was the moment to seal her 
 fate. With perfect self-possession, she took her 
 seat, ran her lingers over the keys, and commenced 
 playing and singing, in a sweet air, the following 
 words : 
 
 " No room for mirth or trifling here, 
 For worldly hope or worldly fear, 
 
 If life so soon be gone ; 
 If now the Judge is- at the door, 
 And all mankind must stand before 
 
 The inexorable throne. 
 
 " No matter which my thoughts employ, 
 A moment's misery or joy; 
 
 But, O, when both shall end, 
 Where shall I find my destined place? 
 Shall I my everlasting days 
 
 With fiends or angels spend?" 
 
 She arose from her seat. The whole party was 
 subdued. Not a word was spoken. Her father 
 wept aloud. One by one the company left the 
 
 house. Lord never rested till he became a 
 
 child of God. He lived an example of Christian 
 benevolence, having given to various enterprises, 
 up to the time of his death, nearly half a million 
 dollars. 
 
 From the foregoing narratives, and from the 
 
336 THE SERVICE OF SONG. 
 
 power of song, as shown in former chapters, we see 
 that music has exerted a magic influence in all ages, 
 and in all climes. Its dulcet charms have captivated 
 the prince and the peasant, the stalwart man and 
 the gentle maiden, the child and the patriarch, the 
 civilian, the savage, and even the ravenous . 
 beast of prey. Its martial notes have turned the 
 scale of battle, and decided the fate of nations. 
 
 " Music, all-powerful o'er the human mind, 
 
 Can still each mental storm, each tumult calm, 
 Soothe anxious care on sleepless couch reclined, 
 And e'en fierce anger's furious rage disarm. 
 
 " At her command the various passions lie; 
 She stirs to battle, or she lulls to peace, 
 Melts the charmed soul to thrilling ecstasy, 
 And bids the jarring world's harsh clangor cease. 
 
 " Her martial sounds can fainting troops inspire 
 With strength unwonted and enthusiasm raise, 
 Infuse new ardor, and with youthful fire 
 
 Urge on the warrior grey with length of days. 
 
 " Oh! surely melody from heaven was sent, 
 
 To cheer the world when tired of human strife, 
 To soothe the wayward heart by sorrow rent, 
 And soften down the rugged road of life." 
 
 In this connection, the romantic dreams of 
 heathen writers will be regarded as expressing 
 the truth in hyperbole. When Orpheus played 
 on the flute, the rivers are said to have ceased 
 to flow, the savage beasts of the forest to forget 
 their wildness, and the mountains are said to have 
 come to listen to his song. All nature seemed 
 
THE SERVICE OF SONG. 337 
 
 animated and charmed, and the nymphs were his 
 constant companions. With his lyre in his hand, 
 he entered the infernal regions, and gained 
 easy admission to the palace of Pluto. The King 
 of hell was charmed with the melody of his strains, 
 the wheel of Ixion stopped, the stone of Sisyphus 
 stood still, Tantalus forgot his perpetual thirst, 
 and even the Furies relented. 
 
 Amphion was also famous for his musical talent. 
 At the sound of his lyre, the rocks moved from 
 their places ; and the animated stones rose up, 
 and formed themselves into the wall of Thebes. 
 Perhaps we are to understand by this that Am- 
 phion by his music tamed the spirits, and softened 
 the fierce manners of the savage Thebans, thus 
 inducing them to build a wall for their defense. 
 
 Songs are often more potent than the " strong 
 arm of the law." Hence, the saying of the saga- 
 cious moralist — " Let me make the ballads of a 
 nation, and I care not who makes its laws." 
 
 Music not unfrequently holds empire over the 
 soul from childhood to old age. The poet may, 
 therefore, well exclaim : 
 
 M Music, the tender child of rudest times, 
 The gentle native of all lands and climes ; 
 Who hymns alike man's cradle and his grave, 
 Lulls the low cot, or peals along the nave." 
 
 In many of the instances illustrative of the 
 power of music, given in this chapter, there was 
 nothing but sound ; in others, words sung by 
 
 22 
 
338 THE SERVICE OF SONG. 
 
 individuals; but the effects were truly aston- 
 ishing. "What, then, may we not expect when an 
 inspiring tune, set to sacred words, is sung, " in 
 spirit and in truth," by a worshiping assembly ? 
 
 Would that all could feel that the songs of Zion 
 are intended to be a great power in the Church. 
 
 Why should we sing ? We should sing because 
 God has given us the ability ; because He 
 has made it our duty and our privilege to sing ; 
 because He is infinitely worthy of praise ; because 
 sacred song is a grand means of bringing sinners 
 to Christ, and "showers of blessings" upon be- 
 lievers. 
 
 We should gladly engage in the service of praise 
 that we may ultimately sing in heaven. Earth's 
 pursuits and joys are temporal ; love and song are 
 eternal. Here, dispensations of grace succeed each 
 other ; church edifices fall into decay ; congrega- 
 tions are broken up ; ministers die ; and soon shall 
 be heard the echo of the last song of Zion sung on 
 earth. Faith will be lost in the " beatific vision ;" 
 Hope, the saint's guardian angel, having con- 
 ducted him to the " shining shore," will leave him 
 amid the enduring splendors of immortality ; but 
 Love will still "live and sing." 
 
 Here, in the midst of our worship, we hear the 
 voice of wailing, but 
 
 " No sighs shall mingle with the songs 
 Which warble from immortal tongues." 
 
 Here sickness enfeebles the voice, and in death it 
 
THE SBBYIOS OF SONG. 339 
 
 is hushed; but the language of the grateful, 
 Christian heart is : " I will sing unto the Lord as 
 long as I live: I will sing praise unto my God 
 while I have any being." With deep emotion, he 
 thus addresses his Divine Benefactor : 
 
 " Through every period of my life, 
 Thy goodness I'll pursue ; 
 And after death, in distant worlds, 
 The pleasing theme renew. 
 
 M When nature fails, and day and night 
 Divide Thy works no more, 
 My ever grateful heart, O Lord, 
 Thy mercies shall adore. 
 
 *' Through all eternity to Thee 
 A grateful song I'll raise ; 
 But O ! eternity's too short 
 To utter all Thy praise." 
 
 We bid all travelers to the celestial Canaan 
 God-speed ! We congratulate them on the blissful 
 prospect which lies before them ; as it is said— 
 " the redeemed of the Lord shall return and come 
 with singing unto Zion; and everlastings joy shall 
 be upon their heads : they shall obtain gladness 
 and joy; and sorrow and mourning shall flee 
 away." 
 
 While we live, may we all sing away our sor- 
 rows, and may death be to us but a quaver rest 
 in the song of Redemption. 0, that it may ulti- 
 mately be said to us — "Awake and Sing, ye that 
 dwell in dust!" 
 
340 THE SERVICE OF SONG. 
 
 Cherishing this "good hope, through grace," 
 we repeat a few words from the Scriptures, and 
 then take our leave : 
 
 God is gone up witii a shout, the Lord with 
 the sound of a teumpet. 
 
 Sing praises to God, sing praises ; sing 
 praises unto our klng, sing praises i for god 
 is the King of all the earth : sing ye praises 
 
 WITH UNDERSTANDING. 
 
 The End. 
 
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