•^••'. 
 
FROM THE LIBRARY OF 
 REV. LOUIS FITZGERALD BENSON. D. D. 
 
 BEQUEATHED BY HIM TO 
 
 THE LIBRARY OF 
 
 PRINCETON THEOLOGICAL SEMINARY 
 
 sec 
 
 755^ 
 
ADORES 
 
 ON 
 
 CHURCH MUSIC: 
 
 DELIVERED BY REQUEST, 
 
 ON THE EVENING OF SATURDAY, OCTOBER 7, 1826, 
 
 IN THE VESTRY OF HANOVER CHURCH, 
 
 AND ON THE EVENING OF MONDAY FOLLOWING, 
 
 IN THE THIRD BAPTIST CHURCH. 
 BOSTON. 
 
 & 
 
 BY LOWELL MdSON. 
 
 REVISED EDITION. 
 
 iSosto n : 
 
 HILLIARD, GRAY, LITTLE, AND WILKINS. 
 
 T. R. MARVIN, PRINTER. 
 
 1827. 
 
DISTRICT OF MASSACHUSETTS to wit 
 
 District Clerk's Office. 
 
 Be it remembered, that on the eighth day of May. A. D. 1827, in the fifty first 
 Year of the Independence of the United States of America, Theophilus R. 
 Marvin, of the said District, has deposited in this Office the Title of a Book, the 
 Right whereof he claims as Proprietor, in the Words following, to wit : 
 
 Address on Church Music : delivered by request, on the evening of Saturday, 
 October 7, 1826, in the Vestry of Hanover Church, and on the evening of Monday 
 following, in the Third Baptist Church, Boston. By Lowell Mason. 
 
 In conformity to the Act of the Congress of the United States, entitled " An Act 
 for the encouragement of learning, by securing the copies of maps, charts and books, 
 to the authors and proprietors of such copies, during the times therein mentioned:*'' 
 and also to an Act entitled " An Act supplementary to an Act, entitled An Act for 
 the encouragement of learning, by securing the copies of maps, charts and books to 
 the authors and proprietors of such copies during the times therein mentioned; and 
 extending the benefits thereof to the arts of designing, engraving and etching histori- 
 cal and other prints." 
 
 JNO. W. DAVIS. Clerk of the District of Massachusetts. 
 
To Lowell Mason, Esq. 
 
 Sir.— Having heard the Address which you delivered in the Vestry of Hanover 
 Church and in the Baptist -Meeting House in Charles-street,, on Church Music, and 
 believing it adapted to awaken interest and promote correct views, with respect to 
 that important subject,, we respectfully solicit a copy for publication ; and in doing 
 this, we are confident we speak the language of those who were present. 
 
 LYMAN BEECHER, 
 DANIEL SHARP, 
 B. B. WISNER, 
 JEREMIAH EVARTS, 
 WILLIAM ROPES. 
 Boston,. Oct. 10, 1826. 
 
 Boston', October 11, 1826. 
 Gentlemen', — The Address on Church Music, delivered in the Vestry of Hano- 
 ver Church., in this city, on Saturday evening, 7th inst. and in the Third Baptist 
 Church on the Monday evening following, was prepared on very short notice and 
 amidst numerous engagements. Being about to leave the city, it is impossible for 
 me to give it a thorough revision. The hope, however, that imperfect as it is, it 
 may have some tendency to call the attention of Christians to a much neglected but 
 pleasing and important part of public worship, induces me to yield to your request 
 of a copy for publication. 
 
 Very respectfullv, 
 
 L. MASON. 
 
ADDRESS 
 
 Church Music is a divine institution. The 
 numerous examples in the old testament, together 
 with the hymn at the institution of the sacramental 
 supper ; the singing of Paul and Silas in prison, as 
 well as direct precepts and exhortations in various 
 parts of scripture, are sufficient to place the truth 
 of this position beyond the possibility of a rational 
 doubt. Accordingly, we find that music has been 
 employed in the worship of God, in all ages of the 
 church. 
 
 The object or design of its institution is no less 
 obvious. " Moses and the children of Israel sang 
 this song unto the Lord" — " O come let us sing 
 unto the Lord" — " It is good to sing praises unto 
 our God," — " At midnight Paul and Silas prayed 
 and sang praises unto God." To animate and 
 enliven the feelings of devotion is undoubtedly the 
 office of music in the church. 
 
 Through the medium of music, truth is presented 
 to the heart in the most forcible manner ; the feel- 
 ings are aroused — the affections elevated. " It was 
 
for the raising up of menh hearts, and the sweetening 
 of their affections towards God" says Hooker, " that 
 the prophet David, having had singular knowledge, 
 not in poetry alone, but in music also, judged them 
 both to be things most necessary for the house of 
 God ; and left behind him to that purpose a number 
 of divinely indited poems ; and was further the au- 
 thor of adding unto poetry, melody in public prayer, 
 in which considerations, the church of Christ doth 
 likewise, at the present day, retain it as an ornament 
 to God's service, and an help to our own devotion"* 
 It is as a religious exercise only, that we are au- 
 thorized to introduce music into the church, and 
 from religious motives should Christians be induced 
 to cultivate an acquaintance with it. That there is 
 no religion in music, is readily admitted : but music 
 is capable of subserving a religious purpose : were it 
 not so, it would never have been introduced into the 
 church by divine appointment. There is no re- 
 ligion in eloquence : but who does not acknowledge 
 its importance to the minister of the Gospel ? Who 
 has not felt the words of divine truth sink deep into 
 his heart, when they have been accompanied with 
 the thrilling and irresistible tones of an earnest and 
 commanding elocution ? Music has a similar pow- 
 er : it can move, or melt, or rouse, an audience ; 
 and ought, therefore, to be made a powerful auxiliary 
 to the faithful preacher. f Music is a refined species 
 
 * Eccl. Polity, Book V. Sec. 38. 
 
 t The effect of music upon St. Augustin, he thus describes : — " How abundantly 
 did I weep before God, to hear those hymns of thine ; being touched lo the very 
 quick, by the voices of thy sweet church song. The voices flowed into my ears ; and 
 
of elocution ; and, as such, its office is to enforce 
 upon the heart the sentiment which is sung.* It 
 ought to do this more effectively than the simple 
 reading of the same words could do, although they 
 were to be read in the best manner possible ; for 
 otherwise it would be useless. It were better that 
 music should not be introduced at all into public 
 worship, if it fail to accomplish this end. Indeed 
 its influence in the church cannot be of a merely 
 negative character. Musical taste is much more 
 intimately connected with religious feeling than is 
 generally supposed. It cherishes on the one hand, 
 or destroys on the other, those pious emotions which 
 public and social worship is designed to call into 
 exercise. 
 
 Singing the praises of God is a part of the public 
 services of religion, which, when properly conduct- 
 ed, makes its appeal directly to the heart, and is at 
 once solemn and delightful : but when badly con- 
 ducted, it becomes rather a hindrance than a help to 
 
 thy truth pleasingly instilled into my heart ; which caused the affections of my devo- 
 tion to overflow, and my tears to run over ; and happy did I find myself therein." — 
 Confessions, Lib. IX. Cap. 6. 
 
 Edwards, in describing the blessed effects of the revival of religion at North- 
 ampton, in 1735, speaks thus of singing : — " Our public praises were then greatly 
 enlivened ; God was then served in our psalmody, in some measure, in the beauty 
 of holiness. It has been observable, that there has been scarce any part of divine 
 worship, wherein good men amongst us have had grace so drawn forth, and their 
 hearts so lifted up in the ways of God, as in singing his praises : our congrega- 
 tion excelled all that ever I knew, in the external part of the duty, before ; the men 
 generally carrying regularly, and well, three parts of music, and the women a part 
 by themselves : but now they were evidently wont to sing with unusual elevation of 
 heart and voice, which made the duty pleasant indeed." — Narrative of Surprising 
 Conversions. 
 
 + This was well understood by the ancients, especially the Grecians; and is it not 
 probable, that a high tone of oratorical elocution in their performances gave to their 
 music that astonishing influence upon the passions, of which we read in history ? 
 
8 
 
 devotion, and often prevents, in a great degree, the 
 good effects which might otherwise result from the 
 services of the Sabbath. 
 
 Now if we merely glance at church music, as it 
 exists and is conducted in many churches at the 
 present day, we cannot fail to be convinced, that it 
 falls far short of producing its legitimate effects. 
 " Of all our religious solemnities," says Dr. Watts, 
 " psalmody is the most unhappily managed. The 
 very action, which should elevate us to the most de- 
 lightful and divine sensations, doth not only flatten 
 our devotions, but too often touches all the springs 
 of uneasiness within us." This remark is strictly 
 applicable to much of the church music of our 
 country at the present day. The manner in which 
 this duty is frequently performed, is not only calcu- 
 lated to excite disgust in the man of musical taste 
 and feeling, but to " flatten the devotions" of the 
 Christian ; to withdraw the attention from the sub- 
 ject of the words ; to irritate the feelings, and thus 
 to unfit the mind for the other exercises of the 
 Sabbath ; and perhaps it is not too much to say, 
 that, in general, notwithstanding the improvement 
 which has been made within a few years past, the 
 improprieties still attending the singing in public 
 worship, are so numerous, and so obvious, as to 
 frustrate, in a great measure, the design of the insti- 
 tution. 
 
 The principal reason for the present degraded 
 state of church music, seems to be, that its design 
 
has been forgotten, and its cultivation as a religious 
 exercise, neglected. It is a fact, that while music is 
 regarded almost universally as a necessary appen- 
 dage to public and social worship, its importance as 
 a devotional exercise, is in a great measure over- 
 looked. Hence it is often given up, almost ex- 
 clusively, into the hands of those who have no 
 other qualifications than mere musical talent ; and 
 who, being destitute of any feelings of piety, are 
 almost as unfit to conduct the singing of the church, 
 as they would be the preaching or the praying. 
 Having been furnished by nature with an ear to 
 appreciate the melody of sweet sounds, such persons 
 take up church music as a mere amusement, and 
 pursue it solely with reference to the tasteful gratifi- 
 cation it affords them. In proportion, therefore, as 
 they are enabled to delight themselves, and to draw 
 forth the applause of others, by communicating the 
 same feelings to them, in the same proportion they 
 succeed in accomplishing the object of their exer- 
 tions. 
 
 Not only do singers disregard the true object 
 of church music, and pervert its use ; but its 
 design is also overlooked by a large proportion of 
 those who compose our worshipping assemblies. 
 Even Christians seem to be unmindful of its im- 
 portance as an act of religious worship. Indeed, it 
 is too commonly the case, that the music of the 
 church, like that of the theatre, is employed only to 
 give variety to the performances, and to relieve the 
 mind from a too constant attention to the subject ; 
 
thus affording a kind of interlude to religious wor- 
 ship, or a little recreation from the tediousness of 
 an hour's devotion ; or, perhaps, an opportunity for 
 the minister to review his sermon, or for the people 
 to look round upon one another. 
 
 Can any good be expected to arise from the 
 institution under such circumstances ? Can church 
 music thus conducted be regarded as an exercise of 
 devotion, or be expected to excite or cherish reli- 
 gious feeling ? Certainly not. It has nothing to do 
 with religion, unless, indeed, it be to interrupt the 
 meditations of the pious, to dissipate the serious 
 feelings of the awakened, and to lull into greater 
 stupidity the thoughtless and secure, and thus to 
 counteract the object of its introduction into the 
 church. In vain, under such circumstances, shall 
 we look to the singing for aid in our devotions. In 
 vain will the minister expect, after having spent his 
 whole strength in a faithful sermon, and labored 
 earnestly and affectionately for the salvation of his 
 people, through the precious season of the Sabbath, 
 to deepen the impression as he closes the service 
 of the day by singing a psalm or hymn. Rather 
 will he have reason to fear for the effect of the 
 closing exercise, and tremble lest that state of anx- 
 ious feeling, which, under God, he has been ena- 
 bled to call forth, and which excites his warmest 
 hopes, will be in a great measure dissipated by an 
 exhibition of musical talent, or a flourish of clari- 
 nets and bassoons, or flutes or viols, or a brilliant 
 display of execution on the organ just as the con- 
 
11 
 
 gregation are about to disperse. Banish singing 
 from the church — consign our hymn books to the 
 flames — and hang the harps of Zion upon the wil- 
 lows, rather than that such should be the effects 
 of music. 
 
 Now if Christians had not lost sight of the real 
 object of sacred music, is it possible to believe that 
 the prevailing abuses of it would be tolerated ? In 
 what estimation would a congregation be supposed 
 to hold the other exercises, — prayer, for example, 
 — if, instead of listening with devout attention, and 
 endeavouring to lift up their hearts unto God, they 
 were to look upon it as a mere exhibition of elocu- 
 tion, or improve the opportunity to look around 
 and see who is and who is not at church, or make 
 it a signal for restlessness and noise ? But how 
 frequently is it the case, when the most profound 
 silence and attention have prevailed during all the 
 other parts of service — even while the minister is 
 reading the psalm or hymn — that the subject of 
 song is forgotten, the moment the singing com- 
 mences, amidst the musical parade that attends it. 
 The mind which was attentive during the reading 
 of the words, is withdrawn from the subject, the 
 moment in which that exercise commences, whose 
 express design should be to deepen the impression 
 already made by the words, and quicken emotions 
 already kindled.* Surely in no part of public wor- 
 ship is the guilt of " drawing nigh to God with our 
 mouth and honoring him with our lips, while our 
 
 * See Review of Handel and Haydn Coll. Church Music- in Chr. Advocate. 
 
12 
 
 hearts are far from him," so frequently, so con- 
 stantly incurred, as when we profess to sing the 
 praises of God, and to w make melody in our hearts 
 unto the Lord." 
 
 Such is a very brief and imperfect view of the 
 nature and design of church music, and of its pre- 
 sent degraded state. The remedy for this state of 
 things cannot fail to suggest itself to every one who 
 loves the public exercises of religion, and is desirous 
 of deriving benefit from them. 
 
 The church must take up the subject : the influ- 
 ence of piety must be brought to bear upon it — the 
 influence of that same spirit of the Gospel which is 
 so manifest in the benevolent exertions of the pre- 
 sent day. The proper object of church music must 
 be understood ; and Christians must cultivate it as 
 a part of religious duty.* The fact of its being a 
 divine institution, is sufficient to show its importance ; 
 and if God has himself introduced it into the church, 
 Christians may not safely disregard it, or omit to 
 perform their duty in relation to it. 
 
 But what is the duty of Christians on this subject? 
 To this question we answer, that it is undoubtedly 
 their duty to cultivate music so far as to be able to 
 engage in singing as a part of religious worship with 
 
 * " If persons be now not capable, because they know not how to sing, that doth 
 not excuse them, unless they have been incapable of learning. As it is the 
 command of God, that all should sing, so all should make conscience of learn- 
 ing to sing, as it is a thing which cannot be decently performed at all without learn- 
 ing. Those, therefore, who neglect to learn to sing, live in sin, as they neglect what 
 is necessary in order to their attending one of the ordinances of God's worship." 
 — Edward's Sermon on Self- Examination. 
 
13 
 
 decency and propriety ; to the edification of them- 
 selves and others. And that which is the duty of 
 Christians in relation to this subject, is the duty of 
 all. Music is an art ; and is to be regularly culti- 
 vated, in its own measure, like painting, or poetry, 
 or sculpture, or architecture. We cannot expect to 
 derive benefit from it, if we suffer it to lie neglected. 
 In the secular department this principle is well un- 
 derstood. The music of the field, of the drama, 
 and of the chamber, is cultivated. Among the 
 wealthy, every parlour must be furnished with a 
 piano, and every family must have the services of 
 a teacher : the sonata, the song, the march, the 
 waltz, must be made familiar even in Christian 
 families. It is only the music of the church, that 
 is left to take care of itself, or committed to un- 
 skilful hands. 
 
 Now we do not complain that secular music is 
 cultivated : on the contrary, we rejoice in its pro- 
 gress : for this, as well as the other fine arts, 
 affords a rational and refined amusement ; it is 
 the source of exquisite delight to the man of 
 taste and cultivation ; and it undoubtedly contri- 
 butes to the happiness and moral improvement of 
 mankind. But we do complain that sacred music 
 should be so totally neglected; and this, too, by 
 those who acknowledge its importance as a part 
 of religious worship. 
 
 The minister thinks it important to cultivate the 
 art of oratory, and to cultivate it for religious pur- 
 3 
 
14 
 
 poses : and he spares neither time nor expense to 
 become an accomplished speaker, for he knows the 
 power of eloquence to move the heart and to enforce 
 divine truth. It is equally important for those, who 
 sing the praises of God, to improve themselves in 
 their art, if they would awaken devotional feeling 
 in the assembly of God's people. Music does not 
 spring up spontaneously in the human mind, grow- 
 ing with its growth, and strengthening with its 
 strength. It bears more resemblance to the exotic, 
 which requires a delicate and attentive cultivation ; 
 and until music be cultivated for religious purposes, 
 and with feelings arising from a sense of religious 
 duty, the songs of Zion will continue to be languid 
 and ineffectual. 
 
 The necessity of cultivation may be made appa- 
 rent by a mere glance at some of those qualities 
 which are essential to vocal music. Among these 
 I are tone, accent, emphasis, and intonation. 
 
 The importance of a good tone of voice in the 
 singer is universally acknowledged ; as we often 
 hear it said, such a person has a fine voice, a de- 
 lightful tone, &c. This, it is supposed by many, is 
 altogether a natural gift ; but such is not the fact. 
 The organs of some are, undoubtedly, much more 
 favorably constructed for the production of pleasing 
 sounds than those of others ; but the very best 
 natural voice may be vastly improved by cultivation ; 
 .and there are few persons so destitute of natural 
 qualifications, as to be unable to sing agreeably by 
 perseverance in a judicious course of practice. 
 
15 
 
 The necessity of the cultivation of tone in elocu- 
 tion is universally admitted. But what is singing 
 if not the very soul of eloquence itself? If an 
 agreeable tone of voice is desirable in that species 
 of delivery which is principally didactic, and ad- 
 dressed to the understanding, how much more im- 
 portant is it in that which makes its appeal directly 
 to the heart ! The importance of articulation, accent, 
 emphasis, &c. to the orator, are universally admitted. 
 It cannot be necessary to show that they are equally 
 important to the singer. Correct intonation, or an 
 ability to sing exactly in tune, is a quality of very 
 great importance to the singer, and is moreover a 
 thing not easily acquired : it is not to be attained 
 but by much practice. The gift of a musical ear, 
 upon which intonation is principally dependent, has 
 been, in some instances, to a considerable degree, 
 withheld from our species. There are very many 
 who are unable to appreciate musical sounds, or 
 sing, with any tolerable degree of accuracy, the 
 natural scale of music, till after having bestowed 
 considerable attention to the art. And, as it is with 
 the voice, so it is with the ear : its very best natural 
 condition is imperfect, and needs cultivation. An 
 ability to learn, and a general fondness for musical 
 sounds, which may be improved, seem to be the 
 talents bestowed in this case. Nature has perhaps 
 done the same for the musician as for the orator ; — 
 has given him a natural capacity which, by industry, 
 and perseverance, may be improved and brought to 
 a great degree of perfection. But music is abso- 
 
16 
 
 lutcly dependent upon correct intonation. Without 
 it singing is intolerable ; and instead of the ' concord 
 of sweet sounds' 
 
 " Awaken'd discord, shrieks, and scolds, and raves, 
 Wild as the dissonance of winds and waves." 
 
 • ; Where, when our ears are thus assailed, shall we 
 find that sentimental appeal to the heart, which con- 
 stitutes the chief excellence of music, and is the 
 principal object contemplated in its employment in 
 the church ?" No superiority in any other requisite 
 of vocal art can supply a deficiency in correct into- 
 nation ; and this can only be acquired by that w ell 
 directed exercise, or cultivation of the vocal powers, 
 which, while it strengthens and enlarges the compass 
 of the voice, renders its obedience to the laws of 
 science exact and undeviating by the acknowledged 
 force of habit. 
 
 But, it will be asked, what means arc Christians 
 to employ for the improvement of church music ? 
 and how shall their efforts be directed so as to pro- 
 duce the desired result ? Shall the whole congrega- 
 tion be encouraged to join promiscuously, in this 
 exercise ? — or shall it be committed to a select 
 choir ?* If the devotional effect of music depends 
 
 * The music of the primitive church was performed in different methods. Some- 
 times a single performer sung in solo ; sometimes the whole congregation united in 
 full chorus , sometimes the congregration was divided into separate choirs, which sung 
 in alternate succession ; and sometimes a single person commenced a verse in solo, 
 and the full choir closed it in chorus. — See Bingham's Antiq. Book 14. Ch. 1. Also 
 Sir John Hawkins's His. Mns. Vol. 1. p. 289. The art, however, was then but little 
 understood by Christians ; and in those days of persecution and trial, they had 
 little leisure for cultivation. They worshipped Jehovah as they had opportunity in 
 the same strains of melody which they had been accustomed to use in the worship of 
 
17 
 
 upon the mere circumstance of a person's engaging 
 audibly in singing ; or, if it depend upon the quan- 
 tity of noise produced ; then, undoubtedly, the con- 
 gregational mode is to be preferred. But if, as has 
 been suggested, there is a strong analogy between 
 the art of oratory and that of music, if the effects 
 of each are to be produced by means which are 
 somewhat similar ; then all will agree, that, from 
 such a jargon of sound as will be produced by a 
 large assembly of all ages and descriptions, engaged 
 each one in singing as seems good in his own eyes, 
 but little benefit can be expected. Wherever con- 
 gregational singing has prevailed, there has been 
 neither good tone, correct intonation, distinct articu- 
 lation, nor proper emphasis or expression. All has 
 been jargon and tumult. 
 
 Surely this mode of singing must appear very- 
 defective, if we consider the means by which music 
 operates upon the mind, or the qualifications which 
 are indispensable to the success of the singer. If it 
 be said that it is the duty of every man to sing the 
 praises of God, and make melody in his heart unto 
 the Lord — it is granted : so, also, it is the duty of 
 every man to pray, and by supplication make known 
 his wants unto God ; and it is no more obligatory 
 upon him to sing aloud in public worship, in the 
 
 gods of wood or stone, previous to their conversion. They did this as a matter of 
 necessity. They were mostly ignorant men, except as they were taught by the 
 Spirit. They were not professed minstrels or composers ; nor had they any models 
 of Christian psalmody for imitation. Still, they did " what they could " in such 
 circumstances ; and as the public ear had not then become fastidious through the 
 extensive cultivation of secular music, it was easy for them to secure to themselves 
 the legitimate influences of music. We are placed in circumstances totally dif- 
 ferent. Will it hereafter be said of us that toe have done what we could ? 
 
18 
 
 one case, than it is to pray aloud in the other, unless 
 he can do it to general edification : but, in both 
 cases, he is required to worship God in spirit and in 
 truth. Besides, a man may sing so as seriously to 
 disturb the devotions of others. Such cases are not 
 rare in congregational singing ; and certainly we 
 should regard the edification and comfort of others 
 so much as to be willing for their sake, if necessary, 
 to prosecute our own devotions in a silent manner.* 
 
 It is sometimes said that there is a peculiar so- 
 lemnity in the circumstance that the whole assembly 
 are engaged, at the same time, in singing the praises 
 of God. " But our feelings of solemnity, as far as 
 externals are concerned, may be, and often are, the 
 result of mere custom or habit ; and surely when 
 they lead us to adopt a course of management that 
 has a tendency to destroy the practical utility of an 
 important divine institution, they should be impar- 
 tially examined before they are allowed to govern 
 our decisions. "t May not the whole assembly en- 
 gage spiritually, in the singing, while none but the 
 choir perform audibly, as easily as they may engage 
 spiritually in prayer, while no voice but that of the 
 preacher is heard ? 
 
 There is indeed this difference in the design of 
 the two exercises — the one necessarily employs but 
 
 * Let every one who is accustomed to sing u below " in those congregations where 
 singing is conducted by a choir, ask himself whether his performances, although they 
 may he edifying to himself, are not unpleasant to those who sit near him, and 
 whether he may not be the meaus of hindering their devotion ? The result of such 
 inquiries would often be mortifying. 
 
 t See Hastings's Dissertation on Musical Taste, in which work several of the lead- 
 ing thoughts contained in this address are ably illustrated. 
 
19 
 
 a single voice, while the other, for the most part, 
 requires a union of many voices in simultaneous 
 enunciation. Still there must be harmony, or we 
 shall have jargon instead of music. There must 
 be articulation, accent, and emphasis, as well as 
 harmony ; for " unless these give a distinction in 
 the sounds, how shall it be known what is piped 
 or harped ?" Those, therefore, who are destitute of 
 the necessary qualifications, ought not to insist on 
 their imagined privilege. If this would be too great 
 a piece of self-denial, then let them cultivate their 
 talents that the Lord " may receive his own with 
 usury." Let them not continue to offer that " which 
 has cost them nothing," or which is " lame, or blind, 
 or torn." 
 
 It is evident, then, that the congregational mode 
 of singing, at least in the present state of musical 
 cultivation, is defective ; and that, wherever it pre- 
 vails, the object of the institution cannot be fully re- 
 alized. On the other hand, a well trained choir 
 have every facility for producing the proper effect — 
 the rhetorical effect of church music. All the quali- 
 fications necessary such a choir may be supposed to 
 possess ; and like the accomplished orator, they 
 may bring their art to bear with all its force upon 
 the sensibilities of their audience. 
 
 The objections which are made to this mode of 
 conducting the music of public worship, will be 
 found to apply to the character of the choirs with 
 which our churches are furnished, to which allusion 
 has already been made ; — to the abase of choirs and 
 
20 
 
 not to this special mode of singing. It is readily 
 admitted that congregational singing may be a less 
 evil than choirs, as the latter are frequently con- 
 ducted ; and it is not surprising that it should be 
 preferred to such choirs, by those who have experi- 
 enced their injurious effects. But let choirs be 
 formed of serious and influential men ; let Chris- 
 tians esteem it their duty to qualify themselves to 
 take the lead in singing ; and the objections to 
 choirs will vanish. Church music will then rise to 
 that station it ought to occupy, and become an 
 handmaid instead of a scourge to devotion. And, 
 indeed, were music generally cultivated by Chris- 
 tians, the question whether singing should be per- 
 formed by choirs, or by the congregation at large, 
 would hardly need discussion. For in this case all, 
 or nearly all, would be able to join and sing with 
 propriety and effect. Even in this case, however, a 
 choir would still be important to lead and aid the 
 singing of the congregation. 
 
 It is necessary, then, that in every church there 
 should be a choir of cultivated singers. How shall 
 these choirs be formed ? Shall the church take the 
 
 r 
 
 lead in this thing ? or shall they, as they heretofore 
 have done, give it up entirely into the hands of 
 others, fold up their arms, and then sit down and 
 lament over its low and degraded state, and wonder 
 what is the matter. 
 
 But there are many objections against joining a 
 choir of singers. The greatest probably is, that it is 
 
21 
 
 not fashionable : it is considered by many as rather 
 too humble an office for their station in life. But 
 can any thing be considered degrading by the Chris- 
 tian, which has a tendency to promote the cause of 
 piety in his own heart and in the hearts of others ? 
 Dr. Watts has justly said, that singing the praises of 
 God is more akin to the worship of the heavenly 
 world, than any other employment on earth ; and 
 shall Christians fear to degrade or lower themselves 
 by engaging in such an employment as this ? Such 
 a spirit does not become the Christian. Such a spirit 
 had not the royal psalmist. Such a spirit will never 
 afford consolation on the bed of death ; and if we 
 should ever be admitted into heaven with such a 
 spirit, we should be mere spectators there. For in 
 heaven 
 
 " Their golden harps they take, 
 
 Harps ever tuned, 
 
 and with preamble sweet 
 
 Of charming symphony, they introduce 
 Their sacred song, and waken raptures high : 
 No voice exempt, no voice but well can join 
 Melodious part ; such" spirit " is in heaven." 
 
 Want of time is often urged as an excuse : an 
 attention to singing would interfere with other en- 
 gagements. But one duty can never interfere with 
 another ; and if God has appointed singing in the 
 church, then it is unquestionably the duty of Chris- 
 tians to devote so much time to it, as is necessary 
 to sing with decency and propriety : I will not say 
 that it is the duty of every Christian ; but where a 
 talent has been given it should be improved. A 
 4 
 
22 
 
 family is sometimes urged as an objection to uniting 
 with a choir : the man has married a wife and can- 
 not come ; he must now relinquish his post to some 
 younger person ; he desires to sit with his family, 
 and thinks his presence is needed there. But the 
 singing must be carried on ; and if what has now 
 been said is correct, it ought to be carried on by a 
 choir ; by a choir very different from those, which, 
 in too many instances, have had the lead of music 
 in the churches ; by a choir composed of serious, 
 religious persons — of those whose character is 
 respected, whose judgment is matured, and whose 
 example will have an important influence on others. 
 It is not, indeed, the duty of every such person in a 
 congregation to become a member of the choir ; for 
 all are not needed. But it is the duty of some ; 
 and circumstances must determine who these are. 
 In general, it may be observed, that, where God has 
 given a good natural capacity for music, the duty 
 is plain ; and a good natural capacity for music is 
 much more common than is generally supposed. 
 Let the question be asked then, " Do I possess a 
 capacity to be useful in this department ; and am I 
 needed there ? is my voice, or is my influence, or my 
 example, needed there ?" And if we can be of more 
 service to the church in the choir than in the pew, 
 let the sacrifice be made : let it be made on the same 
 principle that it is done by the minister ; for he leaves 
 his family, although his presence may be as impor- 
 tant to them, as in the other case. The church calls 
 for his services elsewhere, and he obeys the call. 
 
23 
 
 It will not do to say that we can be of as much 
 service, and sing as well in the pew as when with 
 the choir. This is not the fact. Those who sing, 
 must sing together ; they must sit together, at least 
 until music is more generally understood, or there 
 can be neither time, nor tune, nor force, nor ex- 
 pression. The rhetoric of music can in no other 
 way be brought to bear upon the heart. 
 
 It is often said " I should willingly join the choir, 
 but I have no musical talent." This is indeed a 
 good excuse, if the assertion is strictly true : but 
 probably it is not true, in one case out of a hundred. 
 A capacity for music is much more common than is 
 generally supposed. If no more attention was be- 
 stowed upon the art of reading than is bestowed 
 upon the art of music, good readers would be as 
 scarce as good singers are. Nature, it is believed, 
 does generally bestow the capacity. True, it is 
 more vivid in some than in others ; but if it lie 
 totally neglected in any, it may in time become 
 extinct. Probably there is not a congregation in 
 this city but possesses the materials for a good choir. 
 They may be deficient, indeed, in taste ; but almost 
 every other qualification could be easily found. If 
 it be said that high culture is important ; it is not 
 denied that it is so ; but it is perhaps not more im- 
 portant than it is to eloquence in the preacher. A 
 man can speak, and speak to the purpose, although 
 ignorant of the graces of oratory ; and a man may 
 easily be brought to sing, to his own edification, 
 and to the edification of others, although ignorant of 
 
24 
 
 many of the refinements in music. A choir formed 
 from materials now existing in the church, might 
 readily be brought to resemble the minister, who, 
 with a good knowledge of the word of God, good 
 common sense, sound judgment, and a heart warm 
 with love to God and the souls of men, is yet, in a 
 great degree, destitute of oratorical powers. But 
 wiio would not prefer the preaching of even such 
 a man to the eloquence of a Demosthenes or a 
 Chatham, unaccompanied by more important quali- 
 fications ; and who would not prefer a choir, made- 
 up of devout persons, capable of singing in a decent, 
 sober, and impassioned, manner to the choicest 
 Italian band from the theatre, or even to many of 
 the undisciplined choirs which now take the lead 
 in our churches ? 
 
 If it be asked why all should cultivate music, 
 since so small a proportion are needed for the choir ; 
 it may be answered, that, although the singing 
 should be conducted by a choir, it is not intended 
 that it should be, at all times, exclusively confined 
 to them : on the contrary, it may be desirable that 
 others, sitting below, should join, provided they 
 are qualified to do this with propriety and effect.* 
 Some degree of cultivation is also necessary to 
 enable us to enter into the spirit of singing, and to 
 derive benefit to ourselves from the performances 
 of others. It is so in every fine art. Besides, 
 singing is made a part of private and social worship. 
 
 * Devotional effect undoubtedly may be sometimes promoted, as in a psalm or 
 hymn of exalted praise to God ; by the lull chorus of a well instructed congregation. 
 
25 
 
 The family, the vestry, the conference, the prayer 
 meeting, the sabbath school, and the monthly con- 
 cert, all derive additional interest from a hymn of 
 praise. The nature and design of these meetings 
 require that they be conducted in a different manner 
 from the public services of the sabbath. They 
 should be more easy, social, and familiar : and as 
 the formality of a regular sermon is dispensed with 
 on such occasions, and a more familiar style of 
 address adopted, both in preaching and in praying, 
 so also it should be in singing. That the services of 
 all are not absolutely needed, therefore, is no reason 
 why all should not cultivate sacred music, so far as 
 to be able to take a part in this exercise whenever 
 their services are needed ; and so far as to be able 
 properly to appreciate the performances of others, 
 and to derive benexit from them. 
 
 Every member of a congregation, and especially 
 every member of a church, ought to feel an interest 
 in the singing, as well as in the other public exercises 
 of religion. But how often do we hear it said by 
 Christians, " Oh ! I can't sing — I have nothing to 
 do with the singing." " You must take care of that !" 
 Now here is the very root of the evil — the very bane 
 of church music. A Christian nothing to do with 
 singing ! And yet anticipate that heaven where they 
 cease not day nor night to chant the praises of the 
 Redeemer ! What would be thought of the Christian 
 who should say the same of public prayer ? If sing- 
 ing be a devotional exercise — as much so as prayer ; 
 then every Christian is, or ought to be, deeply inter- 
 
26 
 
 ested in it ; and every Christian has duties to per- 
 form in relation to it. The only excuse that Chris- 
 tians who wholly neglect to cultivate church music, 
 can give for their neglect, is that of the servant to 
 whom was committed one talent : " 1 went and hid 
 thy talent in the earth." 
 
 Enough has probably been said to show of what 
 persons a choir of singers should be composed. It 
 is not said, it will be observed, that a man posses- 
 sing other qualifications, is to be excluded from 
 singing, on the ground that he is not a pious man. 
 On the contrary, the services of such a man may be 
 important. Persons of this description should be 
 invited and urged to sing : it is their duty to sing, 
 to pray, to repent, to believe ; and to do all these 
 things in the spirit which the Gospel requires ; and 
 they are inexcusable if they neglect them. Besides, 
 what can be more pleasing than to see the young, 
 especially, meet together, and from proper motives, 
 and with proper feelings, engage in this exercise ? 
 But it is said that singing, so far as it relates to 
 public worship, should be in the hands of the church, 
 and that in every choir there should be a prevailing 
 influence of piety. This should ever be deemed 
 indispensable.* 
 
 Every choir thus formed, should have a competent 
 
 * The reasons for this are manifest. The unsanetified heart has no pious 
 sympathies in common with the sanctified. While the one melts in the language of 
 penitence, the other remains obdurate. While the one rejoices in a sweet sense of 
 pardoning mercy, the other stands forth unhumbled and unmoved. While the one 
 puts forth the full overflowings of grateful praise, the other holds forth perhaps a 
 boldness of expression which seems to say, " Who is the Almighty that we should 
 fear him V 
 
27 
 
 leader — if possible, a pious man ; at least a man of 
 intelligence, taste, judgment, and influence ; one who 
 is well acquainted with the whole subject of church 
 music, and who is capable of instructing others. 
 He should study Watts, if Watts be the book used, 
 and indeed the whole range of lyric verse and mu- 
 sical expression, as regularly as a player studies 
 Shakspeare, or the histrionic art. His soul should 
 swell with the sentiment of the poet ; and that 
 reading and that style of performance should be 
 adopted, which are best calculated to enforce it upon 
 the hearts of others. He should be as punctual in 
 his attendance as the clergyman : and to him every 
 member of the choir, should be in strict subjection. 
 Such a laborer is worthy of his hire : and although, 
 like the minister, he should be influenced bv nobler 
 motives, yet it is proper that he should receive a 
 suitable compensation ; for much time and exertion 
 he must necessarily devote to the duties of his office. 
 The services of such a leader have not been properly 
 appreciated or rewarded. 
 
 Let the choir meet occasionally for practice, per- 
 haps as often as twice a week, until they have made 
 considerable progress ; and choirs formed from ma- 
 terials now existing in the churches, may find it 
 necessary to meet even more frequently than this, for 
 a short time. But they should meet, not so much for 
 the purpose of learning new tunes, as for the practice 
 of such tunes as are already known, in connexion 
 with psalms or hymns, and with reference to devo- 
 tional effect ; keeping constantly in view the great 
 
28 
 
 design of church music, the solemnity of public wor- 
 ship, and the responsibility of their station, as leading 
 and greatly influencing the devotion of others. Nor 
 is there any good reason why such meetings may not 
 be profitable and pleasant ; for if singing be culti- 
 vated as a devotional exercise, why may not singing 
 meetings be as profitable as prayer meetings,* both 
 to the choir and to the congregation. A choir 
 should always feel that the devotions of the congre- 
 gation, so far as this exercise is concerned, depend 
 wholly upon them ; and let them not forget what an 
 important influence their performances may have 
 upon the other exercises of public worship ; that, 
 under God, they have it in their power ordinarily to 
 deepen impressions which divine truth may have 
 made, or to scatter and dissipate those pious feel- 
 ings, which the minister has been instrumental in 
 exciting. 
 
 A thorough and permanent reformation in church 
 music, however, cannot be effected, but by a grad- 
 ual process. Children must be taught music, as 
 they are taught to read.f Until something of this 
 kind is done, it is in vain to expect any great and 
 lasting improvement. Christian parents, especially, 
 should feel it their duty to have their children in- 
 structed in such a manner, as that when they grow 
 
 * Why may they not sometimes be profitably united ? Every person who feels in 
 the true spirit of singing, would, at least, desire to invoke the divine blessing at all 
 these special meetings for cultivation. 
 
 t " Not only should persons make conscience of learning to sing themselves, but 
 parents should conscientiously see to it, that their children are taught this among 
 other things, as their education and instruction belong to them."— Edwards. 
 
29 
 
 up, and become pillars of the church in other re- 
 spects, they may also be so in this. It is a mistake 
 fatal to the interests of church music, to suppose that 
 singing cannot be taught in childhood. In this re- 
 spect, it is analogous to the art of reading. If this 
 be not acquired until the age of eighteen or twenty 
 years, it is probable it will always be neglected : so 
 if music be not taught in childhood, much progress 
 must not be expected afterwards. 
 
 As singing schools have heretofore, in many in- 
 stances, been conducted, it may be doubted whether 
 any benefit has been derived from them. A number 
 of young persons who are desirous of spending their 
 evenings together, with quite other objects in view 
 than that of the religious cultivation of music, have 
 recourse to a singing school. A teacher is employed, 
 who is, perhaps, destitute of almost every important 
 qualification ; and who is about as fit to teach his 
 pupils to pray or to preach, as to teach them to 
 sing.* He supports neither order nor dignity in the 
 school. A few indifferent tunes, perhaps, are, 
 parrot-like, committed to memory, and executed 
 without just time, correct intonation, or the least 
 attention to the nature of the song, or the import of 
 the words. The sentiment, indeed, is wholly disre- 
 garded ; and the most solemn and affecting words 
 are used as a matter of mere accommodation to the 
 music, and are sung amidst unrestrained levity and 
 
 * There are indeed exceptions. Here and there we find a teacher qualified for 
 his station ; and in some instances in our country, piety and talent have been devoted 
 to this subject. Wherever there is such a teacher, let him be encouraged ; and let 
 every church make exertions to obtain the services of such a man. 
 
 5 
 
30 
 
 folly. After a few weeks practice of this kind, the 
 pupils go into the church, not to assist in the wor- 
 ship of God, but to make an exhibition of their mu- 
 sical acquirements, and to draw forth the applause of 
 the people. They introduce their new tunes, drive 
 away from the choir those persons who have pre- 
 ceded them in a similar course of instruction and prac- 
 tice, and by their light and inappropriate performan- 
 ces, banish even the appearance of devotion from this 
 exercise. To all this the church have submitted, and 
 have called it the cultivation of sacred music. 
 
 The want of time to teach children music, can- 
 not with propriety be offered as an excuse. A 
 very small proportion of their time for two or three 
 years, at the age of from ten to fifteen, would be 
 sufficient ; and the practice of music might be 
 pursued at this age in such a manner as to afford 
 relief from other studies, and be a pleasant and 
 agreeable employment. When the church shall 
 take this subject into its own hands, when children 
 shall be taught music, when choirs shall be compos- 
 ed of serious and proper persons who shall cultivate 
 music as a religious duty, when singing shall be 
 considered as much of a devotional exercise as 
 prayer ; then the evils which have been so long 
 existing, will speedily be removed, and church 
 music will be performed in some measure as it 
 ousht to be. Christians on earth will imitate the 
 redeemed in heaven, and the praises of God in the 
 church below, will be a faint shadow of the trium- 
 phant strains which animate the heavenly choir. 
 
31 
 
 The abuses of which we now complain, are wholly 
 to be attributed to the apathy of the church on this 
 subject. The difficulties and disputes that so fre- 
 quently occur in choirs ; the gross violations of the 
 sabbath which grow out of the existing state of 
 things ; the whistling and talking and levity, so 
 often observable in the singers' seats ; the thought- 
 less and profane manner in which the name of God 
 is often used ; all the solemn mockery of singing as 
 it now exists, is chargeable to the church. The 
 guilt lies at her door, and the remedy is in her 
 hands ; and yet, alas ! Christians and Christian 
 ministers too, suffer this thing to go on, without 
 lifting a finger to stay its progress, and without 
 seeming to know or desiring to know what their 
 duty is in relation to it, or whether they have any 
 responsibility in the case whatever. 
 
 The subject of instrumental accompaniment is one 
 of very great importance ; both because instruments 
 are generally used, and because they may be em- 
 ployed to great advantage. Indeed it is impossible, 
 in ordinary cases, for good vocal music to exist 
 without the support of instruments. In every choir 
 of singers, let their progress be ever so great, a ju- 
 dicious accompaniment seems to be indispensable to 
 complete success. Such an accompaniment guides, 
 sustains, strengthens, and relieves, the vocal parts. 
 It promotes good tone and correct intonation, and 
 renders vocal music pleasing and effective. But, 
 great as are the advantages to be derived from in- 
 
32 
 
 stru mental accompaniment, how seldom are we 
 able to realize them in church music ! The art of 
 accompaniment seems to be as little understood and 
 as much abused by instrumentalists, as is the art of 
 singing by vocalists. Instead of accompanying the 
 singing, instrumental performers often take the lead 
 of it. Instead of playing in a soft and simple 
 manner, and in unison with the voice, they will, 
 for the sake of distinction, make as much noise as 
 possible, raise their instruments an octave above 
 the pitch, and introduce a multitude of shakes and 
 flourishes and graces, falsely so called, which are 
 wholly out of place, and are equally offensive to 
 correct musical taste and religious propriety. With 
 such a ridiculous attempt at accompaniment, in vain 
 would even the choir of angels who announced the 
 birth of the Saviour to the shepherds on the plains 
 of Bethlehem, swell the chorus of " Glory to God 
 in the highest." When instruments are employed 
 as an accompaniment, they should always be made 
 subordinate to the vocal parts, with which they 
 should combine in a harmonious and delicate manner. 
 They should never predominate,* or be so prominent 
 as to attract the attention of the audience, or draw 
 off the mind from the subject of the poetry. Indeed, 
 unless they can assist to enforce the sentiment of 
 the words upon the heart, they are worse than 
 useless. But this is what they are designed to do, 
 and when properly used are capable of doing. How 
 
 * In some cases where the accompanist has to do with untutored voices, he is 
 compelled to put forth some strength to control them ; and thus far he must 
 transcend the limits which the art properly assigns to him. 
 
S3 
 
 different is the effect produced by them as they are 
 frequently used in our churches ! 
 
 The instruments usually employed in church music 
 are either the organ, or violins, violincellos, clarinets, 
 flutes, &:c. There are, however, very serious objec- 
 tions to the use of the latter instruments. They re- 
 quire much time and attention to keep them in order 
 and in tune ; and it frequently becomes necessary, 
 or is thought to be so, to tune or repair them, while 
 the congregation are assembling, much to the annoy- 
 ance of those who desire to be left wholly to their 
 own reflections, at such a season, to lift up their 
 hearts to God in secret, or to fix their minds upon 
 some serious subject as preparatory to the com- 
 mencement of public worship ; and it is sometimes 
 the case that we hear the keys snapping or the strings 
 thrumming, in prayer or sermon time. The least 
 objectionable and the most useful of these instru- 
 ments, is the violincello.* But were they in the 
 hands of such musicians as was the sweet psalmist 
 of Israel, the existing objections to any of them 
 would be done away. 
 
 The organ is certainly the most valuable instru- 
 ment for accompanying church music. Its fixed 
 intonation, its facilities for harmonic combinations, 
 its lofty and solemn tones, its adaptation to the per- 
 formance of soft and loud passages, and the circum- 
 stance of its always being in order and ready for 
 use, give it a decided advantage over every other 
 
 * The violin, were it not so wretchedly abused, would be equally valuable. Of 
 all instruments, this is allowed to be capable of the most varied expression. But 
 at present it has too many irrelevant associations. 
 
34 
 
 instrument. The organ also has the benefit of strong 
 favorable associations ; as it belongs almost exclu- 
 sively to the church, and is seldom employed in any 
 other than sacred music ; whereas the violin is apt 
 to transport us to the ball room or the theatre, the 
 flute to the parlour, and the clarinet and bassoon to 
 the field. When under the hand of a man who 
 understands his art, and feels his subject, the organ 
 possesses a charm that is irresistible, and, at the 
 same time, subordinate to sentiment. It even ren- 
 ders enunciation more distinct, and the interest and 
 expression of the subject more exalted and refined. 
 It is a great mistake to suppose that an organ must 
 necessarily destroy vocal expression ; or that because 
 there is an organ, there is therefore no need of 
 vocal performance. The only proper use of the 
 organ is to accompany and assist the choir. Its 
 use may be somewhat different, however, in most 
 of those societies where singing is carried on by the 
 whole congregation ; because, while there is here no 
 vocal expression to destroy, there is much discord 
 which it is well to drown. The organist in such a 
 case is quite excusable if he permit the lofty tones 
 of his noble instrument to prevail.* Instead of 
 relaxing exertions, therefore, to improve vocal music 
 where an organ has been introduced, this very 
 circumstance should be a powerful stimulus to in- 
 
 * Dr. Burney says, that " the greatest blessing to lovers of music in a parish 
 church, is to have an organ in it sufficiently powerful to render the voices of the 
 clerk, and of those who join in his out-cry, wholly inaudible."— His. Mus. vol. 
 3. p. 60. And yet how shamefully deficient must be the high praises of Zion, even 
 under such circumstances ! 
 
35 
 
 creased efforts on account of the great assistance 
 which may be derived from the instrument. 
 
 But valuable as the organ is, how seldom do we 
 find it well managed ! How seldom are we able to 
 realize its usefulness ! They only who know its 
 inestimable value when judiciously employed, and 
 have felt its thrilling influence in psalmody, are 
 sensible to what an extent its powers are prostituted 
 and its use perverted. 
 
 The abuse of the organ may in almost all cases 
 be traced to the character and qualifications of the 
 organist. Mere musical talent will no more enable 
 a man to play than sing church music appropriately ; 
 and probably Handel, or Bach, two of the greatest 
 performers upon the organ that ever lived, would 
 have been as unfit to accompany, as Braham or 
 Madam Catalani would be to lead, a choir of singers 
 in public worship. Execution, or a mere ability to 
 play expertly upon his instrument, is probably not 
 more important to the organist, than studied elocution 
 is to the preacher ; and yet this is the only qualifica- 
 tion which is generally required. A mere trial of 
 skill often determines the choice ; and the man who 
 excels in executing the most difficult passages upon 
 his instrument, is appointed to the office. 
 
 It would be strange indeed, if when mere human 
 eloquence was required in a minister of the Gospel, 
 the cause of the church should not suffer. It is no 
 less certain that when an ability to play well upon 
 his instrument is the only qualification looked for in 
 
36 
 
 an organist, the cause of church music will suffer. 
 A minister must, indeed, be able to speak acceptably 
 in the pulpit ; and if he is eloquent, and at the same 
 time possesses the other requisite qualifications, it is 
 so much the better. So with the organist : he must 
 be able to play in a plain and appropriate style, 
 which it is not difficult to acquire ; and if he be a 
 finished performer, it is all the better, provided he 
 possesses the other more important qualifications. 
 
 What these qualifications are, must occur to the 
 mind of every person who considers the important 
 station the organist occupies in the public worship 
 of God, and the influence he is capable of exerting, 
 through the medium of his instrument, upon the 
 feelings of the audience. 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 sensibility, or he will neither enter into the 
 spirit of the words sung, nor of the other exercises 
 of the day. He must be a man of good judgment, 
 or he will make the most fatal mistakes in accom- 
 panying such hymns as call forth, in different stan- 
 zas, emotions of a different character. He should 
 understand the nature of his instrument and the 
 object of its introduction into the church — as an ac- 
 companiment to the voices, subservient to vocal 
 effect, or rather designed to promote it ; and while 
 he acknowledges his instrument to be subordinate to 
 rocal music, he should acknowledge himself to be 
 subordinate to the leader of the choir, on whom the 
 
37 
 
 responsibility of the whole performance depends.* 
 Were such organists employed, there would be fewer 
 complaints of loud and unmeaning playing ; of long, 
 flourishing, and fanciful interludes, foreign to the 
 subject and unfit for the church ; of difficulties be- 
 tween organists, and singers, and trustees, and com- 
 mittees ; and of a thousand other ills that church 
 music now is heir to. 
 
 Yet, after all we have said in favor of the organ, 
 it will hardly be expected, that, in the present state 
 of the churches, it can be very generally introduced 
 with success. Many congregations in the country 
 feel scarcely able to support their minister, and some 
 are nearly or quite destitute of preaching. Some 
 which might purchase an organ, would not be able 
 to procure a competent person to manage it; and 
 among those who were thus able, a good leader of 
 the choir might not be found. It is necessary for a 
 society to count the cost, in these matters, and to 
 make a right estimate of probable consequences, be- 
 fore they conclude to furnish themselves with this 
 instrument. The best things are often the most 
 liable to abuse. 
 
 A few very brief remarks on the nature of musical 
 adaptation, and on the character of the music best 
 calculated to promote devotional feeling, may not be 
 improper. 
 
 The subject of adapting music to words in 
 
 * This, however, must depend on circumstances. Where there is a good organist 
 and an ignorant leader of the choir, the opposite rule must be adopted through ne • 
 cessity : but this, at best, is but a bad state of things. 
 
 6 
 
38 
 
 metrical psalmody, seems to be in its infancy. 
 The musician has done but very little by his com- 
 positions to enforce the sentiment of the poet — if we 
 except some few cases of particular adaptation. On 
 the one hand, the poet has written without reference 
 to musical effect ; and on the other, the musician 
 has composed with very little attention to rhetorical 
 effect. And it seems difficult to make much progress 
 in this department while we are obliged to sing so 
 many different hymns to the same tune. Time does 
 not permit us to pursue this subject. The principle 
 of adaptation, however, to which we now allude, 
 and the difficulties attending it in the present state 
 of church music, may be illustrated by one or two 
 familiar examples. If we attend to the well known 
 doxology of Dr. Watts, " To God the Father, God 
 the Son," &c. sung to the tune of Old Hundred, as 
 it very commonly and appropriately is in the pres- 
 ent state of musical improvement, we shall find that 
 the particles to and the, are quite as conspicuous as 
 the principal words of the line. The evil in this 
 case is, that the very words, as sung, have a ten- 
 dency to obscure the sentiment. 
 
 Example. 
 
 e=ilii=i^i"y M 1 1 
 
 To God the Fa - ther, God the Son, 
 
 Now suppose we employ a different melody, a 
 melody adapted to the comparative force of each 
 word and syllable ; the advantage will he apparent. 
 
39 
 
 £i 
 
 mmm 
 
 To God, the Father, God the Son, 
 
 Again ; suppose we sing to the excellent old tune 
 
 of Winchester the following lines. 
 
 " Go, preach my gospel, saith the Lord ; 
 Bid the whole earth my grace receive :" — 
 
 we shall find that, from the prolonged notes and in- 
 appropriate melody, the significance of the words 
 will be wholly lost. 
 
 
 
 Go, preach my gospel, saith the 
 
 Lord ; 
 
 3 
 
 Bid 
 
 -©— 
 
 :=izidz±=§3 
 
 the whole earth my grace re - ceive. 
 
 Whereas, if we employ a melody written with 
 reference to the sentiment, the music may be made 
 to perform its entire office. 
 
 For. 
 
 Mez. 
 
 Hi-S^liililjSi^ 
 
 Go, preach my gospel, saith 
 
 For. ^ Mez. 
 
 the Lord ; 
 
 & rr Til j i i^mm 
 
 Bid the whole earth 
 
 my 
 
 grace re - ceive. 
 
 These examples are by no means striking ; but 
 they are sufficiently so to give some idea of the im- 
 portance of particular adaptation. 
 
40 
 
 The subject of lyric poetry, in close connexion 
 with that of adaptation, is one which has been very 
 generally neglected. Music addresses itself more 
 especially to the feelings ; but many of the hymns 
 in common use are addressed almost exclusively to 
 the understanding, and are argumentative, or didac- 
 tic, or narrative, in their character. Such hymns, 
 perhaps, are not quite as unfit for musical expression 
 as a demonstration of Euclid, or Edwards on the 
 Freedom of the Will, or Hume's History of England ; 
 but it is not unfrequently the case, that, by an inju- 
 dicious selection of this kind, the contemplated effect 
 of singing is wholly lost. Probably one third, or 
 even more, of the hymns in common use are unfit 
 for musical purposes ; and perhaps in no other way 
 can ministers of the Gospel do more to advance the 
 cause of church music, than by an attention to this 
 subject.* 
 
 Here it may not be improper to offer a few re- 
 marks on the selection of tunes. One of the most 
 important characteristics of a good psalm tune is 
 simplicity, or such an arrangement with respect both 
 to melody and harmony, as shall render the design 
 intelligible, and the execution easy. Solemnity is 
 no less important.! But how often do we find tunes 
 
 * See on this subject the Christian Spectator for 1825. 
 
 t The rule laid down for church music in England, nearly a thousand years ago, 
 was, " Simplicem sanctamque melodiam, secundum morem ecclesiae, sectentur.''' 
 Let them observe a simple and sacred melody, after the manner of the church.— Spelman. 
 Concil.Vol. l.p.248. 
 
 " In church music, curiosity and ostentation of art, wanton, or light, or unsuitable 
 harmony, such as only pleaseth the ear, and doth not naturally serve to the very 
 
41 
 
 the most complicated and difficult both as it regards 
 melody and harmony, or florid and rapid move- 
 ments, chosen in preference to simple and familiar 
 airs. Correct harmony is undoubtedly important, 
 and should by no means be disregarded. Objections 
 to false harmony, however, will only be felt by the 
 man of musical taste and knowledge. Nor would 
 objections to a sermon, on account of its violations 
 of taste or grammar, exist in the mind of the illite- 
 rate man. " But is it desirable that a sermon should 
 be written, not only with grammatical accuracy, but 
 with ease and elegance ? so also it is of compara- 
 tive importance, that the musical compositions of the 
 church should be such as not to offend the most cul- 
 tivated ear." Let there be a small number of sim- 
 ple, easy, and solemn, tunes selected for the use of 
 the choir in public worship. New tunes may be 
 occasionally introduced, but not until they are per- 
 fectly familiar, if possible, to the whole congrega- 
 tion ;* at least, to the performers. A change should 
 be constantly going on, but it should be so gradual 
 as to be almost imperceptible. Where such a course 
 is adopted, the business of the choir becomes corn- 
 kind and degree of those impressions, which the matter that goeth with it, leaveth or 
 is apt to leave in men's minds, doth rather blemish and disgrace that we do, than 
 add either beauty or furtherance unto it. On the other side, these faults prevented, 
 the force and efficacy of the thing itself, when it drowneth not utterly, but fitly 
 suiteth with matter altogether sounding the praise of God, is in truth most admirable, 
 and doth much edify, if not the understanding, because it teacheth not, yet surely the 
 affection, because therein it worketh much. They must have hearts very dry and 
 tough, from whom the melody of the psalms doth not some time draw that wherein a 
 mind religiously affected delighteth." — Hooker's Eccl. Polity, Book 5, § 38. 
 
 * This, however, is supposing that a congregation are somewhat awake to the 
 subject. 
 
42 
 
 paratively easy, and the congregation can more in- 
 telligently attend to the singing. 
 
 The attitude, or position of the body, in which 
 this duty is performed, is comparatively unimportant, 
 though not entirely so. In prayer, rising from our 
 seats is thought to be respectful and becoming ; and 
 as singing is an act of praise to God, rising in this 
 exercise seems to be equally proper and important. 
 " Under the former dispensation," says Dr. Collyer, 
 u the Levites stood up to praise the Lord. T cannot 
 think that we owe less reverence to the great object 
 of our thanksgivings under this ' ministration of 
 life,' than they felt under the 'ministration of death. 5 
 Singing is an act of worship; but sitting is not a 
 posture of worship. In heaven prostration is used : 
 surely on earth, less than rising cannot be deemed 
 due reverence." 
 
 May I hope to be pardoned for saying that it is 
 much to be regretted that no more attention is paid 
 to music, as a part of religious worship, in the educa- 
 tion of ministers of the Gospel. " We must of ne- 
 cessity maintain music in schools," says Luther : 
 " a schoolmaster ought to have skill in music, other- 
 wise I would not regard him ; neither should we 
 ordain young fellows to the office of preaching, 
 except before, they have exercised and practised in 
 the school of music." — " It is the duty of those who 
 are preparing for the ministry," 1 now quote from 
 the Christian Spectator, " to cultivate taste and skill 
 in sacred music. The preacher who is unable 
 
43 
 
 to sing, will often find this a deficiency that lessens 
 his power of doing good. However, many have 
 piety and talents adequate to preach the Gospel, 
 who have not the capacity to acquire this art. We 
 would not have them on this account turn aside 
 from the holy work. But we would require of 
 every candidate for the ministry, what a man even 
 of very limited musical capacities certainly can do, 
 that he attend sufficiently to the subject to know 
 what style of music is suitable for public devotion, 
 and what collections contain such music. With 
 this knowledge alone he can do much in promoting 
 good psalmody : he may, at least, avoid the misfor- 
 tune and the shame of recommending and encour- 
 aging that which is bad. We sincerely regret, 
 therefore, that there is not more interest on this 
 subject in our theological seminaries. 
 
 " Every thing connected with the interests of the 
 church is a proper subject of attention and study at a 
 seminary for educating the guardians of the church. 
 If it be important that the praying and the preach- 
 ing in public worship be performed suitably, it is 
 also important that the singing should be performed 
 suitably. And if ministers will not watch over this 
 part of the service, who will ? But proper attention 
 will not be given to the subject in our theological 
 institutions, until they are furnished with professors 
 of music. Let this be done and we shall witness a 
 new era in the sacred music of our country." 
 
 May we not confidently indulge the hope, that 
 the church is about to awake to this subject ; and 
 
44 
 
 that while so much is doing in the world to advance 
 the cause of science and religion, the songs of Zion 
 will lie no longer neglected ? 
 
 " Methinks," says Baxter in his Dying Thoughts, 
 "when we are singing the praises of God in great 
 assemblies, with joyful and fervent spirits, I have 
 the liveliest foretaste of heaven, upon earth ; and I 
 could almost wish that our voices were loud enough 
 to reach through all the world, and to heaven itself. 
 Nothing comforts me more in my greatest sufferings, 
 nor seems more fit for me, while I wait for death, 
 than singing psalms of praise to God : nor is there 
 any exercise in which I had rather end my life."