THE BENSON LIBRARY OF HYMNOLOGY Endowed by the Reverend Louis Fitzgerald Benson, d.d. ^^LIBR^Y OF THE THEOLOGICAL SEMINARY ^"^'■^ ^ PRINCETON, NEW JERSEY ■m r R JUL 30 1941 * CHURCH ]\ru S I C A BOOK iTor }3ai*itor£5 aub people: RICHARD STORRS WILLIS 2Ccu)-t)ork : DANA A N 13 COMPANY 381 Broadway. 1 85G. Entered according to Act of Congress, in the year 1855, By DANA & COMPANY, In the Clerk's Office of the District Court of the United States for the Southern District of New York. R. C. VALENTINE, Stkrbottpbh and Elkctrottpiot, OEO. RUSSELL fe CO.. Printnra. 17 Dutch-st., cor. Fulton, 61 Beelcman-atreot, N. Y. Nbw Tors. CONTENTS. PART I Chap. I. How our Church Music goes on II. A Chapter to the Clergy III. Church Music a Three-Fold System IV. Can we Worship by a Choir V. A Sunday in a German Church VI. Children's Music in Churches VII. The Position of Choirs and Organs 11 16 21 30 34 38 PART II. Cn.tp. VIII. Our Psalms and Hymns IX. Comments ..... X. Wedding Music to Verse XI. On the Treatment of Words XII. Mutilation of Hymns XIII. Musical Rhetoric XIV. Secular Effects in Church Music . a. The Sentimental, Languishing Effect h. The Dance Effect. r. The Rub-a-Dub Effect. , 61 . 81 . 88 . 102 . 108 . 117 . 120 OUK CHURCH MUSIC CHAPTER I. HOW OUR CHURCH MUSIC GOES O.V. It is Sunday morning. We are near a place of •wor- ship : let us enter. The assembled people are just en- gaging in an act of divine homage — a song of praise has been announced, and the music is arising. In what words is this act of homage embodied ?- " Great God ! how infinite art Thou ! What worthless worms are we ! Let the whole race of Adam bow And pay their praise to Thee. Thy throne eternal ages stood, Ere seas or stars were made : Thou art the ever-living God, Were all the nations dead. Our lives through varied scenes are drawn, And vexed with trifling cares, While Thine eternal thought moves on Thine undisturbed alTairs. 1 2 OUR CHURCH MUSIC. Great God ! how infinite art Tliou ! What worthless worms are we : Let the whole race of creatures bow And pay their praise to Thee." WHAT THE M1XISTIJR_ IS DOIXG. Seated in his pulpit — (it is customary, here, for clergyman and people at this moment to be seated) — he is turning over the leaves of his sermon. He is thinking, perhaps, that it is too long : he will curtail here, and condense there. A felicitous thought suddenly strikes him — ^lie is hastily interlining it with his pencil. Now he is gazing dreamily about the church. Of what is he thinking ? Perhaps, that the congregation is very thin to-day — he misses cer- tain of his parishioners. Perhaps, that a child is to be baptized ; Have the baptismal party arrived in church ? Perhaps, that among the notices to be read, a certain com- mittee-meeting has been forgotten ; he must wink the nearest church-officer up in the pulpit to him, to have that matter decided. Or, he suddenly observes that the light is not right, and the sun will soon be pouring in upon him through yonder gallery window. Now, therefore, he is standing a hymn-book in a certain position on the pulpit, as a private signal to the sexton. Of such matters may, or may not, the good minister be thinking. I hope we do him no wrong ; but he is certain- ly not engaged in rendering homage to his ]\[aker. For, with the simple announcement of the song of praise, his duty seems to have ended ; and there is now a short in- termezzo, for him to attend to certain little matters of his own, and of the church generally. The act of worship an- OUR CHURCH MUSIC. nouncocl, then, apparently not concerning liim, luis proba- ble reference to ilio congregation. VniAT THE CONGREGATION ARE DOING. Comfortably seated, in erect and easy attitude, they ap- pear not unlike to people in a concert-room — there is a per- formance of music going on, and they are listening. Or, perhaps otherwise. Napoleon was very fond of attending musical performances, not for the music, but because it afforded him such an excellent opportunity of thinking of something else. While the melody pleasantly employed his ear, liis mind could bo occupied with some of his stu- pendous military designs. And thus, in the present in- stance, the congregation may successfully be thinlving of something else. And of what ? — how can we possibly know ? The merchant may be musing, perhaps, on the present state of trade — the broker on the condition ol stocks — the lawyer on the suit which commences upon the morrow. The gentle fair also of the congregation, have, doubtless, their o\\ti characteristic thoughts. By strong force of asso- ciation — the music, pleasant people around them, tasteful attire — there may be many of them, for the moment, in a concert-room. The peculiar style of the choir-music may possibly assist this delusion. And, judging from those observant and scrutinizing glances, it were not surprisini^ if the thoughts of the gentle wives and daughters were jusl now somewhat tinged with cherry-colored ribbons, as con- trasting, perhaps, with the chaster effect of a purple style of trimming. 4 OUR CHURCH MUSIC. Let US be just. Here and there is a quiet, retiring figure, apparently absorbed in the act of devotion, and lowly and sweetly singing the praise of her Maker — a true wor- shipper. Some such worshippers, in every church, un- doubtedly there are. AVith such occasional exceptions, however, the act of worship seems, after all, not to concern the congregation. Then, it must concern the choir. WHAT THE CHOIR ARE DOING. They are performing the act of devotion, which, it is understood, is to be engaged in by other people — inasmuch as the music is such as to absorb, for itself alone, their entire attention. Sharps and accidentals, generally, are imminent, and must be sharp-ly looked after. One of the basses sees an ominous flat coming, which he is troubled in mind about. Perhaps he secretly resolves to ignore it altogether : he can overleap it, and fairly reach the terra firma of the note beyond. A tenor singer sees a passage in the prospect that lies just in his voice : upon this he is preparing to display himself, and make the auditors for the moment aware that there is a tenor singer in the choir. A contralto is regarding with trepidation a duet ap- proaching, which she is to sing alone with the first so- prano. From this it would appear, after all, that the act of worship cannot concern even the choir. Then it certainly must concern the organist. OUR CHURCH MUSIC. WHAT THE ORG Ay 1ST IS DOLWG. "What has an organist (in the present style of Church Music) 7iot to do ? He must read the music before him, and follow the words in the hymn-book by the side of the music. One hand is on the swell organ ; another on the choir organ. AVith one foot he presses the swell pedal ; with \he other foot he points the pedal bass. One glance must control the row of registers on his right ; another, that on his left. With one ear he must listen to the quali- ty and volume of tone he is producing ; with the other, he must be careful to adapt this volume to the voices, and to keep choir and organ together. With the rest of his mind, then, still unemployed, he is, it is supposed, to engage in the act of devotion. We cannot but fear, then, that this devotional act can- not even concern the organist. There are only two persons yet in the Church — we must fall back upon the sexton and the organ-blower. But the organ-blower has the treacherous lead before him to watch, and the fre- quent changes in the organ's volume, to produce great ar- tistic effects, seriously affect the wind ; the tell-tale, conse- quently, has to be closely watched. WHAT THE SEXTO.y IS DOING. The sexton, if possessing those qualifications which are presumed in sextons, is necessarily an ubiquitous and gen- erally-useful person until the sermon commences. He must conduct late strangers, like ourselves, to their seats ; he must attend to the furnaces or stoves ; he must keep 6 OUR CHURCH MUSIC. the doors shut ; he must attend to the ventilation and the light ; he must have an eye to the clergyman, who may need his services ; he must be ready to call out the up- coming doctor of the congregation for a real (perhaps an imaginary) patient ; — he must do a great many useful things incumbent on a sexton. How can even he have been referred to by the clergyman on announcing the act of worship ? Wlio, then, are the worshippers here ? Clergyman, con- gregation, choir, organist, all seem to evade the supposi- tion. But stay — does it concern us ? WHAT WE ARE DOING. We are observing whether others worship — when we ought to be doing something better. Our motive, at the moment, may not be a bad one : but still — we are not worshipping. From all of this we are constrained to think, then, that when the clergyman read those lines of the foregoing hymn — Let the whole race oj creatures bow And pay their praise to Thee, that he meant, first, not that the creatures addressed should literally bow, or assume, in any manner, a respect- ful and deferential attitude, but — quietly remain seated. And, second, that not the " whole race of creatures" should engage in this act of homage, but just as many as chose, or whomever in the congregation it might haply concern to attend to this matter. OUR CHURCH music. 7 Therefore, this general act of worship announced, resolves itself into tluft of the optional, scattering few, whom we have observed, here and there, engaged in their devotions. Now, if the picture, thus presented, of our American churches when the music is going on, be overdrawn, the just reader will of course modify it, or reject it. If it be true, his own judgment will best suggest what application to make of it. If such, however, to any extent, be the present state of our Church ^lusic, then there would really seem to be something radically wrong in the matter. Either words do not mean what they seem to mean, and a hymn which reads like a direct and continuous appeal to the Supreme Being, is not the solemn prayer which, in other cases, we should certainly tliink it : — or, our hymns are mere forms of words for musical expression and effect ; chiefly useful in articulating the music, like the /a, la of a solfeggio ex- ercise : — or, there is some grand misapprehension as to the signification of the term worship, as applied when not re- ferring to music ; as involving an act of intelligent homage on the part of each individual — not a vague any one, or no one of the congregation : an act which has a beginning, a continuation, an end : just like any other deliberate act ; just like a prayer. It is certainly not for me, or any other individual, to say what the music of the Church shall positively signify, any further than the words themselves, which are put into my mouth and the mouths of others, shall define and de- termine this signification. But these words, in most in- stances, as in the familiar hymn quoted, imply actual wor- 8 OUR CHURCH MUSIC. ship. Worship, then — I am justified in supposing — is the meaning of the music in such instances. But, is it view- ed, or at all acted upon, as worship ? Kow, if music can be beautifully wedded to worship, it seems desirable to know it ; and how it can be done. If it cannot, it is equally well to know it, in order that what- ever we do, we do intelligently. The nature of worship, I have taken occasion in the en- suing pages early to consider, as lying at the foundation of our subject. Before passing to this, however, and other kindred topics, it may serve a good purpose to present the reverse of the picture just drawn, in a church otherwise engaged in its Sunday music. Perhaps an imaginary church ; perhaps, in certain particulars, one discoverable often enough, to render it of possible presentment in the churchly world. WHAT THE CLERGYMAN IS DOINQ. He is standing, book in hand, intently absorbed in the music-prayer now arising to heaven. Perhaps he is even singing ! His impressive example of, at least, spiritual par- ticipation in the act of worship, would effectively impress the congregation — if they were not, just now, attending to something better. WHAT THE coy GREG ATIOy ARE DOiyC. Conscious of the august Presence they have just in- yoked, they are on their feet. Having invoked this Presence, they do not stand mute and silent there, as though oi'R ciruRcn music. 9 the invocation were entirely without purpose : but eacli, for liiniself, is quietly hynuiing his praise to the Almighty ; or eonfessiniT his delinqneneies, or solieiting forgiveness. Tliere is not much noise — why should there be ? — but a solemn musieal murmur is spreading through the congre- gation, and filling the house. None present are listening to the eftect of congregational singing to see how they like it. The congregation are not worshipping G-od for the ef- fect of it — no one is asked or expected to listen, or see how they like it. Each is supposed to participate in it. If not vocally, from real, or only supposed incompetency, at least spiritually. There are, therefore, no lawyers ; no merchants ; no physicians ; no fashionable women, as such ; and no cler- gymen, at this moment in the house — or persons whose thoughts are running in this direction. They are all wor- shippers ; and paying their homage to heaven from one common level of devotion. WHAT THE CHOIR ARE DOING. The choir is at this moment identical with the congrega- tion. There is no choir — they are all worshippers. No longer engrossedVith the difficulties of musical execution, no longer excited by the ambition of musical display, they are momentarily at rest, in the sacred calm of devotion. WHAT THE ORGANIST IS DOING. The mu are enabled freely to utter our petition, or our praise, in the doubly beautiful language of music and poetry. The poetry expresses the thought ; the music expresses the feeling ; and the two ascend, like twin-doves of the soul, to heaven. It is by no means assumed, that because persons join in congregational song they will therefore necessarily wor- ship. We cannot absolutely control thought. Indeed, if others' experiences accord with the writer's, they will have known some regretted occasion of their lives, when, after having even audibly repeated the Lord's Prayer, they have been conscious, at the close, that they were thinking of something else. But the position confidently assumed is, — that in congregational song there is no excuse for not worshipping : that is, there is no hindrance, either of a mental or artistic kind which can interrupt devotion : and it is the soul's fault, and not music's, or that of aught else, if the individual do not worship. For such reasons, then, I consider it the legitimate office of the artistic choir to embellish and enrich public service : to impress : to prepare for worship : — the legiti- mate office of congregational song, to subserve the pur- poses of actual devotion. Artistic effects, like architecture, and painting, and sculpture, have more or less been used for religious pur- poses from the time of Solomon's Temple down to the present day. The splendor and efficacy of these ar- tistic appliances in that ancient temple, (which was in- spired of Grod,) have never yet been cancelled or invalida- ted. And surely our Maker is worthy of the best offering OUR CHURCH MUSIC. 29 of poor human Art, consecrated by a reverent and devout spirit. Devotional words may often effectively bo put into the mouths of the choh* : — t'ongregational song may often be used as merely iiniinativc to worship. But tlic peculiar olTice now a.ssigned to each seems to me unquestionably that which each is best calculated to fulfill. And in the selection of hymns, (the varied character of which will hereafter be considered,) the clergyman would do well, as they are in- tended for the one or the other style of singmg, to bear tills distinction in mind. CHAPTER y. A SUNDAY IN A GERMAN CHURCH. I ONCE found myself in one of the cities of central Ger- many. The leading Protestant Church of the place had been closed for some months, while undero^oing repairs, and meanwhile the Roman Catholics, with a liberality of feeling sometimes met with in that country, had thrown open their magnificent edifice to the worship of the Pro- testants — the Protestant service immediately succeeding the ordinary morning service of the Catholics. The only change made was the concealment of the altar, by a cur- tain dropped from the ceiling. In front of this curtain was a temporary desk for the clergyman. On a Sunday morning I entered this cathedral, upon the front of which was inscribed in imposing capitals the solemn word — Deo. The immense edifice was crowded with worshippers. The Duke and his court (a Protestant house) were present, occupying a separate tribune on the side of the pulpit. The body of the edifice was filled, pro- miscuously, with garrison troops, citizens, and peasantry from the surrounding coimtry in their picturesque national costumes. The introductory voluntary was just com- mencing. The powerful organ, which seemed to have its (Jl'U CIIUIXII ML'SIC. 31 place near the altar, and was concealed Ly a curtain, was crowding every arch and corner of the iniinense pile with irs nia:>5;ive harmonies. The air around us wns a sea of music ; its rich surgings broke majestically on the vaulted roof, and echoed among the lofty arches, and beat, solemnly, upon the silent heart. Meantime, the assembled multitude had found the first hymn, which, as usual in Grerman Churches, was indica- ted upon tablets, placed at convenient intervals u})on the walls. And now the rich tone-masses of the organ gradu- ally merged into the familiar strain of an old church choral. At this well-known signal the great assembly, from the sovereign to the peasant, arose. The introductory strain of the organ ceased, and a trumpet, behind the veil, led off in clear, courageous tones the choral melody, sustained by full organ accompaniment. Simultaneously with this, a chorus of a thousand voices rolled up from the congregation in a mighty song of praise to Jehovah — a song which the lofty roof seemed scarce capable of repressing : majestic, soul-thrilling. As the last echoes of this choral Hallelujah died upon the ear, a clergyman, who until now had not been seen, advanced and pronounced, in a deep-toned and solemn voice, the opening prayer. He retired, and again un- heralded, except by the invisible organ, the thousand-voiced chorus swelled to the skies. The sermon immediately succeeded ; brief and impressive : then a closing choral was sung, and after the benediction, the cathedral doors were once more thrown open to the congregation : while the parting tones of the organ followed us as we passed into the outer world, like sacred memories of the hour. 82 OUR CIIURCIT MUSIC. Now, here was a combination of singularly felicitous circumstances, and which afford us, I tliink, some valuable hints as to Church Music : 1st. The machinery of the music was concealed. Here was no twitching of curtains by the choir ; no preparatory whisper, and flutter, and turning of leaves ; no clearing of throats, no obtrusion of personalities, in any way, upon the audiencs. 2d. The act of worship was simultaneous, and, seeming- ly, spontaneous. The clergyman did not announce, and then recite, preparatorily, the invocation to Jehovah, about to be made. — \\Tiy should an invocation to the Supreme Being be recited beforehand ? 3d. All united, from a common level of devotion — prince, priest and people. There was no unnecessary personal intervention : each soul bore its humble, individual part in the common worship : and, moreover, with the greatest reverence and earnestness — a feature so unusual in our churches at home, and yet so common abroad ! A very observable thing, also, was the utter unconsciousness of each worshipper — both of the observation of others and of any possible effect produced by his music. I do not claim for this example of congregational sing- ing, that it could be copied in every particular, or that it were desirable so to do : many of tlic circumstances men- tioned were incidental : but the unanimous participation in the service, and the withdrawal of all unnecessary per- sonality, were parts of a well-considered system. It is evident that in our present Church Music we greatly lack purity of style. AVo should clearly distin- guish between the different forms of church song, and the orn cnrKcri mi'sic. 33 purpose each is best calculated to subserve. An ornamen- tal and improssivo style of music, as lop^itimatcly repre- sented by choir performance, we should never confound with a devotional style, as represented by congregational singing. Let us act intelligently, when we act at all. Let us not thwart our church devotions, by making them the responsibility of a few, whose only realized responsi- bility is the music. Let us not, on the other hand, im- pede the development of high musical Art, by attempting to make it ornamental and impressive, and, at the same time, congregationally simple and devotional. We need to simplify the congregational style, and am- plify the choir style. Our present choir music is too diffi- cult, and on too extended a vocal scale for the mass ol worshippers, on the one hand, and too cramped and ham- pered for the glories of sacred Art on the other. A short tune of four lines, which, in itself, is but half of a legiti- mate melody, (a completed melody consisting of eight,) is but very insignificant material to work with, in an Art whose resources are boundless as those of music. CHAPTER YI. childrelVs music /.v churches. The first thing to be cared for in the musical arrange- ment of churches is — worship. Worship, I have already- endeavored to show, is represented — musically — by con- gregational song : this, therefore, should be the basis of all Church Music, and for this, unquestionably, provision should first be made. Our best reliance for the support of congregational song is, I am satisfied, that which, perhaps, might not at first sug- gest itself — children. Children are the future church. But, aside from this, the earnestness of their young, fresh 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 congregational song. Children have been too long overlooked in the musical provisions of churches. The "suffer little children to coma unto Me" has been too much forgotten — certainly in the approach to heaven by music. The most favorable circumstance for the application of children's voices, is when a parish school is connected with OUR CIILTRCII MUSIC. 36 the church. The cliildron can then be tan<^ht music as a welcome recreation to graver studies. Half an hour every day would soon prepare them, in connection with an organ, to lead, and sustain, simple congregational music in any church. This instruction wt)nld best be imparted by the parish school teacher, because he is always on the spot. But, if incapable of doing this, it could be undertaken by the church organist, or chorister ; with whom there might be a special understanding that he should give two lessons a week of an hour each : and, with the aid of this instruc- tion, any teacher could conduct a short daily singing exer- cise, at the beginning or close of the school. These children could be taught to sing either by rote — and thus learn the hymn tunes and chants to be used in a congregation, (which is a very easy matter,) or, there could be combined with tliis, elementary instruction, by which they might soon learn to sing in parts, and read music at sight : and it is surprising how soon children can be brought to this point of musical proficiency. If there be no parish school, the Sabbath-school could next be looked to as a nursery of Church Music. This school might on some week day, (Saturday afternoon, for instance,) be gathered as a singing- school. The organist or conductor of the music, by special understanding as part of his duties, might have this in charge, and teach the children, either by rote or by note, both the music of the church and such secular music as would enliven the exercise. On Sunday, a few moments of the morning and afternoon school might be passed in singing tlirough the mu.sic of the approaching service. It parents, who often incur such heavy expense in B6 OUR CHURCH MUSIC. 1he musical education of their cliildren, would but reflect, that tlie rudiments of music and the training of the voice are all the same, whether acquired for church or secular purposes, and that this is preliminary ground which even the most expensive teacher must go over, they would ap- preciate the great saving of time and expenditure in thus preparing their children for future private instruction — even if a small tax were levied upon the church, generally, to remunerate the organist for his additional trouble. "With such a choir of Sabbath-school children, it would be well to combine several teachers ; who could both give them confidence by singing with them, and exercise a cer- tain oversight during service. Next to children, a congrsgational choir is the best re- liance for congregational song. There are always amateur singers enough in every church to sustain, when combined, plain congregational music. An invitation from the cler- gyman will generally bring young people enough together to form a choir. Such a choir might sing in parts, or in unison. If parts are sung, it is understood that they but strengthen the harmony of the organ, while the congrega- tion sing in unison. There are often voices in a congrega- tion, particularly of men, whose range is such that they cannot well sing the air of our present Church Music, but are able to sing a bass. There is no reason for their not doing so : for, the great object being to sing, it is of less importance what is sung, provided the part be correctly carried. The same thing may be said of families, whose musical training is such that they can sing in parts. If a congregation be provided with a book containing the music, which is exceedingly desirable, and this music can be prac- OUK CIIUKCFT MUSIC. 37 tised at home, nothing could be more delightful than such family part-singing in churcli. Our two reliances, then, for the introduction of congre- gational song are children and a choir composed of the youth of the church. Without one of these, it is to he doubted whether congregational song could be introduced, or with interest sustained. After a time, when a genera- tion of singing children shall have grown up, an organ and an organist may be all that is necessary in a church — as is now the case in most of the churches of Germany : and this, combined with a pulpit and a preacher, would be the simplest feasible church arrangement. A pulpit and a pastor : an organ and an organist. A precentor in the place of an organ — (as in the Scotch service) — in other words, an obtrusive personality in place of an unobtrusive instrument, is exceedingly undesirable, both in respect to mnsic and devotion. The drilling of an entire congregation in the music of the church, is, in my own opinion, impracticable and un- necessary. The inconvenience of assembling especially for this purpose, is an insurmountable obstacle : such prac- tice may be successful once or twice, but so soon as the novelty wears otT, the interest subsides, and the attendance dwindles. Let the choir of children, or the congregational choir, be taught the music : let there be a book with the limited amount of music for congregational purposes ne- cessary, i)repared for the pews. And after this, repetition is the best teacher : if the music be resolutely adhered to and persisted in, the congregation will inevitably learn tunes and chants in the pleasant^st possible way — by ac- tually using them. CHAPTER VII. THE POSITION OF CHOIRS AND ORGANS. This subject has already been ably presented by an Eng- lish writer, William Sparks, in a pamphlet published by Novello, of London, containing both the author's views and quotations from other authorities ; the whole having originally constituted an address delivered before the York- shire Architectural Society, May 26, 1852. This pamph- let will serve as an excellent basis, to which may be added such other material as may present itself. The following quotations will afford some preliminary information : — " History and precedent are not at all agreed as to the original position of organs in churches. For this king of instruments seems before the Reformation, as now, to have stood in all sorts of places : — on choir-screens ; rood-screens ; over west doors ; over and in transept arches ; on the floor of the chancel : over the altar, (as in the Royal Chapel of the Versailles and the Tuilleries) ; under the tower ; round corners ; in hearing, but out of sight — and vice versa : in short, it would be impossible to say, I think, not where organs have stood, but where they have not stood in churches." — {Rev. J. Jebh.) ******** *• No person who is at all acquainted either with music or the principles of acoustics, can imagine that au organ placed under a low arch, with three sides of it close to dead walls — in fact a stone UL'R CUURCII MUSIC. 39 box — will produce the same effect as an organ placed in an opca situation iu a church where the vibration is considerable." • •*•**** " The injury to an organ occasioned by the products of combus- tion from the gas, now so generally used in churches, and which, I need not stay to prove, are much more detrimental in the upper part of a building, is a strong ground for remo\'ing the instrument from galleries and other lofty situations." • •«:><**•• " A choir should never be in a gallery." • •♦*•*** " 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 admittance of persouG into the choir who were obviously unlit to sit among the clergy, and therefore were placed, like mere instruments, in a loft. There is an appearance of theatrical exhibition in this obtrusive elevation of the bingers, frequently attracting the gaze of the con- gregation (perhaps I should rather say of the audience) below : who turn their backs upon minister, altar and everything sacred, ab- sorbed by that which a savage would actually suppose to be the idol of our worship. * * * The ministers of divine worship, such as the lay clerks and boys, or regularly appointed singers, have a sacred office to perform, and in this capacity should occupy a place near the clergy. * * * It is obvious that such an ar- rangement requires no additional room, but merely an exchange of places. * * * The modern practice quite cuts off the clergyman from the singers, and gives the latter an iadeceui elevation." — {Rev. J. Jehb.) ******* * "Those who have had much to do wiih choirs need not be re- minded, ihat there is a great difference between the conduct of sing- ers in a choir (especially ihe youthful portion of them) when placed iu the nave or chancel, under the immediate eye of the minister and congregation, aud their conduct in a gallery, where they but too often entertain the idea that they are not there as a part of the con- 40 OUR CHURCH MUSIC. gregatiou — and members of the church — but as vocalists employed to sing to, and for, the people." ****** » The judgment of every thoughtful person must confirm the prominent idea in these quotations, that sacred music, like the rest of a sacred service, should proceed from the clerical end of the church : and that both the organ and the choir should be among a worshipping people, and not isolated , and away from them — this very isolation seeming to indicate, that an isolated duty is to be performed, by persons set apart for this service. Experience proves, that it is exceedingly difficult to unite the voices of a congrega- tion with a choir and an organ, when the latter are perched in a gallery : whereas, experience equally proves, that music proceeding frorn among the people, even when led by a single voice, (as frequently at communion services,) proves so contagious, that we have often admirable congre- gational singing at once : such as it may have been, perhaps, in the early Primitive Church, or among the disciples ; when Peter did not sing a solo ; or Peter and John a duet ; but where, together, the disciples sang an hymn. It being decidad, as I think it must be, that the clerical end of the church is the proper location for choirs and organs, we can now advance to some nearer specifica- tions as to the arrangement of both. Mr. Sparks remarks, " I need scarcely say, that the arrangement of the choir and organ must be greatly regulated by the size and shape of the church : so that no rule can be laid down for the exact position of either. Although it is not expected that choral service will be attained in every church, yet it is always desirable to arrange the singers so as to form two OUR CUURCH MUSIC. * 41 choirs : and T may venture to lay it down as an axiom, that service, however musical, is not clioral service if there are not two choirs." The idea of two clioirs will no doubt be a novel one to most Americans, even to the Episcopal portion of whom a full cathedral service may not be familiar. The pampldet of Mr. Sparks, from which I have quoted, aims mainly at this more extended cathedral service. But as the present work is written for the Church universal, and the desire is, to be useful to all denominations of worshipping Chris- tians, it will be well to commence with the simplest form of structure and of worship, and proceed to the more elabo- rate. The simplest form of worship, combined with the least elaborate church-structure, is to be found among Congre- gationalists. Baptists, Methodists, Presbyterians, and the various non-Episcopal denominations who, taken together, form by far the greater proportion of American Chris- tians. It may be remarked, here, that the Methodists, more than any other denomination, have practically favored con- gregational song ; although, thus far, it has existed only in its rude and uncultivated state. Yet, no one can deny, that the true spirit of congregational singing has swayed the heart of this devout people, far removed as their music may have been from the standard to which, with such materials, and such a heart of melody, they might have attained. Of late years, however, certain prejudices, par- ticularly as regards organs,' have gradually been yielding, and now this dignified instrument is finding its place in their churches. 42 OUR cnuRcn music. The plain, square church, then, is oftenest found among our American denominations, and for this prevailing shape the position of the organ and the choir ought first to be determined. It must introductorily he observed, that a prominent idea in the minds of most building-committees (rightly or not be- ing hardly my purpose to inquire) is to economise space, in or- der to accumulate rentage. This, therefore, has necessarily to be borne in mind, in making any suggestion for the loca- ting of an organ or a choir. Another consideration, how- ever, ought equally to be borne in mind, that " removing an organ or a choir from the gallery requires no additional room, but merely an exchange of place" — as was stated in a foregoing paragraph. Moreover, it is possible so to place an organ, as actually to save both space and rentage. This possibility is offered by a certain advantage in the structure of the organ ; which allows the action to be car- ried to ahnost any distance from the instrument itself; rendering it unnecessary that either organist or choir should be in its immediate vicinity. This will be seen by the first plan, which has actually been realized in a large organ built by Mr. Jardine, of New- York, for a Methodist Church in Pittsburg, Pa. The following is a diagram of this instrument, and the church for which it is intended : — OUR cnuRcn music. 43 B E A. The Pulpit. B. Orsan. Btandin? behind the pulpit, and on the pulpit platform, in an arched recess, eonsirucied for the purpose. C. Orpmnist's Desk, standing sideways, in the centre of the Hrge square corner pew, with seat"* ronvenieiitly d;s;>oaetl around for members ofihe Choir. The Key and Draw Slop, and Pednl Action extend therefrom horizontally beneath the pulpit platform, and thence backward into the Organ. The organist faces the pulpit. D. Central .\isle and body of the church edifice. E. Tower Entrance. There are no (galleries. It may be remarked, that althoush the organist is at such (rreat distance from the organ, and the mechanism so extended, the touch is perfectly prompt and easy, and the machmery not liable to get out of order. 4A OUR CHURCH MUSIC. The advantages of such a location for an organ are evi-. dent. It serves as a dis^nified and ornamental backorround for the pulpit : it is out of the way, occupying no pew- room : it is in the best possible position for sound, pouring out its full volume of tone into the open church : the choir, on the other hand, form part of the congregation, and their music must almost necessarily prove contagious, and spread to the rest of the people. An improvement, it strikes me however, might be made even in this plan. There is always more or less space, as in the present instance, between the pulpit and the first row of pews. The organist, therefore, might have his desk directly fronting the pulpit, on a level with the con- gregation, and sitting with his back to the assemblage. On the right and left of him, in front of the first pews, might be seats, or moveable benches, for Sabbath School children, or for a congregational choir. The advantages of this plan would be, that the whole musical arrangement would occupy no pew-space whatever ; it would be under the immediate eye and control of the clergyman ; and the effect of children (if there were such) clustering around the altar, would be an exceedingly pleasing one. An ad- vantage would also be gained as to the organ ; inasmuch as the action would extend in a straight line under the pulpit, and, forming no angle, would be less complicated than in the other instance. A low screen might protect the organist from observation, so that there would be no undue conspicuousness, either of organist or choir. Indeed, the organist's desk might be sunk somewhat in the floor, below the range of vision. This plan, it strikes me, is the best one for a square or OL'R ciii'Rca II f SIC. 45 oblong church, or, perhaps, for a cluirch of any shape or any order of service. It has the advantage, that it can be applied to churches of a square shape already built (of which there are so many) where the choir and organ have mistakenly been perched in a gallery. For, at compara- tively small expense, a recess behind any pulpit could be built out for an organ, and the organ action be extended in front ; while the place for the organist and the choir is ever ready. It is evident that the space thus left in the gallery, by the removal of an organ or choir, would be so much actual gain for seats or pews. The plan now proposed is based on the supposition tiiat there is but one choir, and a simple order of service, like that found mainly among non-Episcopal Churches. For a plain Episcopal service, where the cathedral plan of a double choir for antiphonal singing is not followed, (and instances of a double choir are but very rare,) we have only to displace the pulpit, substitute the altar, and the same arrangement would just as admirably serve. The choir and organist would be without the chancel rail ; the chancel itself would be elevated, as usual, above the level of the ground-floor, .so that the organist, if facing the altar, need not obscure the vision, or be unduly couspicuous. There would be a clear space around the altar, and behind it, as a noble background, would rise the organ. The pulpit, or lecturn, would then stand, as u.sual, at some side point, without the chancel rail. We can now advance to a more complicated service, where a double choir is used. For this we have a very admirable model in the Church of the Madclaine, Paris. 46 OUR cnuRcn music. Mr. Sparks, who presents the plan in his pamphlet, thus remarks : — " In all the principal churches of Paris there are two organs ; ono being placed in close proximity to the choir — and especially built to accompany the voices — the other, the grand organ, invariably standing over the inner porch of the western entrance, and princi- pally used for voluntaries, preludes, interludes, etc. " This will be seen by the plan of the beau- tiful church of the Madelaine, in which the effect of the harmony is most impressive ; and while repudiating the obviously overwrought attention to this striking effect, I cannot, as a musician, withhold the observation, that the occasional response by the grand organ to the passages performed by the choir, accompanied by its organ, is most thrilling. I may ob- serve that the latter (choir) organ, is unseen, being placed, as I was given to understand, in the centre of a space behind the altar. This instrument contains many reed stops of a superior tone and quality, producing a most grateful harmony, fusing and blending in the happiest manner with the voices." MM Now, without including two organs, at either end of the church, as in this arrangement, the general plan here pre- sented might admirably serve for our American Episcopal Churches, where a double choir is to be used. The organ could be concealed (as in the plan) or revealed to view. The organist in the Madelaine is hid, it is presumed, behind the altar. But it is difficult to see how a double choir at such a distance could be well managed, or that musical consentaneousness, necessary between organ and OUR CHURCH MUSIC. 47 choir, be secunVl. The position for the organist already proposed, without the chancel rail, and facing both the altar and the choirs, is certainly the most favorable for musi- cal purposes : its practicability, however, (which seems so very apparent,) has yet to be tested by actual trial. It may be remarked, as to the place of the choirs in this plan, that they could be concealed from view by a range of high chancel chairs, bending outward and cir- cularly round, to the corners of the chancel, the choirs being hid behind them. This plan has recently been adopted in the new Trinity Chapel, New- York. Mr. Sparks gives four rules to be observed in the loca- tion of organs and choirs : — 1. "An organ should not play over one choir to another choir. 2. " The people should not be between the organ and the choir. 3. " The singers in a choir must not have their backs to the peo- ple. 4. " A choir should tiever be in a gallery." Of these rules, the 3d can surely have no force in a de- votional style of music, where the choir are supposed to be a part of the congregation, and where not musical ef- fect, but devotional unanimity of the whole people is the point to be gained. I will now present a series of diagrams found in Mr. Sparks' pamphlet, indicating various locations of or- gans and choirs in France and in England : in each of which })lans, some evident inferiority to those already given, 1 think will be found. 48 CL'll CUUliCU MUSIC. " At St. Denis, Paris, of which we have here a view, the choir organ, it will be seen, is placed in front of the grand altar ; and, being very low, does not at all intercept the view, the choir being ranged on either side. '■ I may here remark, that when I en- tered the church, some portion of the service was being performed, and two bassoons being added to the accompa- niment to support the bass of the organ, a most preternatural sensation was ex- cited." " In the church of St. Sulpice, the choir organ is placed at the north side of the choir, but to the east of the sing- ers, as seen below :" — LA \^ i\ 1 1 • • • • • • • • ORANO ORGAN H-p n u • • 1 • • • • • • 1 GRANol _ lORGAHl^ This plan is very like that in the Church of the Transfigu- ration^ New- York. It is also the plan of the New- York Trini- ty Chapel^ except that the or- gan is carried still farther back into a recess, and concealed from view. In both cases " the or- gan would play over one choir to another choir," and the posi- tion for sound is greatly inferior to that behind the altar or pul- pit. The same is true of the two following plans in English churches : — OUR CllUKClI MUSIC. 49 sr . ANDREW'S lALTAFJ \ ■l 1 d-- ORGAN !:-l^ # • • • • • " I stated iu Rule I. an organ must not play over one choir to another choir, as at the Temple Church, and at St. Andrew's, Wells-street. It has a one-sided effect; and, as the organist gene- rally hears one choir above the other, and the choir nearest the or- gan hears considerably more of the organ than the other choir oppo- site, it is frequently the cause of serious faults and blemishes in the performance of the music. For this reason the organ should al- ways, if possible, be placed considerably above the heads of the singers, — the tones of an instrument proceeding immediately before a choir will, assuredly, rather confuse than assist them. If, there- fore, circumstances require the organ to be placed on the floor of a church, the sound-board should be fixed as high as the architecture, or other points, will allow." 50 OUR CHUKCH MUSIC. *' At Canons Ashby, (Northamp- tonshire;) the people face east. The two choirs are behind them, and the organ still west, behind the choirs. This plan is good for the singing of the choir, and the people's hearing and singing ; but it is objected to, on the ground that the congregation might tuini round, as they but too often do, when the choir is in a west gallery." jl-^T^l yjjyyj CHOIR UUUiUL □LEXO , CHOIR . gnao n " One plan which I would suggest, is to have the two choirs facing one another, near the desk and pulpit (the people facing east,) and to have the organ on both sides of the chancel (the conducting tubes and trackers going under the floor); or at the east end of one aisle. " We will now suppose the singers to be in the chancel (for the priest's po- sition is, of course, beyond my humble province), and assume that the two choirs are on the two sides of the chan- cel, as at St. Margaret's, Leicester. Then the organ, as here shown, (if the chancel is large enough,) may be east of the choir, and divided." OUK CUUHCII MUSIC. 51 ST. MARGARET'S. " This particular organ at St. Marga- ret's, Leicester, is, however, clumsily managed, and looks ugly and untidy ; but there is, of course, no necessity for that. Besides being divided, a part of the organ on the north side is placed in an additional building, which also serves for the vestry. This plan answers ex- ceedingly well ; and if the choir is to be in the chancel, and the chancel is large enough, it is, perhaps, the best plan. If I the organ is small, it may be altogether inside the arch opening into the vestry, so as to make, by its front an ornamental filling up of the arch. n that case, it would be better to have the player at the cast side of the organ, and the blower opposite to him, as shown in the plan." At Byfield, Xorthamptonshire, the organ, as in cases named just now, is over the altar, which is, of course, in- defensible ; but the musical effect might be good if the choir was in the chancel. At Cannons, in Hertford- shire, Handel's organ is, or was, in a similar position." 52 OUK CHURCH MUSIC. " At St. Mark's, Chelsea, there is at present 110 organ ; the choirs face eacli other in the transepts, and the people face east in the nave. This, it appears to me, is just as it should he. It has been proposed, in case an organ is placed in the church, to put it round the apse, between the colonnade and the ex- terior wall. I have no doubt it ^YOuld answer very well in that position. If a chancel has aisles, the east end of one aisle might, I think, often be a very good place for the organ, or against the wall of the aisle, especially if elevated. This plan in St. Mark's, given by Mr. Sparks, strikes me as a very excellent one for a church with a complete transept : the choir music proceeding so immediately from among the people. The only objection is of a musical nature ; the choir being so far removed from the organ and organist, (who sits behind the altar.) And yet, if the con- gregational singing were general, its audibleness to the organist would be sufficient for easy accompaniment. " An organ-builder of great experience, gives it as the result of his observation, that the most favorable position for sound seems to be where the organ can be placed under a roof which has a pitch or inclination of 45 degrees. A low roof, especially when plastered, is generally prejudicial to sound ; and a number of angles in a low roof is also most unfavorable to sound. He considers that wood and stone are each as favorable reflectors of sound as chalk and plaster are unfavorable." OUR cnuRcn music. CRCAN " At Daventry Church, as circumstances prevented the choir being removed from the gallery, I found it answer well to place one choir in the north and the other in the south gallery, as indicated in the plan. The antiphonal character of the musical part of the service was, by this arrangement, well sustained. " The most successful example I can adduce of the position of an organ near the choir, and not in a gallery, is in the new Church of St. Mary Magdalene, St. Pancras, London, where the organ (a charming instrument, built by Gray & Davison) is placed against the wall, at the east end of the south aisle, on stone corbels about eight feet high — thus ele- vating the instrument considerably above the singers, so that both sides of the choirs and the congregation hear the organ equally well." The inferiority of all these plans for placing or- gans and choirs to those given in the first diagrams, must, I think, be evident. A single choir in front of the pulpit, in non-Epis- copal, and in front of the chancel in Episcopal churches — a double choir on either side of the chan- cel, whether within or 54 OUR CHURCH MUSIC. without the chancel rail — an organ in the nave of the church, hehind the altar or pulpit, with trackers for the organist, who shall face pulpit, altar and choir — seem to me de- cidedly the best plans, both for musical and devotional purposes. Next to this, as an arrangement for single choirs, a space behind the pulpit or altar, for organ, organist and choir, by which all would be concealed from view, (except the up- per portion of the organ as background,) were perhaps the best plan : this is liable, however, to the objection of a certain isolation from the congregation and their musical sympathy. In concluding this subject, a single word may be said as to purely artistic choirs for ornamental and impressive pur- poses, such as are found in the Roman Church. These purposes may to some extent be subserved by volunteer and congregational choirs, when well-drilled. But artistic Church Music should be invisible, if possible, and seem to come to us from afar, and from some unseen quarter, in order to produce upon us its legitimate effect. Any place, invisible to the congregation, might therefore be assigned to such an artistic choir : that over the portal or entrance to the church, is perhaps as good as any. This style of performance is of course an exception to the rule, that a choir " should never be in a gallery." In the case of two organs, however, a large and a small, (which we can hardly expect to see realized in this coun- try,) the reverse of the plan adopted in the Parisian churches would seem, in my own view, best : the large organ being below, as appertaining to the people, and the small one above, to the artistic choir. oi'R CHURCH music. 65 "While the foregoing was being put into type for the present volume, I received the following letter : — Marietta, Ouio, August 7, 1855. Dear Sir : — Your New -York Musical Worldior November 25, 1854, having fallen into my hands,! was interested in an article regarding the position of an Organ in a Church — the Organ being placed back of the pulpit. Being interested in a church now building in this place, I take the liberty ol" writing to you in regard to the same. The church here is 49 by 77 feet outside, and 26 feet high inside. I am pleased with the plan of having the organ in front, so that the audience can '* face the music ;" but, being no musician, I desire to know whether the organ cannot be placed at A, (see plan,) as well as back of the pulpits The organ could be placed at A, in an arch 3 or 4 feet deep, and on the opposite side, in an arch not so deep, I would place the couiinunion-table and baptismal-font at B, with a higher arch over the desk. I wish to know whether the position of the organ one side makes any diflferenee in the sound ? What depth the organ would occupy ? The height of the arch, and width necessary for an organ for a church of this size? The building is Gothic, with heavy buttresses, and four double windows on each side. This church is for the "First Unitarian Society," and is being built by Nahum Ward, Esq., as a donation to the Society, and we desire to have it, — in its internal arrangements, — the best. If you will pardon my freedom in thus troubling you, and if you have time, give me the information desired, you will oblige your Ob't. Serv t, Wm. J. Ward. 56 OUR CHURCH MUSIC. ' ■■ I STAIRWAY TO I BASEMENT -B — On reception of this letter I conferred with Mr. Jardine, the ingenious and excellent organ-builder of New- York, already referred to, and the result of our conferences was the following plan, to meet the views expressed in the letter from Mr. Ward of placing the organ on one side : a plan which Mr. Jaraine kindly sketched in full, for the use of the society in question, and for these pages : — OUR CnURCH MUSIC. 67 12-0 ^ 9 ORGAN CO ■w PULPIT llx_^ VESTRy H TABLE P OR FONT This plan, for a single choir has, in some respects, an advantage over the one in which the organ is placed in the centre. But it would not serve as well for a double choir, 58 OUR CHURCH MUSIC. or for a church in which there are galleries — there being none, it is presumed of course, in the Marietta Church. As regards the question of the space an organ, for a church of the dimensions given, would occupy, Mr. Jardine replies, that an instrument costing ^1,500, would be about 7 feet deep, 12 wide, aud 18 feet high. But a very excellent rule, originated by the quaint, as accomplished Dr. Hodges, of Trinity Parish, New- York, by which to decide upon the desirable cost of an organ for a given church, is the following : — Multiply the number of persons the church ivill accom^ modate by 3 — and you have your organ. For instance, a church seating 500 persons would need an organ costing about $1,500. For 1,000 persons, a three thousand dollar organ would be desirable, etc. PART 11. PART II. CHAPTER VIII. Ol'R PSALMS AND HYMNS. Church Music takes its coloring to so great an extent from the words with which it is wedded, that a clear un- derstanding of the character of the latter seems necessary to a just apprehension of our subject. I have therefore care- fully investigated two collections of psalms and hymns in extensive use among us, presuming these to be a fair ex- ponent of our collections generally. The contents I have analyzed and classified, and am now prepared to give a condensed view of the result. The special object of this investigation, I would state, was to gain some definite knowledge as to the amount of devotional element contained in these collections : or, otherwise, ascertain to what extent our psalms and hymns involve actual worship. The first collection examined, was that of the Episcopal Prayer-Book. The second, a large collection used in Pres- byterian and Congregational Churches, entitled the Church Psalmist. 62 OUK CHURCH MUSIC. ^n addition to this, however, I had also recourse to that fountain of sacred song — the Psalms of David. These psalms I similarly classified : — so that a fair comparison can now be made between this inspired collection of sacred song and our uninspired ; and the specific tone and aim of each discovered. 1 will now proceed to enumerate the different classes of sacred song found in the three collections named, give an example of each class, and state the proportion of each to the entire collection. Class I: — Prayer. Under this class are included none which are not a di- rect and continuous appeal to the Divine Being, and are strictly prayers throughout. EXAMPLE : Father, whate'er of earthly bliss Thy sovereign will denies, Accepted at Thy throne, let this My humble prayer arise ; Give me a calm and thankful heart, From every murmur free ; The blessings of Thy grace impart, And make me live to Thee : Let the sweet hope that Thou art mine My life and death attend, Thy presence through my journey shine, And crown my journey's end. Of such instances I find, in the Prayer Book^ 115 out of 401, the whole number: (401 including the different OUR CHURCH MUSIC. G3 parts, or versions, of the same psalm and the glorias). In the Church Psalmist, 30-3 out of 1190. In King David's Psalms^ oQ out of loO. The proportion, then, might thus be stated : Church Psalmist, 26 to 100: Prayer Book, 28 to 100 : Bible, . 27 to 100. Class II : — Meditation combined ivith Prayer. A charge to keep I have, A God to glorify ; A never-dying soul to save, " And fit it for the sky ; From youth to hoary age, My calling to fulfil: may it all my power engage, To do my Master's will. Arm me with jealous care, As in Thy sight to live, And O ! Thy servant. Lord, prepare A strict account to give : Help me to watch and pray, And on Thyself rely ; Assured if I my trust hetray, I shall forever die. Here, it will be observed, the first two verses are of a m^itative character, while the third commences a direct appeal. According to the view presented in a preceding chapter, this whole hymn would come under the denomination of icorship Such hymns (as will be 64 OUR CHURCH MUSIC. seen) are numerous in our church collections ; the same style prevailing greatly? also, in the Bible psalms. The form is an admirable one. It seems fitting and natural that the mind should sometimes pass through such an outer vestibule of quiet meditation, before entering into the inner temple of worship. It must be stated, however, that hymns of this charac- ter have not always precisely the form of the example given. In some cases of Bible psalms this sacred medita- tion interrupts the direct appeal ; or the two, again, fre- quently alternate. Of this 2d class, I find in the Church Psabm'st, 164 in- stances out of 1190 : — in the Prayer Book, 56 out of 401 : — in the Bible, 46 out of 150. The proportion, then, is the following : Church Psalmist, 14 to 100 : PrayerBook, 14 to 100 : Bible, 30 to 100. Class III : — Exhortation combined with Prayer. In presenting this third class, it must be stated, that among hymns called hortatory , two distinct classes will be found to exist : namely, those which exhort to repent- ance, or are an appeal, of some kind, to different classes of individuals ; and those which exhort to praise. This style of exhortation, in both forms, will be found to exist aftne, and also in combination with other lyrical elements : as for instance above, where exhortation is combined with prayer. Now, inasmuch as the object of this analysis is OUR CHURCH MUSIC. 66 to distinguish the devotional element, generally, from the non-devotional, these two forms of exhortation will have to be presented distinctly: for b(Hh are not devotional. An exhortation to repent, for instance, has a sermonizing character : while distinguished from this, both in our Church lyrics and in the Bible psalms actual praise of the Divine Bei»g will be found to take the form of an exhor- fation to praise that Being — the act of praise being evi- dently simultaneous wi^h the exhortation. Under this third class, then, I include psalms and hymns which are an ex- hortation to praise, combined with a definite appeal to heaven : the whole lyric, thus constituted, coming under the denomination of worship. From all that dwell below the skies, Let the Creator's praise arise ; Jehovah's glorious name be sung Through every land, by every tongue. Eternal are Thy mercies, Lord, And truth eternal is Thy word ; Thy praise shall sound from shore to shore, Till suns shall rise and set no more. In this familiar example it w^ill be seen, that the first verse is an exhortation to praise : the act of praise being evidently identical with the exhortation : while a direct ap- peal commences with the second verse. The gloria patri, in its various forms, in the Episcopal collection, and the doxologies in other collections, are, for the most part, in this hortatory form. But they involve, none the less, an act of positive worship. 66 OUR CHURCH MUSIC. Of such instances, I find in the Church Psalmist^ 46 out of 1190 :— in the Prayer Book, 20 out of 401 :— in the Bible, 10 out of 150. The proportion, then, is the following : Church Psalmist, 4 to 100 : Prayer Book, 5 to 100 : Bible, 7 to 100. Class IV : — Exhortation (2) combined ivith Praye^r. Under this class are comprised those hymns in which an appeal of some kind is made to the individual or to the audience, combined also with an appeal to heaven : EXAMPLE : — The Saviour calls — let e^^ery ear Attend the heavenly sound ; Ye doubting souls ! dismiss your fear, Hope smiles reviving round. For every thirsty, longing heart, Here streams of bounty flow, And life, and health, and bliss impart, To banish mortal wo. Ye sinners ! come ; 'tis mercy's voice ; The gracious call obey ; Mercy invites to heavenly joys, — And can you yet delay ? Dear Saviour ! draw reluctant hearts ; To Thee let sinners fly, And take the bliss Thy love imparts, And drink, and never die. OUR CHURCH MUSIC. 67 The form of exhortation contained in the first tliree verses, plainly distini^uishes Class IV. from Class III. The fourth verse coniinencus and closes, it will be observed, with an appeal to heaven. This hymn, then, Ls only in part devotional ; the devotional element being confined to the last verse. This class of hymns might bear analogy with a sermon, in which the clergyman first makes an appeal to the au- ditors, and afterwards closes with a prayer. It is, un- questionably, a very useful and effective style of sacred lyric for occasional use where, as in the present instance, an appeal is made to the feeh'/i^s^—ioT which music is so well suited — and not made to the intellect, in the shape of abstract doctrinal truth : of which we find so many in- stances in our Church collections, but for which music is entirely unsuited. Of such instances, though varying from this somewhat in form, I find in the Church Psalmist, 25 out of 1190 ; in the Prayer Book, 5 out of 401 ; in the Bible, 4 out of 150. The proportion, then, is the following : Church Psalmist, 2 to 100 : Prayer Book, 1 to 100 : Bible, 3 to 100. Class V : — Instruction combined with Prayer. EXAMPLE : Vain are the hopes, the sons of men On their own works have built ; — 68 OUR CHURCH MUSIC. Their hearts, by nature, all unclean, And all their actions guilt. Lot Jew and Gentile stop their mouths. Without a murm'ring word ; And the whole race of Adam stand Guilty before the Lord. In vain we ask God's righteous law ^ To justify us now ; Since to convince, and to condemn, Is all the law can do. Jesus ! how glorious is Thy grace ! — When in Thy name we trust. Our faith receives a righteousness That makes the sinner just. This hymn in its first three verses is plainly instructive and doctrinal, the same character pervading even the last verse, where an appeal is made to heaven. Not all exam- ples under this class are as coldly didactic ; hut, in many, the instruction is administered in a warmer form ; while the appeal to heaven is also more direct, and indicates less glancing at the audience. This hymn, it may be remarked, is doubly un- fit for music. The irregular accentuation at the com- mencement of the lines would alone unfit it — unless the hymn were composed throughout, (instead of repeating the same music to every verse,) and the irregularities of ac- cent were especially cared for. But it is otherwise un- suited to music in its very un-emotional character. The only portion of the hymn that appeals to the composer as material for music, is the fii'st line of the last verse ; for I OUR CHUECH MUSIC. 69 here there is a gleam of feeling. Music is emphatically the lang-uas^e of feeling : and it is fitted to express or ac- company nothing else. G-enerally speaking, hymns like these (combining in- struction with prayer) involve an act of worship only so far, of course, as their appeal to heaven is concerned. They, also, like a previous class of hymns, may be com- pared to a short sermon, after which the clergyman ofters a brief prayer. Of such instances, I find in the Church Psahnii>f, 121 cut of 1190 ; in the Proj/cr Book, 29 out of 401 ; in the Bible Fsal/iis, 2 out of loO. The proportion, therefore, is the following : Church Psalmist, 10 to 100 : Prayer Book, 7 to 100 : Bible, 1 to 100 The five classes now enumerated include all hymns in which a direct appeal, of any kind, is made to the Supreme Being. We now come to hymns differently constituted. Class V I : — Meditation. EXAMPLE : — Although the vine its fruit deny, The budding fig-tree droop and die, No oil the olive yield ; Yet will 1 trust me in my God, Yea, bend rejoicing to His rod, And by His grace be healM. 70 OUK CHURCH MUSIC. Though fields in verdure once array'd, By whirlwinds desolate be laid, Or parch'd by scorching beam ; Still in the Lord shall be my trust, My joy ; for though His frown is just, His mercy is supreme. Though from the fold the flock decay. Though herds lie famish'd o'er the lea, And round the empty stall ; My soul above the wreck shall rise, Its better joys are in the skies ; There God is all in all. In God my strength, howe'er distrest, I yet will hope, and calmly rest. Nay, triumph in His love. My ling'ring soul, my tardy feet, Free as the hind he makes, and fleet, To speed my course above. This style of meditative hymn possesses, according to the view given, the character of worship. Of such instances, I find in the Church Psalmist, 44 out of 1190 : — in the Prayer Book, 12 out of 401 : — in the Bible, 3 out of 150. The proportion, then, is the following : Church Psalmist, 1 to 100 : Prayer Book, 3 to 100 : Bible, 2 to 100. I OLli CIILKCII ML'SIC. 71 Class VII : — Meditation combined tcith Exhortation. (1) There is a God! — all nature speaks, Through earth and air, and sea and skies ; See ! — from the clouds His glory breaks, When earliest beams of morning rise! The rising sun, serenely bright, Throughout the world's extended frame, Inscribes in characters of light. His mighty Makers glorious name. Ye curious minds, -vrho roam abroad. And trace creation's wonders o'er! Confess the footsteps of your God ; Bow down before him and adore. The first two stanzas, here, are of a meditative charac- acter, while the last is an exhortation to worship. Both in meditation and exhortation this hymn is one of worship. Of such instances, I find in the Church Psai?7iist, 6 out of 1190 : — in the Prayer Book, 7 out of 401 : — in the Bible, 7 out of 150. The proportion, then, is the following : Church Psalmist, 1 to 200 : Prat/er Book, 2 to 100 : Bible, 5 to 100. 72 OUR CHURCH :music. Class VIII : — Meditation, combined with Exhortation. (2) EXAMPLE : — In all my Lord's appointed ways, My journey I'll pursue ; Hinder me not, — ye much loved saints ! For I must go with you. Through floods and flames, if Jesus leads, I'll follow where he goes ; Hinder me not, shall be my cry, Though earth and hell oppose. And when my Saviour calls me home, Still this my cry shall he, — Hinder me not — come, welcome, death ! I'll gladly go with thee. In this hymn the first two lines of the verse have a meditative character, while the last two are hortatory. But this exhortation, unlike that of the former class, is not addressed heavenward, but to man. The entire hymn can be considered devotional only so far as the two lines of meditation in each stanza and the pious resolves make it so. Of such instances, I find in the Church Psalmist^ 9 out of 1190 : — in the Prayer Book, 4 out of 401 : — in the Bible y none. The proportion, then, is the following : Church Psalmist y 1 to 100 : Prayer Book, 1 to 100 : Bible, none. OUR cnuRcii MUSIC. 78 Class IX '.—Exhortation. (1) With one consent let all the earth ' To God their cheerful voices raise : Glad homage pay with awful mirth, And sing before him soni|s of praise : Convinced that He is God alone, From whom both we and all proceed ; We whom Ho chooses for His own, The flocks that He vouchsafes to feed. enter then his temple-gate, Thence to his courts devoutly press ; And still your grateful hymns repeat, And still his name with praises bless. For he's the Lord, supremely good, His mercy is forever sure ; His truth, which always firmly stood, To endless ages shall endure. In this familiar psalm we have an exhortation t) praise the Supreme Being : the exhortation evidently involving the act of praise — being identical with it. A hymn of wor- ship. Of such instances, I find in the Church Psalmist^ 76 out of 1190 : — in the Prayer Book, 41 out of 401 : — in the Biljle, 16 out of 150. The proportion, then, is the following : Church Psalmist, 6 to 100 : Prayer Book, 10 to 100 : Bible, 11 to 100. 4 74 OUR cyuRcii music. Class X : — Exhortation. (2) Let party-names no more The Christian world o'ersprcad; Gentile and Jew, and bond and free, Are one, in Christ, their head. Among the saints on earth, Let mutual love abound ; — Heirs of the same inheritance, With mutual blessings crowned. Thus will the church below Resemble that above; Where streams of endless pleasure flow, And every heart is love. This second form of exhortation is plainly distinguisha- ble from the former, and involves no act of worship — it is not addressed heavenward, hut to man. Of such instances, I find in the Church Psalmist, 60 out of 1190 :— in the Prayer Book, 10 out of 401 :— in the Bible, none. The proportion, then, is the following: Church Psalmist, 5 to 100 : Praijer Book, 2 to 100 : Bible, none. OUK CHL'KCII MUSIC. 75 Class XI : — LisfructWJi. The law by Moses came , But peace and truth and love Were brought by Christ, a noblername, Descending from above. Amidst the house of God, Their different works were done ; Moses a faithful servant stood, But Christ a faithful Son. Then to his new commands Be strict obedience paid ; O'er all his Father's house he stands, The sovereign and the head. The man who durst despise The law that Moses brought^- Behold ! how terribly he dies For his presumptuous fault; But sorer vengeance falls On that rebellious race, Who hate to hear when Jesus calls, And dare resist His grace. A purely instructive hymn. The unfitness of so cold- ly didactic a hymn for music, cannot but be apparent. Of somewhat less positive instances, I find in the Church Psalmist, 110 out of 1190: — in the Prayer Book; 28 out of 401 :— in the Bible, 3 out of 150. The proportion, then, is the following : Church Psalmist, 9 to 100 : Prayer Book, 7 to 100 : Bible, 2 to 100. 76 OUR CHURCH music Class XII : — Instruction combined with Exhortation, (t) Would you behold the works of God, His wonders in the world abroad ? Go with the mariners, and trace The unknown regions of the seas. They leave their native shores behind, And seize the favors of the wind : Till God commands, — and tempests rise, That heave the ocean to the skies. "When land is far, and death is nigh, Lost to all hope, to God they cry ; His mercy hears their loud address, And sends salvation in distress. Oh ! may the sons of men record The wondrous goodness of the Lord. Let them their private offerings bring, And in the church His glory sing. The first three verses here are instructive, while the last contains an exhortation to worship : the devotional ele- ment being confined to this exhortation in the last verse. Of such instances, I find in the Church Psalmist, 114 out of 1190 :— in the Prayer Book, 25 out of 401 >-in the Bible Psalms, 7 out of 150. The proportion, then, is the following : Church Psalmist, 10 to 100 : Prayer Book, 6 to 100 : BiUe, 5 to 100. I OUR ciiuKcn MUSIC. 77 Class XIII. — Instruction combined with Exhortation. (2) Not to condemn the sons of men, Did Christ, the Son of God appear; No weapons in his hands are seen, No llaming sword, nor thunder there. Such was tlie pity of our God, He loved the race of man so well. He sent His sod to bear our load Of sins, and save our souls from hell. Sinners ! believe the Saviour's word, Trust in His mighty name and live ; A thousand joys his lips afford, His hands a thousand blessings give. Here, again, we have an instructive and hortatory hymn. ' But the exhortation in the last verse is to repent- ance, not to devotion. Of such instances, I find in the Church Psatniist, 24 out of 1190 : — in the Praijer Book, 7 out of 401 : — in the Bible Psalms, none. The proportion, then, is : Church Psalmist, 2 to 100: Praijer Book, 2 to 100 : Biblcy none. 78 OUR CHURCH MUSIC Class XIY : — Narration. 'Tis midnight — and, on Olive's brow, The star is dimmed that lately shone ; 'Tis midnight — in the garden now The suffering Saviour prays alone. 'Tis midnight — and from all removed, Immanuel wrestles lone, with fears ; E'en the disciple that He loved Heeds not his master's grief and tears. 'Tis midnight — and for other's guilt The man of sorrows weeps in blood ; Yet he, who hath in anguish knelt, Is not forsaken by his God. 'Tis midnight — and from other plains, Is borne the song that angels know; Unheard by mortals are the strains That sweetly soothe the Saviour's wo. Of such instances, I find in the Church Psalmist, 9 out of 1190: — in the Prayer Book, ^ out of 401: — in the Bible, none. The proportion, then, is : Church Psalmist, 4 to 500: Prayer Book, 1 to 100 : Bible, none. OUR ciu'Kcrr music. 79 These 14 classes complete the classification, so far as there are enouixh instances to form a distinct class. The omitted psalms and hymns, in the three collections examined, are very few in number, and combine, variously, the elements already enumerated. These combinations are the following : — Inatrifctioti-exhorlation-prayer : of which are found in the Chfirch Psalmist, 9 instances: — in the Prayer Book, 5: — in the Bible, none. Meditatiou-instrurtiou-exhortation : of which are found in the Church Psalmist, 1 : — in the Prayer Book, 1 : — in the Bible, none. Xarration-e^jcliortation : in the Church Psalmist, none : — Prayer Book, none : — in the Bible, 3. Meditation-exhortation-prayer: in the Church Psalmist, none : — Prayer Book, none : — Bible, 2. The analysis of the three collections of sacred song being completed, we can now accurately ascertain the amount of devotional element contained in them, and the extent to which their contents involve actual ivorship. As the Church Psalmist and Prayer Book are doubtless (as has been said) fair exponents of the collections in general use, this result may stand for our entire psalmody and hymnody, while the Bible Psalms (in contrast) will stand for themselves. The followiniz table of proportions, combined from the preceding classification, will show, at a glance, the result attained. 80 OUR CnURCH MUSIC. PURELY DEVOTIONAL. [Classl,2,3, 6, 7,9.] Church Psalmist, 53 to 100 : Prayer Book, 63 to 100 : Bible Psalms, 92 to 100. INSTRUCTIVE AND DEVOTIONAL. [Class4, 5, 8, 12.] Church Psalmist, 23 to 100 : Prayer Book, 15 to 100 : Bible, 8 to 100. PURELY INSTRUCTIVE. [Classic, 11, 13, 14.] Church Psalmist, 17 to 100 : Praijer Book, 12 to 100 : Bible, 2 to 100. CHAPTER IX. coMMEyrs 1. The foregoing result conclusively shows, that, viewed not only in the liirht of correct judgment, but in direct com- parison with the motlel-coUection of sacred song allbrded us in inspired scripture, our psalms and hymns preach too MUCH AND PRAISE TOO LITTLE. Observe the extraordinary disproportion of devotional element, as contained in the Bible psalms and our Church collections I — and mark how, as we recede from praise and fall into preaching, the Bible psalms recede from us — or rather, we recede from the Bible. There is no question, I think, that the Praise of our Creator, which is the legiti- mate office of sacred, churchly song, has been withdrawn from that Supreme Object, to give place, in far too great a measure, to preaching and instruction : thus, doing vio- lence, first to musical art, by forcing it into a service for which it is entirely unfitted, (to instruct and to indoctri- nate,) and second, trespassing upon the peculiar otlice of the clergyman and the sacred desk, whence instruction and exposition are expected naturally to proceed. 2. It would seem, from the above table of comparison, that the Prayer Book collection possesses in a much 4« 82 ovn cuL'KCii music. greater degree the devotional element than the Church Psalmist. Since the Prayer Book collcetion was made, the re- sources of sacred song have been exceedingly enhanced ; and many later collections, like the Church Psalmist^ possess finer hymns : and yet^ there is no doubt that the Prayer Book collection, (though still far removed from the Bible standard,) more prominently keeps in view the object of worship : and it begins to be a question, whether fine poetry has not been secured at the expense of true de- votion. That there is nothing incompatible in the two is admirably shown in the Psalms of David. Hence the duty which is suggested, of a reform in all our Church collections at the hand of some competent person, who will combine, to a far greater extent than has yet been done, the best poetry with the purest devotion. 3. A curious fact has been elicited by this investigation as to one result of attempting to versify and force into rhyme the Psalms of David. On comparing the versified psalms with the originals, the result shows a far less de- gree of the devotional element in the versification than in the original. This fact is proved by the following tables, in which the versified psalms (distinctly from the hyiuns) of the Church Psalmist and the Prayer Book are compared with the Bible originals : — PURELY DEVOTIONAL. Church Psalmist, 55 to 100 : Praijer Book, 58 to 100 : Bible, 92 to 100. oru ciii'ucii MUSIC. 83 INSTKli r;\i: and DEVOTIONAL. Church Psalmist, 27 to 100: Praf/cr Boo/.', 19 to 100: Bible, 2 to 100. PURELY INSTRUCTIVE. Chi/rch Psalmist, 12 to 100: Prai/er Booh-, 12 to 100 : Bible. 2 to 100. How shall we account for this strange result? — it is here positively shown, that, in the process of versifying, the psalms have deteriorated in devotional tone and char- acter to a remarkable degree : — that the purely devotional psnlms in the Bible, which arc in the proportion of 92 to 100, sink in the Prayer Book versification to the propor- tion of 58 to 100, and in the Church Psalmist versifica- tion to 55 to 100 : — that, on the other hand, the instructive- and-devotional psalms of the Bible, which are only in the proportion of 8 to 100, increase in tho Prayer Book versi- fication to 19 to 100, and in the Church Psalmist to 27 to 100: — and, furthermore, that the purely instructive psalms of the Bible, which are only in the proportion of 2 to 100, increase both in the Prayer Book and the Church Psalmist to 12 to 100. What a substitution of preaching for praise do we find here I And how shall this result be explained ? To some ex- tent, perhaps, an explanation may be given. A rhyming and versifying process would naturally change the charac- S^ OUPw CnUKCII -MISIC. ter of a psalm. Qualifying adjectives and expletives of all kinds, thrown in to complete a line, together with the change of words, generally, are attempts fraught with dan- ger to the original. This, no doubt, instigated the Scotch version of the psalms, where the aim is to retain, so far as possible, the words of the original. But, although this particular aim may have been partially accomplished, and the danger of a change of sense to some extent averted, the danger to King David's poetry was very disastrously incurred — judging by the result. It seems strange, however, that in the process of versi- fying, the spirit and aim of a psalm should be so essential- ly changed, that what, in the original, is a devotional ap^ peal to heaven, is transformed in the hand of the versifier to a mere moral reflection addressed to the audience I I will give a single short example of this — not the best or most obvious one that can be found, perhaps, but the first that offers. The 5th psalm is devotional throughout : being addressed to the Supreme Being, or evidently re- hearsed in his presence. The last verse is the following : — " Fortliou, Lord, wilt bless the righteous ; with favor wilt thou compass him as with a shield." VERSIFIED. To righteous men, the righteous Lord His blessings will extend : And with His favor all His Saints As with a shield defend. {Prayer Book, Psalm 5th.) The language of David is that of prayerful assurance — The language of the versifier is — such as we read it : a didactic statement of a fact ; addressed apparently to the audience : a turninN that the ihoir itself seemed tu serve but as 118 OUR CHUKCH :^usic. a modest accompaniment to his solo. The singer, catch- ing at such words as rejoice^ be glad, etc., bounded exult- ingly on. But suddenly his eye fell upon the word peace ; and this " gave him pause." He was startled, hut with ready presence of mind he checked his musical career, and sinking his voice to a whispering pianissimo, faintly ar- ticulated the word — peace. This accomplisked, however, he rallies manfully for the remainder of the line, to depict the 7*07/ and the gJory of it. And thus, in such phrases as " last, laboring breath," "the weary rest," "fainting heart," "sleep in dust," etc., our choirs musically paint the words. They faint on the " fainting heart," and expire on an " expiring breathx" Nothing, it seems to me, can be more solemnly ludicrous than to hear a choir thus languish — and die. Imitative effects, also, have been formally introduced into our choir music. In some of our hymn books we see a regular programme of dramatic imitation arranged side by side with the words of the hymns : like this for in- stance : — -< >- " Thy words the raging winds control, — ==d And rule the boisterous deep. >- — < Thou mak'st the sleeping billows roll, ;ir==^ The rolling billows sleep." In this verse, then, the choir, following the musical signs, have literally an oceanic task to perform. In the first line they must raise the raging billows, and then con- trol them. In the second, they must raise the boisterous deep, (albeit, the sense indicates that it is ruled.) In the tliird Line the billows are put asleep, (the sense supposes I OUli Clll'UCII ML'SIU. 119 the billows primarily asleep,) and then again aroused. In the fourth the waves are linally to be stilled. And all this is rehearsed to the iSujirenie Being, as a musical illustration to Him of the manner ui which He accom- plishes these wonders ! Another instance may be cited : — See the storm of vengeance gathering, O'er the path you dare to tread, — =c Hark ! the awful thunders rolling, Loud and louder o'er your head." The gathering storm is here to bo depicted — a spiritual storm is to be illustrated by a material. I remember as a boy how impressed I was by the dramatic effect of the heavy sub-bass pipes which the organist was in the habit of bringing to bear upon rolling' thunder s^ until the church window^s rattled again. Now this hymn is intended as an earnest appeal to the erring soul. But, if the spiritual thunders of heaven be referred to, are w^e to hurl material thunders into his ear ? Even if dramatic effect alone were sought, would not an eliective reader sink his voice to a whisper ; and turn the listener's ear inward, to the thunder of his own con- science — rather than stun by material noise ? Tf it comes to material dramatic effects, the machinery of the play- house — that of rolling heavy weights over the ceiling — were far more etl'ective, and truer to nature, than the rum- bling of sub-bass pipes. Singing" ivit/i rj/'ect has thus grown into a great abuso in choirs: their meretricious laboring after expression, 123 oL'i: ciiui.cii MUSIC. by selecting certain isolated words, without reference to the context and the entire sense of the period — their faint- ing and rallying, sighing and expiring, are both rhetorical- ly and musically preposterous. But let us look, a moment, at this subject of expression, and endeavor to reduce it, if possible, to some degree of form. Poetry and music may be said to have each a peculiar style of expression. Rhetorical expression might be termed shading : musical, coloring. Shading, for instance, is the expression applied to a crayon sketch ; or to a statue, where the chiselled features and the gentle swell of the concealed muscles cast their natural shadows. Coloring is the expression applied to an oil painting. One is an intensified form of the other. Thus, musical expression is an intensified form of rheto- rical. The signs of musical expression are the f — f f — p — pp — mf — cres — dim — sfz — and other marks familiar to all. Wlien such signs are applied in vocal music, the voices are treated, virtually, as instruments : for these are, strict- ly, more instrumental than vocal effects ; they are produced on instruments with far greater ease than with the voice. Rhetorical expression, on the other hand, is indicated only by the changing sense : and the voice of a good de- claimer involuntarily follows the thought he is uttering, and takes its tone accordingly. It swells and falls, rises and sinks in intelligent cadence to the thought. Now, at times, in moments of great excitement, as when much is at stake, the voice of an orator will rise llirough rhe- torical expression into musical. His voice becomes a mu- OUR CUlHCil MUSIC. 121 sical instrument — the urgency of the moment forces the speaker into such vivid intensity of expression, that his voice actually si /f si's with excitement. But, if nuisic and poetry have eacli a peculiar style of expression, the question arises — in a union of poetry 'jnd music, wliich style of expression shall be adopted ? In former chapters, on the treatment of words, we have shown that music may be made subordinate to poetry, or |X)etry to music : this subordination of the one or the other bein