■ I JIBS •••■'■. ■'• v ' - -■'■'.'■ -'■■■'.■ KvTcrJ* £23 SW* ■ $ ffii JSi W FROM THE LIBRARY OF REV. LOUIS FITZGERALD BENSON, D. D. BEQUEATHED BY HIM TO THE LIBRARY OF PRINCETON THEOLOGICAL SEMINARY L AX VDDRESS OX MUSIC, llF.LIVr.IlED BEFOIlr. THE SINGING SOCIETY SECOND BAPTIST CHURCH IN BOSTON, ON THE F. VEXING OF THE 7th APRIL, IS 14. /• ,' BY JAMES M, WIXCHELE, ^^^f^^^>^ BOSTON ! PRINTED BY MANNING AND LORING. BOSTON, APRIL 11, 1814. SIR, The Singing Society of the Second Baptist Church have appointed us a committee to wait on you, to present to you the thanks of the Society for your highly approved Address, delivered before them on the evening of their Exhibition of Sacred Music, and to request a copy for the press. We are, dear Sir, with much esteem, Yours, &c. JOSEPH BAILEY, JONATHAN LORING, WILLIAM LEARNED. Rev. Mr. Winckdl. ADDRESS ON MUSIC. THE occasion upon which we are assembled is truly interesting. It is to cherish in our bosoms a desire for improvement in the pleasing and important art of music. The performances which have already been exhibited have afforded us pleasure, and engaged our attention. Our minds are now naturally left to seek relief by pursuing a different train of thought. Under such circumstances, it is with peculiar em- barrassment the speaker rises to address you. Con- scious of his inability to meet your expectations, he is compelled to seek a shelter under the indulgence of his hearers. To most of you, I am persuaded no apology is neces- sary. You well know that it is no ordinary provi- dence that has called me to the discharge of this duty. I am but the feeble representative of the man, who would have dignified this occasion with his ability, no less than his eloquence. Alas ! how uncertain are all human prospects ! The time was fixed — the speaker engaged — the intelligence given ; but in a moment, the scene is changed ! The hand of death snatches from time the man, whose ready mind and glowing heart shone with a lustre through the language of his lips. The friend of science — the patron of music — the champion of eloquence — Waterman is no more ■!* Sudden death has hurried him to the grave. There, cold and lifeless, is the heart that just now was the seat of friendship. His counte- nance no more beams with intelligence ; no more do his lips move with persuasive accents the tear of affec- tion ; no more do they kindle the emotions of trans- port. He sleeps in death ! You strive in vain to wake him with the melody of sounds. His dirge is all that you can now attempt ; his dirge alone may benefit the living. Pay this last tribute of respect to the memory of your deceased friend — Strike the mournful sound of wo ! ! [The choir, (as these words were pro- nounced) without rising, sung the following appropri- ate dirge, set by Handel : " Few are our days," &c] But we cannot tarry to make reflections upon the dead. With slow and solemn step, let us advance to the concern before us. We must endeavour to direct our thoughts in a different train. For although the art of music, to which we are now to attend, may be made to express the solemn, it may also express the cheerful emotions. I therefore proceed to the subject for which we are assembled. That I should enter into a lengthy discussion of the nature and powers of music, cannot be expected at this time. A cursory view only of the subject, to show that it is not altogether unworthy our notice, is all that will be attempted. Every science demands our attention, in proportion to its utility and importance. Music, both as a sci- * The Rev. Mr. Waterman died on the 23d of March. The time for the exhibition had been ?ppointed, and public notice given that he was to deliver an Address. After this late period, the author was solicited to officiate in his stead; and, in the midst of numerous avocations, he prepared what is now pie* semed to the view of a candid public. cnce and an art, holds no inferior station in the sources of human happiness. Knowledge of every description, whether civil, religious, or political, is sought with eagerness. Reading, writing, arithmetic, grammar, geography, and eloquence ; these are thought almost indispensably necessary to a tolerable reception in soci- ety ; and why should not Music hold a rank equally important with the rest ? Music is not, as too many suppose, the offspring of a heated imagination : it does not grow out of the wild fancies of extravagance and folly : it is not the product of chance, nor the result of artificial signs and rules of man's invention. It claims a nobler origin ; an origin as antiquated as the principles of sensation, reflection, and memory. The vulgar idea of music is, that the octave, the semitones, the flats and sharps, were at the first estab- lished by authority, or mutual agreement, and have from thence universally obtained. Nothing can be more erroneous. For although the in^cnuitv of man may have reduced the science of music to certain first principles, yet these first principles are as really found to exist in nM. re, as Sir Isaac New-ton's three great laws of motion. Are the laws of motion the founda- tion of the complicated science of philosophy ? so are the simple principles of music the foundation of the various combinations of sound, of concord and of harmony. Was it ever supposed that the result of any two numbers in arithmetic, or the relation of a verb to a substantive in grammar, was established by authority ? Is not the result of the former and the relation of the latter found to exist independent of all authority ? In : manner all the artificial signs of music are de- signed to express the principle previously ascertained to exist. If a knowledge of the English language is facilitated by the rules of Grammar, why may not as- sistance be afforded by Art in obtaining a knowledge of music ? The Gamut is to music, what Grammar is to language. Both are capable of improvement, in proportion as light is thrown upon the several sciences. A history of the progress of music would afford us many striking illustrations of this statement. The ge- nius of Handel and Giardini forms as distinguished a period in the province of music, as that of Walker, Sheridan and Johnson in the province of letters. Can any person tell why the semitones and octaves should occur exactly at the same distance from each other, in all cases ? Or can any reason be assigned why a certain distance of sound should produce a discord, while another certain distance of sound produces a concord, unless it be that the principle exists in na- ture ?* The elements of music are therefore inherent in the constitution of the universe, and are inseparable from its existence. For if it is only byjhe^ agitation of the surrounding atmosphere, that thesis affected by the power of sounds, must not the quality of these sounds be regulated by the different arrangement of the various particles of the air ? and consequently must not the air itself possess those established laws, upon which are founded all the varieties of semitones and octaves, of concords and discords ?t * This is to be understood of the different sounds as they occur, without the variations that may be given by flats and sharps. + The author knows not whether these thoughts have ever before been brought into connexion with the power of sounds ; but he is unable otherwise to account for the different effects produced by the different modifications of the air. If the To ask, therefore, why there should exist such a principle as the power of sounds, is to ask, why there should be an order in the works of creation ? why all bodies should possess the power of attraction, of gravi- tation and cohesion ? The voice of nature is the voice of melody and praise ; and the laws of nature is but another name for harmony itself. No human ingenu- ity can equal the exact symmetry discovered in the formation of the human body. The air we breathe, as well as the earth we tread, is made up of various prop- erties, combined to answer the purposes of life : and who knows but that the harmony of nature may be to the Almighty what the harmony of §ounds is to us ? Who can tell but that, to spiritual intelligences, the si- lent accents of order may be as powerful as audible sounds to corporeal ? " The morning stars that sang together" in the begin- ning, were waked by the harmonious arrangement of all the works of God. And certain it is, that the or- derly movement of the planetary system, the earth, sun, moon, and stars, each possessing different proper- ties of magnitude, gravitation, and attraction, each turning on their several axes, each revolving round their several centres, and the whole re-revolving round one common centre, — swell the mind with notes of praise, equalled only by those when " all the sons of God shouted for joy." sound of a Viol has a different effect upon the organ of hearing from that of a Pi- ar.o, why should not the particles of air possess a certain adaptation to each other, to produce an agreeable effect in unison? If it shou'd be said, that the agreeable and d : sagrerable of sounds exiu in the mind, still it mny be asked — Why, (seeing it is through the medium of the air that it is communicated) should the union of two sounds be agreeable, and the union of two other sounds be disagreeable ? A develcpcmtnt of this subject would be a desideratum in the science of music . It is certainly a subject, which presents a field for much curious specula! It is natural here to observe the wisdom of our Cre- ator, in adapting our faculties to the various objects with which we are surrounded. There are but three mediums through which we derive all our happiness ; the sensual, the organic, and the intellectual. The sensual is that which we receive through the faculties of touching, tasting and smell* ing ; the organic, that of the eye and ear ; the in- tellectual, that of the reflections of our own minds.— - The organic pleasures are superior to the sensual, and the intellectual superior to the organic. With the sensitive part of our nature, music, as far as we are acquainted, has no concern ; and it holds connexion with the intellectual only through the me- dium of the eye and ear. The organic pleasures, therefore, holding a middle rank between the sensual and intellectual, elevate us as much above the former as they leave us below the latter.* With the eye, we discover the silent language of order, which is exhibited in the works of creation, and is always productive of pleasure to the mind. This principle we call in to the aid of beauty, painting, ar- chitecture, and gardening. In this manner also we can cast an eye over a stave, on which musick is written, and derive a pleasure from the same, without uttering a single sound. The ear, however, is the principal organ concerned with the power of musick. With this we communi- cate a pleasure to the mind, by attending to the beau- ties of melody and harmony when waked into audible sounds. The first step above the silent language of order addresses itself to the ear \ and although plea? - * See Kaiwc's Introduction f o the. Element" of Criticism. 9 urable emotions may be raised in distinction from the faculty of seeing, yet that effect is the most powerful which is produced by the union of these two faculties. A proper modulation of the human voice, therefore, accompanied by appropriate looks and gestures, may be considered the highest source of organic pleasures. The heart of man is formed to be animated and warmed by man. Here nature speaks with a language intelligible to all. That sympathy of sound, which brings in unison the emotions of the soul, more irre- sistible than hostile fleets and armies, seizes the man of vengeance, disarms him of his fury, and clothes him with mildness — or infuses into timidity and weakness the courage of a warrior, and urges him forward to brave the dangers of the field of battle. Instrumental music of the simplest kind must be founded upon the principles of vocal.* The lyre and the organ were in the earliest ages brought to the as- sistance of the human voice. In the ancient republics of Greece, the lyres of Orpheus and Amphion possessed a power inferior only to the eloquence of Demosthe- nes ; or, to use the figurative language of their poets, at the sound of their harps, the wild beasts laid aside their ferocity, the rivulets stopped in their courses, and the trees of the forest received the power of feeling and motion. Nor is it among the heathen nations alone that we are to look for an attention to music. Have you for- gotten that Jubal was the father of all such as handled • "Instrumental music is never introduced, till vocal has gained a considerable degree of perfection. Instruments are designed to imitate the voice : the extent, tones, and modulation of the voice must therefore be known, before they can be imitated. The most rude and uncultivated savages are not without their songs, though dcstitu.c of musical instruments." Sec Hubbard's Essay on Music, page 4, B 10 the harp and the organ in the antediluvian world?* Need I rehearse the songs of Moses and the children of Israel on the banks of deliverance ; or wake the ancient harp of David on the hill of Zion ? There is not a na- tion on earth but has felt its power and yielded to its influence. Hitherto we have spoken of music as it exists in na- ture, independently of the improvements of art. It is suitable that we should now speak of some of its dif- ferent properties, and the advantages that may be derived from it. A simple series of sounds, expressive of the genuine feelings of the heart, is called melody. Such is the music of untutored nature, where the emotions of joy or grief are expressed without restraint. Such also is the plaintive melody of the feathered songsters of the grove. Its effects are alike produced by the per- fect chorister, whose voice can wake the dormant fac- ulties of the soul ; and by the tender mother, who lulls to sleep the infant of her bosom. The union of two sounds, placed at such a distance as to make an agreeable impression, is properly called a concord. A number of these concordant sounds is appropriately termed harmony. Upon these princi- ples are founded all the varieties of music. A mixed emotion, and perhaps a devotional frame of mind, may be raised by the assistance of harmony ; but to impress an important sentiment, or to awaken a soft and delicate passion, the simple melody is the most effectual. Hence the frequent use of solos by the most admired authors of music. The mind, en- raptured wjth the sublime chorusses of a full band, is * Gen. iv, 21. 11 soon dazzled with its elevation, and seeks for relief by lighting on the simple strains of melody. Great effects may be produced by passing alternately from harmony to melody in the same piece. Like the tranquillity of mind produced by the calm which suc- ceeds a tempest, the heart is softened and impressed with a well adapted solo, after the elevation of a vari- ety of parts. An advantage may also be taken of dis- cords, to render the effect of concords more pleasing.* Music receives an additional power from its con- nexion with words. The force of language, combined with appropriate sounds, has an effect superior to ei- ther when taken separately. The sentiments of the heart are naturally expressed in language suited to their general character. Hence the orator, who with the effusions of his heart unites the greatest harmony of periods, will make the deepest impression upon his hearers ; and metrical compositions produce an effect superior to those in prose, only by virtue of their con- nexion with the power of music. The mind, trans- ported with the glories of creation, or with the perfec- tions of the Redeemer, pours forth its emotions in the impassioned strains of poetic melody. The most unexampled performances in the province of letters * "As in painting, the brilliancy of colouring is happily set off by an appropri- ate :hade, so an occasional discord gives to harmony a mote exquisit; swoemess. And on a principle somewhat similar, the expression of a single part is greatly aug- mented if placed in contrast with the harmony of a full chorus The transition relieves the mind, and gives a new spring to the attention. Moreover, in pieces of the dramatic kind, a composer not unfnqucntly finds it necessary to give a general conctntus, to represent a multitude a» uniting their voices 'o give utterance to <\ common emotion. ' : t + See Brown's Essay on Mws'c, p. 10. 12 were chiefly delivered in poetic numbers. I refer to the Psalms of David, that sweet singer of Israel.* It is easy to discover, that in this connexion music will characterize the prevailing disposition as well as the morals of any nation. Is a people naturally gay and sprightly ? You will see it in their music. Are they cold and phlegmatic ? You will see it in their music. This is evident also from the individuals to whom we may recur within the circle of our acquaint- ance. We seldom find an accurate musician, without finding a correspondent mildness of temper and dispo- sition. Such was doubtless the meaning of those ex- pressions, made use of to show the effect produced up- on the temper and manners of the Grecians by the music of Orpheus. And it is certain that the polite- ness, humanity and hospitality of the Arcadians, so much celebrated in ancient history, was principally the fruit of their attention to the art of music j while their Cynethian neighbours, neglecting this and the fine arts, with which it is connected, became " so fierce and savage, that no city in Greece was so remarkable . for frequent and great enormities."! Is it not of importance, therefore, that the youth especially, who are forming their tempers as well as their morals, should pay suitable attention to this de- lightful branch of education ? And is it not as much an abuse of the mercies of God, to treat with contempt * "The song of Moses was written in poetry, undoubtedly for the purpose of being sung by the choirs of Israelites." Hubbard's Essay, page $. + See Polybius, lib. iv. chap. 3. and Kaime's Elements of Criticism, chap, ii, part i. sect. 2. IS this important source of happiness, as any other of his benevolent institutions?* I come now to speak of the advantages of music when applied to the sacred duties of devotion. By the universal consent of all nations, it has been considered an essential part of divine service. I do not wish to apologize for the abuse of this principle by the Pagan world in honouring their impure deities. Its noblest effects are found among the worshippers of the true God. The Saviour of men did not hesitate to join with his disciples in singing a divine hymn on the most solemn and interesting occasion. And in after days, those same disciples continued to sing psalms and hymns and spiritual songs in the churches of Jesus Christ. Hence the worshippers of the Son of God in all ages have united their hearts with their voices. in making melody unto the Lord. The Zion of God is the perfection of beauty : it is the mountain of holiness, the temple of virtue, in- habited by the sons and daughters of the Most High. Can any place be more suitable for harmony and praise? Can any choir be more honourable ? any subject more exalted ? any emotions more pure ? Here every cir- cumstance, that can add to the perfection of music, exists in its full strength. Is grandeur and sublimity * Although the principles of music are furnished by nature, yet to be able to convert them to practical uses, is the work of art. Culture is no less necessary 10 a good musician than to a correct mathematician : an inattention to either, in the season for improvement, may render all after efforts ineffectual ; more especially so in music, where all the beauty of the performance depends upon the ability to modulate the voice. This ability is best obtained in youth, while the vo ce is yet forming. Very few persons, who have arrived at the meridian of life, have been able to make themselves even tolerable performers in vocal music; while very many have reflected with much regret upon their mis'mprovement of that season, when their voices might have been cultivated. This fact should excite a dcsiie in the breasts of all, who still have it in their power, to improve their voices while they arc young. 14 necessary ? What grandeur can equal the perfections and works of the Deity, unfolded to the view of the believer ? Is strength of affection and friendship nec- essary ? What affection, what friendship can equal that of the compassionate Redeemer ? Are emotions of joy and transport necessary ? What emotions can equal the animation of believers " raised up," and made " to sit together in heavenly places in Christ Jesus ?" Hence we find that most of those, who have excelled in the su- blime and beautiful in music, have chosen to draw their subjects from the treasures of divine revelation. It is a question much agitated by critics, whether harmony, the performance of different parts in unison, has a tendency to increase or diminish the effects of music. It is said, that to multiply the parts is to di- vide the attention, so as to prevent the impression of any one important sentiment. And if we were to ex- amine the pieces of some of our American authors as a standard, we should find that this statement is tootrue. # They have not only directed a number of parts and sounds , but^lso of words , to be performed at the same time. In one instance at least, the four parts of quite a celebrated tune, are pronouncing at the same time the principal part of four different lines in the same verse. This is certainly a play of words and a corrup- tion of music, to the disgrace of its solid beauties.f * I say some, for there are so many excellent pieces of American composition, that it would be unjust to censure without discrimination. Good music needs no jpology ; it speaks for itself; and the more it is examined, the more will its beau- ties be discovered. When the taste for*uch pieces shall become established in this country, they will not fail to procure " the meed of praise" for their authors. f See Hubbard's Essay on Music. These observations are intended to apply principally to the music adapted to the solemnities of public worship. The beau- ty of music consists in its being suited to the occasion. If we are displeased with a levity in the pulpit, when engaged in the worship of God, why should we allow It in that which conftitutes an essential part of worship? Music admits of as great Bat still I think that in the worship of the sanctuary we may have a harmony of parts, which shall greatly add to the solemnities of devotion. To produce any lasting impression upon the mind with simple melody, requires a greater skill of performance than the gene- rality of singers possess. But by the variety of voices in different parts, the same effect may be produced, al- though the performance be not so accurate ; and the God of nature, who calls for the homage of all our hearts, seems to have bestowed this variety of voices, that all may bear a part in the worship of their Creator. What an elevation of soul is produced by the per- formance of sacred music adapted to the solemnity of the occasion ! What greater resemblance can exist be- tween the inhabitants of heaven and earth, than when with united voices they ascribe praise and glory to " Him who sitteth upon the throne and to the Lamb !" I cannot relinquish your attention, without remark- ing the mixture of satisfaction and regret with which I listen to the performances of this evening. Of satis- faction, that the style of music introduced is so much superior to that which has prevailed in New-England for years past ; of regret, that the same style should not be more universally introduced. I will not now des- a variety as public speaking, and in the duties of the sanctuary thpy should go hand in hand. It begins to be seen and acknowledged, that most of the tunes, which have been sung in the churches of New-England, are too trifling for devotional purposes. The solid beauties of music are beginning to be introducer!, and that corruption of taste, for which we have been so justly censured, is gradually de- clining. With respect to fuges, they arc admissible in anthems and chorusscs mere than in simple* pieces designed for the sanctuary. If they are frequent in European music, it is principally in that of the first description, and very few or none of the tunes in common use are made up of fuges, like that referred to in the example above mentioned, and many others that might be produced. Those, who may wish to sc- that example and a specimen of correct fuging, may fimi them in Hub- bard's criticism on the tune called Montague, in his Essay on Music, deliver