Transcription of No.23 in the Congregational Union Tract Series, published 1862 for the Congregational Union of England and Wales; from a copy in the Congregational Library, London. The Tract is a reprint, authorized by a resolution passed at the Autumnal Assembly of the Congregational Union on Thursday 27th September 1860, of a Paper read to the Assembly on that day by its author, the Revd H.M. Gunn. It had previously been printed, as part of the Proceedings of the Assembly, in the 1861 Year Book of the Congregational Union, pages 59-74, of which a copy is held in Dr Williams's Library, London.
The opening paragraph, as delivered to the Assembly, was slightly modified for its publication in the "Tract" Series, the original having begun thus (Year Book, p.59):
[ The Rev. H.M. Gunn was now requested to read the Paper prepared on this subject at the solicitation of the Wilts and East Somerset Congregational Union. ]In bringing before the Union the subject of Congregational Psalmody, it becomes me to say that I should hardly have ventured to comply with the desire to do so, had I not felt encouraged by the interest taken of late years in this part of Divine service, by devout and thoughtful persons. Though without the advantage of professional repute or musical science, there will be no need for me to offer any apology for inviting your attention to a matter of real practical importance. The object of thus occupying your time is "the furtherance of the Gospel," by stirring up some minds to work for the improvement of singing to the praise and glory of God, so that public worship may be more deeply enjoyed by the church, and may be more widely commended to the world. . . .
[ the Tract, as published 1862 ]
In Congregational Psalmody an increasing interest has been taken of late years by devout and thoughtful persons. The subject is of real importance, and demands attention, with a view to "the furtherance of the Gospel," by stirring up some minds to work for the improvement of singing to the praise and glory of God, so that public worship may be more deeply enjoyed by the church, and may be more widely commended to the world. It is well, then, in a kindly and cheerful spirit, congenial with a theme so pleasant as sacred song, to investigate those general principles and practical suggestions, which have been advocated by good and wise men, who try to serve the church according to "the gift of Christ" that is in them.
The title, though simple, requires definition, since it may be understood in different senses, as a tune announced by a well-known name is sometimes sung with variations. By congregational, is implied psalmody fit for congregations to use in devotion; and this term will separate it from what is unsuitable for this special purpose, however much it may do for private practice, for personal taste, for vocal display, or for a few amateurs. Of psalmody it may be explained, that, although it means literally psalm-singing, there are three ways of singing a psalm, known as the tune, the chant, and the anthem. The tune (or tone) is sung to psalms or hymns, written in verses of a certain number of syllables, according to a metre or measure limiting every line, and adapted to music in which a note is provided for every syllable. The chant, derived from the Latin "cantus," a song, (like the canticles, the songs; or chanticleer, the clear singer; or enchant, to charm by chanting;) is employed with the poetry of Scripture in the original form of versification, which consists of lines arranged as parallel sentences, without being restricted to any precise quantity of syllables, and which requires music admitting of more than one syllable being sung to a note. The anthem, an epithet of Greek extraction, signifying something "put up" in a temple as a votive offering, is music intended for one psalm or biblical passage alone, and keeps the same notes to the same words, joined together in a bond that allows of no divorce.
Now, the kind of psalmody most common and popular in Protestant communities is undoubtedly the psalm-tune, and as such it may fairly claim due prominence in your deliberation, and will be most likely to obtain a mature and sound verdict. The other species, called the chant, has had less unanimity, because of the difficulty of bring in the words to the notes in a reverential manner, pleasing as is the thought of singing the language of Scripture; but it has been recently introduced in many congregations where it had not been attempted before, and is still undergoing examination, with a view to its being made as easy and devotional as it can be for popular assemblies. The last sort of sacred music is the least employed in places of worship, and, being in only a few instances designed or suited for a congregation, it can scarcely be comprised within the designation of congregational psalmody. Premising these explanatory remarks, a few enquiries on some general aspects of the subject will now be submitted for consideration.
I. Whether psalmody is rightly regarded by congregations as part of their worship?
Agreed, as most Christians are, that singing the praises of our heavenly Father is "a good thing," being "pleasant and comely for the upright," as well as "meet and right" for all, it is nevertheless very certain that the ideas entertained of it will affect the manner of performing it. A general truth may be held with very loose and narrow views, which will inevitably lead to a careless and slovenly mode of dealing with it. Such is the treatment prayer receives from many; and, if so, it is much more likely to be the case with praise, because it is far less enforced in public discourses, and is the subject of fewer treatises. In spite, however, of dim and vague notions in multitudes, there is a wide-spread conviction that psalmody is no invention of man, no contrivance of priestcraft, no tradition of the church, no entertainment for the world, no mere interlude of rest for the minister, or of change for the people; but an institution of God, an ordinance of religion, having God's Word for its authority, and God's glory for its object, with an obligation binding on us to do it in proportion to our power.
Viewed in the light of Scripture, psalmody is worship. Its essential nature is praise offered in the form of song. It is a direct address to God - sung instead of being spoken. Adoration is its principal design, though it is frequently made a vehicle for supplication, meditation, and confession. Praise and prayer make up our worship; and as a medium of access to the Father, through the Son and by the Spirit, they unite to afford us our highest privilege on earth. The human spirit can not only say, but sing its holiest affections to the Infinite Spirit, and while it sings it can soar up into the beatific vision of the pure in heart who see God. Such communion in spiritual song is true worship. It is the utterance of a grateful soul, conscious of having much to stir it up to sing its praises to "the Father of lights, from whom cometh down every good and perfect gift." But most of all must the great burden of our psalmody be "thanks for the unspeakable Gift" - thanks for His grace and truth, for His life and death - the celebration of His divinity, His atonement, His redemption - lauding His perfections, magnifying His glory, rejoicing in His love, extolling Christ himself - who is proclaimed by the host of heaven to be "worthy of all honour, and glory, and blessing." And what can be so acceptable to the Father as any mention of the Son? or what can be so appropriate to "true worshippers" as a grateful remembrance of the only Mediator? How can our praises be heard, any more than our prayers, apart from "Him with whom the Father is well pleased?" Only in His name and for His sake can our "spiritual sacrifices" be received with Divine complacency, or be rewarded with favours to those who present them. They who delight to dwell on the memory of Jesus in their thanksgivings, have a peculiar facility by using the evangelic version of the Psalms by Dr. Watts, which is more full of Christ than any other psalter in the language. The psalmody of the church is pre-eminently a commemoration of Christ. "The name that is above every name" is the sweetest sound borne up on the music of earth, and no sublimer tone than Jesus will swell in the harmony of heaven. "For Him shall prayer be made continually, and daily shall he be praised."
Regarded in this light as worship - and most of all as Christian worship - our psalmody ought to be well performed. Our Divine Redeemer is worthy of the noblest music. However good our attainment is, the reality never reaches our idea of what is good enough for Him, and the finest strains leave the heart yearning for something still better. Supreme affection cannot content itself with mediocrity, but it must bring out its choicest treasures; and though its alabaster box may be its all, it is gladly poured out at His feet. It is not love that offers "the lame for sacrifice." Should not the best singing be devoted to the Saviour, instead of the worst that a person ever does being reserved for the house of God? An earnest believer should not be satisfied with anything short of decided excellence. It will not be sufficient to escape gross unsuitability or downright impropriety, according to the apostolic rule, "Let all things be done decently and in order," with the addition,"Let all things be done unto edifying;" but, beyond avoiding inferiority, an endeavour should be made to reach positive superiority, assured that what is worth doing at all for Christ is worth doing well.. This would be soon attained if every one resolved with the apostle, "I will sing with the spirit, and I will sing with the understanding also." Intelligence in the mind, with piety in the spirit, will be sure to make a difference in singing, and, while inciting all to join with holy pleasure, will at the same time evince refined feeling by good taste. It is also enjoined - "Let the word of Christ dwell in you richly, with all wisdom teaching and admonishing one another in psalms and hymns and spiritual songs, singing with grace in your hearts to the Lord." If, then, you enter into the spirit of this precept, and "sing to the Lord" Jesus Christ, not only "with grace in your hearts," but "with all wisdom" in your minds, you will take care that there is good and wise singing as a means of teaching "the word of Christ" in His own church.
That Christ should be glorified in His people by their manner of fulfilling this duty, might be enforced by many obvious reasons, if our space allowed them to be adduced. He is honoured by creditable excellence in the other parts of a Christian service, and should thanksgiving be the single exception? As He declares that it is the Father's will that "My house shall be called The house of prayer," should not such a title over the door secure peculiar propriety in the devotion for which the building is chiefly erected, and from which its very name is taken? In worship we speak to God; and if reverence is due in hearing God speak to us in His word, when read or preached, should there not, if possible, be more care exercised in venturing to ask the Almighty to listen to us? Decorum is allowed to be becoming in prayer, but, if any difference is made, there should be more of it in praise - from this being of a loftier order and of a more lasting duration. For gratitutde for a favour received is more honourable than entreaty for it before it is given; and if thanking is more noble than asking, it ought to be done better rather than worse. Then supplication, so far as we know, is limited to our present life of want and sin, but singing will go on for ever, as real and as perfect as the harmony of the celestial song at the advent of our Lord. If, therefore, praise be the noblest and nost blessed service in heaven, and it the only worship we are sure is offered there - for we are never told that angels pray, but are often told they praise - should not the church on earth endeavour to do the only part of its service here which will be carried on hereafter, in a manner as much like as it can be to the perfect psalmody of the church in heaven?
A right view of the subject will also furnish two or three practical arguments to secure the influence and energy of practical men in the owrk of improvement. Those who have felt the effect of a ood or bad tune, well or ill sung, by a few or by all, will need no other reason than their own memory can supply in the recollection of services greatly helped or grievously hindered, deepening a hallowed influence or tending to prevent the salvation of souls. This, too, being the people's part in the service, in which they are actively and hapily employed, it is especially important that they should perform their part well, that they may teach truth to one another impressively, and as mutual instructors give their admonitions in a proper manner, or, instead of one person doing a duty badly, the whole assembly is involved in an unworthy discharge of a sacred and public vocation. Again, our psalmody produces a favourable opinion, or the opposite, on other churches and the world at large; and claiming, as we do, to be a branch of Christ's church, professing to be representatives of scriptural principles, and conservatives of evangelical truths, we ought to leave nothing undone to recommend doctrines we believe to be Divine, invaluable, and enduring. There is the more need for solicitude by congregations who have not been in general esteemed by any but themselves, as models of a devout manner in a place of worship, whiole they are aware that good music is appreciated by all classes, and can be agreeably executed by such voices as most people are blessed with. The social position of many communities has difficulties of its own quite enough, without the drawback of having a service, simple in all cases, pushed to the extreme of repulsive plainness, or stripped to bare nakedness of the least ornament there is in pleasing melodies poured forth by many voices. A lesson should be learned from the strenuous efforts of other; and if Puseyism fails by one extreme of excessive ritual adornment, and is mortified at finding it is of no use to get itself up regardless of expense, it would be a suicidal policy for evangelical Protestantism to fail by sinking into the other extreme of slovenly neglect, drawling dulness, or noisy irreverence. If there is bad taste, let it cleave to error as a dead-weight on its activity, but let it not be fastened to the chariot-wheel of truth as a drag on its progress. Moreover, if it would be wrong for an assmbly to be kept from joining in prayer by a popish mode of muttering it for the people instead of saying it with them, would it not be equally wrong for a congregation to be kept from uniting in praise by a popish method of singing for the people instead of with them, in consequence of a choir monopolising the music by tunes the congregation is neither able nor willing to sing, so that the people admire the choir, but forget to adore the Creator? But a church will not and cannot remain dumb, unless its light is dark and its life is dead.
In concluding our investigation of the right estimate of this portion of our services, it is right to observe the insight it gives into the state of religion. Like prayer, it is a spiritual thermometer, gauging the moral temperature. When religion is low, thanksgiving is languid; but as soon as godliness flourishes, the soul puts on "the garment of praise" instead of "the spirit of heaviness." When "the winter is past, the time of singing is come." The prodigal returns to Zion with songs, and "in the Father's house music is heard, for it is meet that we should make merry and be glad." The joy of angels over repenting sinners reverberates through the outer court on earth, and awakens an echo in the church below. The Comforter is a Spirit of joy, and tunes a happy heart to holy hymns. The Gospel has always been a psalm-singing religion; and "a new song" is foretold at every era of its progress. Every revival of Christian life has been proclaimed by an outburst of spiritual songs. It was so in the apostolic age. It was so at the Reformation. It was so with the Puritans, the Nonconformists, and the Methodists. It is so now in America and in Ireland. It will be so here and everywhere. Prayer in earnest leads to fervent praise; the church becomes its own best choir, and Christ is all its praise.
II. What are the principles on which psalmody ought to be composed for congregational use?
For a knowledge of these principles there must be some study of the nature of psalmody, for only by analysing its design can its characteristic qualities be ascertained. From the preceding brief examination its spiritual function is determined to be worship, and, as a matter of course, its musical requirements will follow. What the character of any music is, will depend on the object or occasion for which it is constructed. All music has one peculiar province, which is, the expression of feeling. Observation will discover that this is the purpose of sound in all creatures capable of making it, which is plainly exhibited in extremes - for a cry of pain expresses a painful emotion, and excites it in those who hear it; or a tone of pleasure conveys a pleasing sensation from one who utters it to another who receives it. Not ideas so much as emotions are indicated by the intonation of the human voice in speaking or in singing. In singing, the same sounds are uttered as in speaking, only they are modulated into music, to render them more expressive. In its power of expressing feeling lies the perfection of the art. As a poet exclaims --
- "Music! oh how faint and weak
- Language fades before thy spell!
- Why should feeling ever speak,
- When thou canst breathe her soul so well?"
From this fact arises the question, What are the feelings that have to be expressed by sacred harmony? The dispositions proper to devotion are very obvious, and are presumed to exist in most worshippers. Hence the prevalence of the same devout sentiments throughout a congregation will make the same style of tune suitable for all. The adaptation may be farther generalized, so as to include all congregations; for, though they differ in intellect, they are much alike in heart. "The rich and the poor meet together before their Maker," and a real uniformity underlies all superficial diversity. The vast majority in most churches can be suited by the same tunes, no less than by the same hymns, or by the same prayers, or by the same sermons. A common average condition will serve as a safe criterion, so that the kind of psalmody that is best for one is best for all. In attempting to delineate the right style of congregational music, we have to do with spiritual qualities, rather than with scientific, because it is a case in which the religious feelings must mould the mechanical forms. The principles, then, of psalmody are few, plain, and certain, like the moral properties of the praise it is designed to express.
The first principle is -- solemnity. The foremost and deepest feeling in devotion is reverence for the Divine Being. In His presence duty becomes most serious, and emotion grows most subdued. The holy place commands a spirit of solidity, that caused the church-song of yore to be called the "canto fermo." On hallowed ground the soul treads with careful feet - sensible, not of the sanctity only, but of the dignity also, of the office to be filled there. Who would not approach majesty with a sedate and stately step? Among all nations there has ever been a broad distinction between sacred and secular music, maintaining for the former a substantial character, wholly different from the light and rapid strains intended for the dance, the march, the ballad, the concert, or the opera. Nor could a confusion in things so opposite be attempted, without producing a conflict in emotions that differ as wide as the poles are asunder. The religious nature in man, though fallen very low, instinctively shrinks from it as from a profanation and a sacrilege. "Solemn words" would be out of place "on a thoughtless tongue," but not more so than to a thoughtless tune. The diversity in kind has been overlooked by persons not quite as wise as they were good, who, having been oblivious of the last commandment, have coveted their neighbour's melodies, though expressive of feelings neither religious nor devout. Of this sort was some one addicted to quaint sayings, who is reported to have said, that the devil ought not to have the best music. It is very true that he ought not, and it is equally certain that he has not the best. That alone can be called his which serves his bad purposes - all the secular is not Satanic; yet not the worst merely, but even the best secular compositions will not bear comparison with the best sacred music. Genius has consecrated its best to Him from whom it came. Far better than the most vaunted masterpieces of the secular musician, are the treasures dedicated to religion. Who, then, need wish to hear the favourite airs of the theatre intruding their unholy associations of feeling among the songs of the sanctuary? Why should man join together what God hath put asunder? It may be accepted as a fundamental axiom, that the style that is best for the world is not the style that is best for the church of Christ.,
But simplicity is no less required than solemnity. For the right thing to be in the right place, this is an essential in all popular music. The Reformers knew what was wanted when they called their melodies plain-song. SImple tunes were a great help in winning the people to the truth. The reason is obvious, that most persons in every congregation have neither the time nor the talent for intricate phrases in psalmody, any more than they have for involved passages in prayer. What is difficult in execution, from being fugue or florid in composition, should be left to those who, by dint of constant practice, can master it. Not that hard intervals, chromatic transitions, or fugue contrivances, make better or higher music than a more easy and regular progression, for some of the finest melodial forms are some of the simplest. Good singing, like good speaking, should be natural, flowing on like a stream in the even tenor of its way, without any sudden breaks, or sharp turns, or strange efforts to run back on its course, and go over the same ground again. Singing poetry should be like reading it - only a better expression, if possible, of its pure and tender feeling. What good reader would mar beautiful verses by frequent interruptions, or vain repetitions? The construction of a metrical stanza demands its being pronounced continuously to the end, or a generic change is made, altering a four-line verse into a four-and-a-half line verse, or into a five, six, or seven-line verse. In scriptural poetry there are occasional repetitions, but only in special cases, for the sake of emphasis, when the music is not repeated if the words are. In praying or preaching, how oddly it would sound for anyone to try to improve on the present plan, by saying over again the last clause of every sentence, whether emphatic or not! How strange would be the Lord's prayer if its seven petitions were served in this way! Why, then, should a singer make a model of an orator, who utters the same words again because he is at a loss for more, or repeats the last clause of a sentence only when he is not sure how to begin another? It is foolish enough to repeat, as some do, the last half of the last verse, without any reason but by way of finish, when it is in general done worse the second time than it was the first; but it is still more unwise to go so far as to repeat lines in every verse, and often the lines which are least emphatic. This is a modern innovation, being a copy, or rather a caricature, of the anthem style. There is hardly one tune a century old with a repeat in it; and those that have it are not likely to last long. The straightforward course is the simple plan, and simple things are strong and lasting. Earnest hearts instinctively like to do great duties in a simple way, and simple music best becomes a simple worship.
Variety is another ingredient that must be mingled with the two qualities already named. It is indispensable to the various subjects embraced in devotion, and to the various circumstances and feelings existing in a congregation. Our own nature is full of variety, and fond of it too. The lights and shades play over the changeful surface of the soul, and must find expression in sacred song. In perfect keeping with this necessity is the variety supplied by good psalmody. A superior melody is elastic enough to admit of as much modification as most hymns require in the verses sung. General adaptation, it has been rightly said, is the distinctive law of a tune. Any special fitting of notes to words, verges into the peculiar department of the anthem. The diversity between hymns that differ in topic and style is provided for in tunes which are as varied in their character as the range and strength, the rise and fall of the voice, in speaking on different themes. Extreme contrasts are expressed by music composed either of the strongest major tones natural to the voice on bold and joyful occasions, or of the sharper minor intervals employed instinctively in sorrowful moods. In singing, as in speaking, the intonation of the voice can convey every state of mind and every shade of feeling, according as the tones and semitones are employed in the structure of the melody. The expression lies in the construction; and out of one scale of notes all the music in the world has been evolved, and all the infinite variety of expression has been produced. In addition to the diversity secured in this way, there is the effect of the time in which any music is performed. The rate of movement is indicative of feeling: as a rapid succession of sounds is natural to a lively state of mind; a moderate pace is common in deep thought or calm contemplation; and a slow step is becoming on solemn or mournful occasions. Much of the influence of music depends on the interval between the accented notes, and whether that interval is occupied with several quick notes, or one moderate or slow note. The importance of the right time is greater than many imagine. It is asserted by the best judges, that formerly the psalm-tunes were sung with much spirit, and therefore at a brisk and lively rate. In the Psalter published by Ravenscroft, in 1621, this direction is given:-- "That Psalmes of Rejoycing be sung with a loud voice and a swift and jocund measure." Hints to this effect, illustrative of the custom during the previous century, are confirmed by the divisions in the psalms allotting a dozen verses for a single sitting. But the vigorous strains that were wont to be lifted up with energy, are in our day reserved for funeral hymns, and are wailed out at the pace of a funeral procession. Of this perversion the Old Hundredth psalm-tune furnishes a notable example, for that which used to be the liveliest is now the slowest of tunes. It is set to the "Jubilate Deo;" but when modern choirs "make a joyful noise," their jubilant mode would be the very thing for a requiem. Be the sense or feeling what it may, however cheerful and gladsome, the tune moves on in the same dirge-like manner. Nothing has tended to render noble airs more unpopular than a sluggish, heavy mode of treating them. Revive their real spirit, and you will soon restore them to favour. They are the very music for a massive volume of sound, and should roll on with such force as to display their true power. If allowed to put forth their strength, they infuse life into the whole service. The opinion of Dr. Watts on this point deserves consideration, which is thus stated in the Preface to his Psalms, pulished in A.D. 1719:-- "If the method of singing were reformed to a greater speed of pronunciation, we should often enjoy the pleasure of a longer psalm, with less expense of time and breath; and our psalmody would be more agreeable to that of the ancient churches, more intelligible to others, and more delightful to ourselves." Those who have of late tried his advice have found it succeed. It is not easy to give an exact idea of the rate of time to be generally kept; but if a cheerful or moderate tune in long or common metre is sung in half-a-minute, the effect will be stirring and pleasing too. It will be admied that the popular National Anthem, as usually sung, is slow enough, and why should anything be sung more slowly? Some allowance must, no doubt, be made for national character; and popular taste, displayed in what is most preferred, reveals a union of sobriety and energy. Hence psalmody, to be the expression of national feeling, must possess the characteristic qualities common in our age and country; and to pass current, like good English gold, it must bear the stamp of solidity and decision worthy of a devout and earnest people.
One other principle drawn from nature is developed in the addition of harmony to the melody. In every congregation there are voices of different degrees of pitch, some ranging easily at high point, and others at a low level, while some are most at home in an intermediate place. Each pitch performs a part, which is a distinct melody, and hence four melodies combine to make one harmony. Every voice should find its proper position, and take the part intended for it by its Creator, who has formed voices of four different degrees of pitch to move on at the same time, each keeping to its own part, yet all blending together in consonance. Great is the goodness of the Maker of the voice and ear, in affording us the pleasure peculiar to hearing noble concords well sung to His praise and glory. To ignore this endowment would be to destroy a precious gift with a ruthless hand. For all voices to be forced into one part would do violence to nature, and would be like an attempt to clothe all objects in one colour. For a congregation to be confined to singing in unison, instead of pouring forth their souls in glorious combination, has been aptly compared to an organist playing only one note at a time with one finger, instead of using both hands and feet too in bringing out the rich and various harmony. But even where all voices are not compressed into a unison, the chords are in most assemblies rendered far too feebly to be appreciated. The voices, which in conjunction would be strong, are weak in isolation. Those who have heard a chorus of the Messiah at a performance of that great oratorio, where each part has been delivered by 100 voices in a united group, may judge how the effect of harmony would be heightened by a number singing the same part near each other. In a choir of two dozen voices, those who sing the same part are not dispersed and intermingled with the others, but are arranged together. The proposal to carry out this plan in a congregation, with all who are willing to join in it, has been tried with great success.
These principles arfe derived from nature, the nature both of worship and of the worshippers. They are summed up in the ideal of psalmody portrayed in the admirable words of one who thus described it:-- "Religious harmony must be moving, but noble withal; grave, solemn, and seraphic; fit for a martyr to sing, and an angel to hear."
III. What style of psalmody has been proved by experience to be the best adapted for public worship?
The art of music has been the handmaid of every religion, and of none more than of the Gospel of love. Of the early culture of sacred song little is recorded; but from the time of Moses with the national chorus at the Red Sea, the Hebrew psalmody grew from age to age until the Psalter was complete, and passed from the Jewish synagogue to the Christian congregation. Besides the psalms and the hymns in the Old and New Testament, there were added uninspired odes, according to the Apostle's classification of "psalms and hymns and spiritual songs." An instance of this custom is preserved in thirteen hymns and one spiritual song, being added at the end of the Psalms in the Alexandrine Codex, belonging to the fourth or fifth century, which is the oldest copy of the Bible in the British Museum.* The scriptural form of verse continued in the churches for nearly four centuries; so that chanting must have been the mode of singing the praises of the true God for at least 2,000 years, until the form of versification was changed. The introduction of metre into Christian songs is due most probably to Ambrose of Milan, about A.D. 380, who was the first composer of hymns in Latin for Divine service; unless tradition is right in assigning some to Hilary of Poictiers, about A.D. 360. The metrical verse adopted from the classical poets was wisely chosen, - being the kind now called long metre, - and at first it was without rhyme at the end of the lines. Once introduced, metre soon prevailed to the exclusion of its predecessor, for it was the popular form of poetry in Europe, where it has kept its hold in Christian churches for 1,500 years.
* The hymns are those of Moses, from Exodus, ch. 15, and Deut. ch. 32; of Hannah, from 1 Kings, ch. 2; of Isaiah, in ch. 26; of Jonah, in ch. 2; of Habakkuk, in ch. 3; of Hezekiah, in Isaiah, ch. 38; of Manasseh, in the Apocrypha; of Azariah, and of his brethren in the fiery furnace, two in the Apocrypha; of Mary, in Luke, ch. 1; of Simeon, in Luke, ch. 2; of Zechariah, in Luke, ch. 1. After these thirteen hymns follows one spiritual song, called "The Morning Hymn," which is the hymn of the Communion Service in the Book of Common Prayer, and is the oldest Christian hymn in existence.
The music, which was employed with either the Eastern or Western verse, can be known only from a collection of all that was considered old and good in any church, compiled by order of Gregory of Rome, about A.D. 600, and enjoined on all those over whom he had any influence. This primitive psalmody, commonly termed Gregorian music, remained in use as the standard throughout Christendom for a thousnd years, until the era of the Reformation. It was of the style distinguished as the "canto fermo," or firm, solid song, in contrast to the "canto figurato," or florid, flourishing sort of singing, which has often been creeping in, whenever a period of depraved taste or degenerate piety would endure poor imitations of secular music. One of the first good works of the Reformation was to give the psalms to the people in their own language, and to restore the melodies of the church to the pattern of the ancient psalmody. Luther printed 8 hymns and tunes as early as 1524, one of which is well known to us as Luther's Hymn, and afterwards he added more, until they amounted to 37, in 1543, the year before his death. Clement Marot translated 50 Psalms into French verse, and Calvin wrote a preface to an edition, in 1543, of "the psalms with their music;" the music being composed by another friend, Guillaume Franc, in the old style, but in a broader, bolder character, to suit the earnest spirit of the age, as Calvin objected to retain the ancient melodies, both on account of their association with the Roman service, and of their want of the energy required to brave the massacres of France and the martyr-fires of England. The other 100 psalms were versified by Theodore Beza, who completed them with 124 tunes, in 1562; and in 1565, harmonies were subjoined to the melodies, in Geneva, by Goudimel, who was martyred for so doing. A French Psalter, of 1555, still preserved, has the oldest known copy of the fine old favourite, the Old Hundredth, which was composed, most probably, by Franc, the musician. The English Psalter commenced in 1549, with 37 psalms by Sternhold, and 7 by Hopkins; had notes set to 51 psalms in 1556, in Geneva; was enlarged to 64 in 1560, and to 87 in 1561; but was finished in London, in 1562, with 62 tunes, in various metres, printed on the same page with the psalms to which they were set, as the title-page announced, "The Whole Booke of Psalmes, with apt Notes to sing them withal." The tunes were harmonized, in 1563, by Tallis, Parsons, and five other musicians. In 1564 the Scotch Psalter was published at Edinburgh, with a few differences from the English in the versions, but with more of the tunes from the earlier editions. A large proportion were in the minor mode, expressive of the sorrowful struggles of the soul into light and liberty; but a thoroughly English character pervaded many, which has caused some to be of late restored that ought never to have fallen into disuse. The effect of such congregational psalmody is described as very great; and Jewel, the eminent Bishop of Salisbury, stated "that nothing promoted the Reformation more than inviting the people to sing psalms; and that sometimes there would be 6,000 persons at St. Paul's Cross singing together." In 1621 a superior collection was edited by Ravenscroft, comprising nearly 100 tunes of the same elevated order, carrying on the state of psalmody in advance of any previous work. No deviation in style was attempted, even in the debased period of Charles II., in whose reign a remarkable Psalter was published, in 1667, by Playford, which deservedly maintained its pre-eminence for a century. The lapse of that century, however, was a continued decline in religion and taste, so that "The Sacred Harmony," issued by Wesley, as well as the compilation of Dr. Rippon, disclose a strange intermixture of old and good tunes with later and inferior compositions. There was room, nevertheless, for descending considerably lower, by omitting more of the excellent, and inserting more of the unworthy; and a selection made on this plan will remain, as long as it lasts, a musical monument of the former part of this century, on which future generations, if they see it, will gaze with wonder.
When, however, things get to the worst, they begin to mend; for the appearance of "The Psalmist," in 1838, was a great stride back in the right direction. But the time had come for a complete restoration, and with the instinct of genius, the Rev. J.J. Waite set up the old standard by his first publication in 1842. His steady, unswerving adherence to the true model is already rewarded with large success; one of his courses gives a great impulse to any congregation, his labours are spreading sound principles among all classes, and his comprehensive volume displays greater variety than any other work in melody and harmony, while it maintains throughout a uniform superiority of style.* Adopting some of the same views, the Rev. John Curwen has been indefatigably occupied for several years in diffusing in various ways the culture of music, chiefly among the young. Some other valuable works have appeared recently, and among all evangelical communities, publications are now circulating music of a similar description. The worst is past. The good leaven is working a thorough and rapid change. The future is full of hope. Earnest men will push on improvement. Increasing numbers are resigning their prejudices to their proper fate, and appreciating good principles when put before them. A few years more will witness among our churches a congregational psalmody equal to any employed in the service of God on earth.
* The writer of these pages has great pleasure in acknowledging his obligations to the Rev. J.J. Waite's publications and lectures for many of the suggestions in this address.
IV. What can be done to improve the psalmody in any congregation?
Although a work of no very great difficulty, any improvement worth making will demand in this matter, as in everything else, some time and trouble, and therefore some earnestness, in order to insure success. There must be first "a willing mind." A strong desire for good singing in public worship will incite some thoughtful, energetic mind to talk it over with others, and try what can be done. Perseverance there must be, for impediments will be met, and most popular changes, to be good, must be gradual. Still, a little prudence goes a long way in ecclesiastical management, and a musical enthusiast should not expect others to advance quite so fast as himself, but will find drawing much better than driving - never giving up, but keeping them always moving on in the way in which they should go.
Supposing, then, that there is in a congregation one or more persons in earnest about it, the mainspring of the movement is provided, and a basis of operation is secured. Such individuals need not wait to get much knowledge of the musical art, if they have a sense of Christian duty exciting them to make it a matter of conscience to serve Christ in this way. With no pretensions to science, they can stir up others, and bring them together for mutual co-operation; though in many cases one who thought he had "no music in his soul" has been agreeably surprised at discovering that he had the faculty, only it wanted developing; and wishing to encourage and benefit others, a little culture has roused a dormant talent, unwrapped it from the folds of the napkin, and laid it out at good interest in the service of the Master, who long ago entrusted it to His servant's care.
If the person, so devoted to improvement as we have imagined, moots the proposal, he will very naturally be met with the questions, "Well, what do you want? -- what is the next thing to be done? -- shall we increase the choir?" The friend, being wise in heart as well as warm, replies, "Would an enlargement of the choir make more of the congregation join, or cause some who now sing to stop and listen in wondering admiration? Would louder singing really be better singing? or could the people praise God much as they do at present, since in general the stronger the choir the less congregational are the tunes, and the less able are members of the church to unite in celebrating their Saviour's honours?" Then another suggests -- "Would you have an organ? If you want more singers in the congregation, and not in the choir, try an organ - that is a host in itself." "It may be so," it is answered, "and it is a great help in many places, where it leads without drowning the voices of the people, and lends the aid of its pleasant harmony, like a kind friend, to hide a multitude of faults; biut when we have it, is it to set off to more advantage the inferior things we are obliged to listen to now, or will even worse tunes be tried with more confidence, from the different parts chasing one another through the verse with less fear of a break-down; or is the organist either to swell out the unmeaning repeats, fugues, and solos we have, by putting on the steam, as if the whistle were the sweeter for being shriller; or is he to introduce, as many do, more unsuitable melodies or more intricate harmonies? Even when a crowd of little instruments have taken flight to make room for it, a fine organ well played, with bad music, would do no real good." In despair of any other remedies, as the two common panaceas are declined, the perplexed advisers cease to suggest, and at length request counsel of their friend. "What, then, is to be done next, now that we are bent on improvement?"
It is pointed out that "the best course of proceeding is not doubtful; for as the next essential to a good foundation is good materials, there can be no good congregational psalmody without good music. Superior tunes are absolutely necessary to any solid improvement, for trying to sing inferior ones well is merely polishing base coins to pass them off as true metal, when the false sound betrays the deception directly." If this reasonable proposal to obtain first-class tunes is approved, a consultation will be held on what collection it would be best to have. Never have better melodies with richer harmonies been provided than can be enjoyed now. The quality, not the quantity, is the main point; while a moderate size has the advantage of a moderate price, and is besides more encouraging to learn, and more portable to carry. The selection being decided on, copies must be procured for those who are willing to buy one, and a class formed of those who are desirous to kearn its contents. While the class is meeting regularly every week, it will be prudent to choose for the congregation the best of the tunes previously in use, that, by weeding out the worst, people may be weaned from the bad, and prepared for the good. Next to familiar airs might come those which are most like them, that simple and easy ones may facilitate the change. A gradual importation of one a month, or one in every fortnight, would be so gentle an incline, that a congregation would rise almost without knowing it, and, ere they were aware, would enjoy the elevation they had attained. If at the same time a congregation will "stand up to praise the Lord," at every singing new life will start into action, for those who rise feel they have something to do, the power of sympathy will spread, and a burst of holy song will ascend from the congregation.
The class, when commenced, should meet regularly every week, with a conductor to attend its meetings, who, with or without scientific knowledge, is able to lead on steadily those who are anxious to learn. The effort will, of course, be greatly aided if the minister takes an interest in it, and either encourages it by his presence, or induces others to attend. Those who have influence may do much to promote success, since the young are stimulated by seeing their elders are pleased with their exertions. A valuable supplement to the class is found in the Sunday school, if only one quarter of an hour is devoted to practising the tunes used in the sanctuary, so that the junior teachers may have their taste rightly directed, and that the scholars may be enabled to sing to their Saviour's praise as joyfully as did the children in the Temple. For the young who wish to learn the rudiments of the art, a juvenile singing-class is of much advantage. A Bible-class also affords an opportunity of exercising youthful voices, and the young prefer a new tune to a perpetual reiteration of the same, which the ear grows weary of, as of a prolonged monotony. In a day-school, the same selection might be introduced, and the children rendered familiar with the songs of Zion. Nor should home be overlooked, resounding, as it often is, with happy voices, where the circle may be drawn together for pleasant harmony, in singing some favourite hymn, and where family prayer may be endeared by the attraction of a spiritual song. With these aids a good tune could safely be brought into public use, and, if placed in the middle of the service, between two familiar melodies, will be sung so well that a stranger would not know which was the fresh one, unless he was shrewd enough to guess it by its being given with more spirit and precision than the others.
With a real work of this sort in constant operation, our churches will make certain and lasting progress; and far from lagging behind any in this energetic age, will keep abreast with the foremost. Psalmody, equal to what is used anwhere, is now heard in the village as well as in the city, and is performed in many of our chapels with good taste and right feeling. The improvement effected in the las twenty years is without precedent, unless it be in the first years of the Reformation, and every step gained is sure vantage-ground for a farther advance. It is the result of "faith working by love." The toil that has done it is beyond our praise, but it will not be forgotten by "Him who inhabiteth the praises of Israel," when He will pronounce His approval - "Well done, good and faithful servant." Already the Lord Jesus Christ is glorified by His people singing His praises with more intelligence, heartiness, and pleasure. And the future of the church who can foresee? Yet who will not breathe the devout desire that the church on earth, from age to age, may ever rise in devotion towards the adoring spirit of the church in heaven -- may here "learn that song which is sung before the throne by the redeemed," and spread the praise of the Redeemer through the world, "until He come" to gather all His followers home; when, sublime as the sound of many waters, the hallelujah chorus of the universal church will fill the new earth and the new heaven, and the voice of myriads will proclaim the final triumph of redeeming love in a strain like that with which its first victory began -- "Glory to God in the highest, and on earth peace, goodwill to men," "Unto Him be glory in the church by Christ Jesus throughout all ages, world without end. Amen."