The Persuasion of Song
By Henry De Fluiter
During a prayer and testimony meeting in a church where there were many new members who had been brought in through the evangelistic effort, a lady told of her experience in becoming interested in the meetings. She said that, as a public school teacher passing to and fro to her school, she had observed the large signs announcing the tabernacle meetings, but was not sufficiently interested even to desire to attend the meetings. A friend had repeatedly spoken of the excellent music which was being rendered in connection with the services, but this did not make much impression.
One evening while passing the tabernacle during the time of the song service, she said there came over her a longing to join in the singing, for it seemed so different from ordinary singing, and the spirit, the fervor, and the enthusiasm gripped her soul. She stepped inside the tabernacle to listen for a moment, but almost unconsciously she found herself joining in singing with the rest. Then followed the sermon of the evening. It also was different from anything she had ever heard, and in referring to the expert. ence she said, "And here I am today, actually a Seventh-day Adventist! God used the channel of song to bring this truth to me."
I believe that the song leader carries a very important part in a series of evangelistic meetings. I also believe that great importance should be attached to the work of the pianist, for a pianist can make or break the song service. A pianist is born, not made.
The development of song leaders and pianists ought to begin in our schools, and should be made a requirement in ministerial and Bible workers' training. The plan followed by the Moody Bible Institute, of Chicago, is suggestive, in that a man is never sent out to do evangelistic work unless accompanied by a trained music director.
Alhambra, Calif.
The Singing Evangelist
By William Jensen
The consecrated singing evangelist is not so much concerned about the applause or the number of compliments he receives, as he is regarding the amount of good accomplished by his singing; and he knows that the song which will do the most good is the simple hymn song with a divine message. The singing evangelist who sings for compliments and applause is not an evangelist at all.
The singing evangelist should study his congregation, in order to determine the songs they sing best, rather than cater to his own likes or dislikes. The great objective in a gospel song service is to get the people to sing.
There are two outstanding weaknesses which appear in the work of young singing evangelists. The first is their lack of repertoire; and second, failure to learn the repertoire they have. Many a young man starts out with a dozen hymn songs, and is content with these. But he should have sufficient songs, duets, quartets, et cetera, to extend through a three or four months' campaign without repeating. A successful singing evangelist will have an extensive repertoire. No are written simultaneously by the same person. In all events, the glory of God and our Saviour is the supreme effort.
During these days of new thought in religion, much is being said in defense of the old-time gospel, but comparatively little in defense of pure gospel song. It cannot be denied that there is a class of gospel songs in common use today the influence of which does not tend to the defense of the gospel of our Lord and Saviour Jesus Christ, or to the sincere consecration of the individual to God. Not only are these songs musically light and doctrinally weak, but they do not exhibit any unity between the words and the music.
At a recent gathering of people who were studying for Christian service, a prominent man in one of the leading denominations said:
" It is my privilege and duty to visit many young people's meetings. Only a few days ago I approached one of these gatherings, which in this case was part of a camp meeting. From the inside of the tent came the singing of a popular song, while on the outside of the same tent, and only a few yards away, I saw a number of young people having the time of their lives dancing a waltz to the time and tune of the singing of that song."
He named the song, and after reciting the words he sang the melody. It was a perfect example of divorcement between words and music. The words of the stanza were of the most somber and sad kind, picturing woe and failure, such as would call for a minor melody or of repeated notes on the same pitch. Instead, however, the music was simply a light jig in waltz time, appealing greatly to the senses.
The world of jazz is creeping into our gospel song life. It is dragging pure motive from the throne, although perhaps writers are not aware of it. Once in control, as it is in many cases, it will cheat the young people of our churches out of the training rightly due them, and they will grow up with a light and cheap conception of "psalms and hymns and spiritual songs." God has honored Christian music by using it mightily in His service; but let us beware, for as in the days of early music, secular and vulgar melodies crept into the church, which melodies in time had to be ejected forcibly, so in these days we are in great danger of having gospel song tainted in like manner.— Herbert G. Tovey.
Maintain High Musical Standards
By Harry M. Eklund
Music occupies a considerable part of the period devoted to worship, therefore it is important to address ourselves to the task of developing the type of music which gives expression to the spirit of worship. I do not believe the church of God can afford to make its standard of spiritual culture lower than the recognized standards of intellectual attainment. For example, the individual whose poetical standard is based on the products of Milton and Tennyson, or whose musical standard is that of Handel and Beethoven, should not be expected or required to drop these high standards when he enters the church door. The standards of the Christian religion are the highest possible standards, and if we would make music a medium for drawing people to our meetings, we should be qualified to give them the best there is in music, interpreted through consecrated lips and lives.
We are hastening onward to the final consummation of this world's destiny. The songs we sing should proclaim the message of the hour in notes of praise and thanksgiving; they should be songs that will bring comfort and cheer to the people of God, and prepare them for the dark night of the time of trouble, and enable them in that time to sing the song of triumph, " God is our refuge and strength, a very present help in trouble. . . . The Lord of hosts is with us; the God of Jacob is our refuge." It is said that Martin Luther's greatest hymn, " A Mighty Fortress Is Our God," is a free rendering of the forty-sixth psalm. It is called " The Marseillaise of the Reformation." Luther was wont to cheer his associates with this hymn in Mmes of discouragement, and it has been the battle hymn on many a field. Why not make Psalms 46: 1 the hymn of trust and triumph for the remnant church as she passes through the final crisis of earth's history?
New York City.
The Power of Simplicity in Song
The following incident concerning the rendering of the song, "Count Your Blessings," adds a closing emphasis to the keynote of this round table discussion on the mystic power of music —simplicity:
Claudia Muzio, soprano of the Chicago Civic Opera Company, and one of the strongest drawing cards, from the box office standpoint, in the musical field, knows probably as many roles and songs with "punch" as any artist who ever lived. But Miss Muzio confesses that she recently listened to a song which, although it is not a recital favorite, touched the heart more surely than many arias delivered with all the skill that a trained voice could give.
While motoring over a country road near Birmingham, Ala., where she was concertizing, Miss Muzio spied four diminutive colored children. Wishing to take their photo, she had her automobile stopped, and alighted with her camera. -
"Would you like to have your pictures taken?" she asked the youngsters.
"Sho'lly, ma'am, but we ain't got no money," replied one, shyly.
"Well, I'll give you some money, and you can pay me for photographing you," she said, giving them each a 25-cent piece.
When the picture was taken, and when a companion snapped her with the little group, one of the pickaninnies timidly offered her his quarter in payment.
"Oh, keep the money!" laughed the singer. "But if you really want to give me something, suppose you sing a song for me. Will you?"
A laugh, quickly checked by Miss Muzio as the little fellows put their heads together, came from the motor party. But amusement died when the voices of the small quartet, with an earnestness that dimmed the eyes of the listeners, joined in singing:
"Count yo' blessin's, count them one by one,
Count yo' many blessin's, see what Gawd has done.
Count yo' blessin's, count yo' many blessin's,
And it will surprise yo' what the Lawd has done."
With tears streaming down her cheeks, the great singer, who had so many times poured out her own soul in song to wrapt audiences in the greatest auditoriums on earth, heard the old hymn through to the end, standing in the dust of the country road. And as the little singers went pattering away, each with a quarter clenched tightly in a little fist, and all blissfully unaware that they had sung before one who had herself sung before kings, she told her fellow motorists: "I never heard a sweeter song in my life. It went right to my heart as few songs have ever done. There is a lesson in it for all of us, and you can be sure that from now on whenever I am beset with that downcast and away-from-home feeling which every operatic wanderer knows so well, I shall get a firm grip on myself by `countin' my blessin's one by one.' All of us have a lot of `blessin's'—if we would only stop to count them."
acceptable excuse can be made, however, for failure to learn well the songs he has selected. It is far better, and much more acceptable, not to sing at all, than to try to sing without thorough preparation.
No minister will gainsay the fact that music is invaluable to his services, whether pastoral or evangelistic. The better the music, the better the service. Music, and especially good singing, elevates, ennobles, and enraptures the soul, and prepares the way for the message of the speaker. But there is nothing so disheartening, depressing, and tending to militate against the effectiveness of the sermon or lecture, as a poorly conducted song service; and I know of instances where ministers have been so disturbed in their line of thought as to be unable to proceed with their sermon for some minutes, because of the agonizing situation brought about by a musical rendering which was inappropriate or faulty. The great need is for better singing, and for more of it. I know evangelists who search throughout the country for singers and are unable to find them, and because of this fact their work is greatly hampered.
Perfect harmony between the minister and the singer is of paramount importance. In all fairness to both, and in due respect for the work, the minister should sit down with his singer and work out a definite and well-defined program. The singer should understand when to conclude his song service, so as not to encroach upon the time needed for the lecture. The smoothest program in evangelistic services is the one which is well planned.
Riverside, Calif.
From the Evangelist's Viewpoint
C.B. Haynes: I know of nothing that can be used in greater measure by the Spirit of God to prepare the audience for the sermon than an appropriate song service preceding the regular meeting. But I must also say that the song service may be such as to prove a great curse instead of a blessing. I think that the one who leads the singing, the pianist, and all who sing in the choir should be men and women who have been baptized with the Spirit of God. And this applies even to the playing of other musical instruments than the piano or organ. I would rather do without a music director or a pianist, than to choose persons who do not show evidences of being converted.
In our evangelistic work we need musicians who know how to select music which will touch men's hearts.
There is nothing in the world that people respond to like something that appeals to their hearts. I believe in music with all my heart and soul. It is a wonderful agency for the salvation of men. But we must study to eliminate from our music and from the lives of our musicians, everything which does not tend to the glory of God. A far higher standard needs to be set in the matter of music in connection with the work of God.
I have heard it said that there is no place for song leaders in this denomination, and I know something of the general attitude of conference presidents regarding the work of song leaders. But I do not believe it true that the song leader who has a good training, who is a man of God and is willing to be of use in the Lord's work, will be unable to find a place of service. I believe that such a man would find every conference in North America appealing for his services. But I do not want, and other evangelists and conference presidents do not want, a man who claims to be a song leader and has no other idea in his head but music. I care not what a man's musical qualifications are; unless he can help a soul to find God, and can do something in the line of Bible work
When opportunities are offered him, I do not consider him a song leader who is qualified to fill a place in conference work. But I do believe that properly trained song leaders, who will elevate the standard of our music and are willing to be used by God as soul winners, will find openings in our conferences on all sides.
Stemple White: I believe the world should recognize that Seventh-day Adventists are a people of peculiar ability in rendering the gospel through song. Why should we not have singers and players of the greatest skill and power? Our songs should give expression to the message, and the music should be in keeping with the words. I like special music, and appreciate its rendering by well-trained singers; but unless the singer has an experience which enables him to render the selection in such a way as to reach hearts, I would prefer something which is not so technical, which comes from a heart filled with love for souls. There is a clear-cut distinction between the singing by Israelites and the singing by Ishmaelites, and primarily this distinction is one of external appearance. Our standard should be twofold, first, to sing with the spirit and with the understanding of the message of the hour; and second, to avoid the very appearance of evil in dress and deportment.
R.S. Fries: Perhaps the reason for the present lack in efficient song leaders is due to our failure to give the proper recognition to this line of work. We have been prone to look upon singing as a purely voluntary matter, and that no matter how many years a man has spent in securing musical training, he should gladly render his service as missionary work for the Lord. As a consequence, we are not developing the song leaders which this movement needs, and our young people possessing musical ability are turning to the world. I believe the time has come when we should give proper recognition to the man or woman who spends much time and money in securing training along musical lines, and provide a living wage when such talent and ability is dedicated to the service of God.
But in view of the situation in which we now find ourselves, with an inadequate number of song leaders available, it becomes a necessity with many evangelists to find the most effective way of leading the singing themselves. Personally, I favor stereopticon singing, as I get much better results from the audience by the use of songs thrown on the screen than by the use of the song book. There is also the advantage in that the speaker of the evening does not appear as the song leader, while at the same time he plans for and conducts an inspiring song service as the preliminary to his sermon. And yet, where well-trained and consecrated song leaders are available, such assistance would be much preferable. I believe we must be more generous in our treatment of singers and players, if we are ever going to get Anywhere. This is the hour for constructive encouragement of sacred music.
In Defense of Pure Gospel Song
A Gospel song is a song born of spiritual inspiration. First, a poem is generally written under spiritual inspiration, possibly the result of some heartfelt Christian experience. The climax of the poem is generally reached in the last stanza, while the summary of it is portrayed in the chorus. Second, the poem is set to music by a Christian musician, who, after studying it in prayer, seeks to catch the inspiration and thrill of the poet. He then writes such melody and harmony as will match the poem perfectly. The theme of the poem may suggest whether it is best for a solo, chorus, quartette, duet, trio, or congregational song. Sometimes the words and music
