Evangelistic Music

In evangelistic work, dignified and winsome music is of inestimable value.

By E. Toral Seat

From the creation of the world, "when the morning stars sang to­gether, and all the sons of God shouted for joy," until that final scene pre­sented to the prophet John during his exile on the lonely isle of Patmos, where the redeemed of earth stand before the throne of God and "sing the song of Moses, .. . and the song of the Lamb," sacred music has been assigned a definite place in the plan and pur­pose of God. The remnant church, those who await the return of the Lord, are bidden to lift up the voice with singing, and the theme of their song is to be deliverance, courage, and strength.

In evangelistic work, dignified and winsome music is of inestimable value. The first essential for the success of the musical part of an evangelistic effort is a clear understanding between the evangelist and the leader of the music. My past experience as a singing evangelist, and my present experience as an evangelist, afford to me a wider conception of the music, from the view­point of both the singer and the preacher, than might otherwise be pos­sible; and because of this I will en­deavor to make a few suggestions which I hope will prove helpful.

Both the evangelist and the singing evangelist should have definite pro­grams which blend without conflict. The music director should diligently avoid encroaching upon the minister's time, for the primary purpose of the meeting is always the sermon, and if the evangelist's time is cut short, he must either extend the service beyond the expected time, which may prove disastrous to the attendance, or leave out some essential material. Let the singing evangelist never cause the preacher any handicap by stepping over the bounds of his allotted time.

Upon the director of music rests the responsibility of securing the co­operation and interest of the local church in assisting in the evangelistic effort through choir service. Even though the majority of voices avail­able are entirely untrained, if they sing with the spirit and understanding of what is involved in the evangelistic effort, and seek for divine aid in sing­ing, it is remarkable what power will attend a united chorus of consecrated voices. If easily rendered selections are chosen, a fifteen-minute practice at the close of each meeting may prove to be sufficient for acceptable work. Each member of the choir should be duly impressed with the importance of always being in his place.

It is a recognized fact that the audience is largely influenced by the enthusiasm manifested by the leader of the music; therefore it is important that he throw himself into the spirit of singing, ever maintaining the true dignity of the gospel messenger. If the singing evangelist has ability as a soloist, he can present a "sermon in song" which the people greatly appre­ciate and profit by. A simple gospel hymn, in which every word is clearly enunciated, is usually more effective than classical music. The majority of leading evangelists prefer that there be but one special musical number, besides the choir number, and that it be vocal, unless an instrumental se­lection can be rendered by a person with unusual talent. The most effec­tive place for musical instruments is to help swell the volume of congrega­tional singing.

A musical feature of prime impor­tance in connection with an evangel­istic effort is congregational singing. Song books should be provided, and selections of the old familiar hymns announced. Give opportunity for spe­cial requests for the singing or favor­ite songs. It is also well to teach the congregation to sing new songs.

There is an eloquence of beauty in songs sung with the spirit and the understanding, that lifts one from the common plane of life to the lofty heights of heaven. From the morning of youth, as the child lisps the strain, "Jesus loves me! this I know," to the sunset of life, when the worn traveler sings, "On Jordan's stormy banks I stand, and cast a wistful eye to Ca­naan's fair and happy land, where my possessions lie," music gives expres­sion to the longing of the soul.

The finer qualities in some hearts can be stirred to action only by song, and thus it is that music proves so effective in persuading to respond to the call for consecration at the altar of prayer. Sometimes the theme of the closing hymn of a service may be so closely united with the sermon as to seal the truth in the hearts of the listeners. Then again, it is more ef­fective to dismiss the people without music of any kind, leaving the sermon and the prayer to make the last im­pression on the mind. Many evangel­ists prefer the latter method, but both methods are desirable, and should be regarded as matters of preference.

Last, but not least, in making the music most effective in connection with an evangelistic effort, it is essen­tial that the evangelist shall be in full sympathy with the director of the music, and if possible take part in the song service. The same interest and co-operation must be apparent on the part of the singer and those associated with him in rendering music,—they must be as interested in the sermon as in the music, and always remain as interested listeners to the sermon.

In evangelistic music, industry, con­secration, and perseverance bring success.

"We must not hope to be mowers,

And to gather the ripe golden ears,

Unless we have first been sowers,

And watered the furrows with tears.

"It is not just as we take it,

This mystical world of ours,

Life's field will yield as we make it

A harvest of thorns or of flowers."

Santa, Barbara, Calif.


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By E. Toral Seat

April 1931

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