There is blessed power in the ministry of spiritual song. Music in its melody and harmony is expressive of the soul at peace with God and animated with His love. The emotions, which are the motivating power in human life, are aroused and directed by music. The evangelical worker has well discovered that music, and especially congregational singing, is of vital importance to his mission. Christian song is therefore integral to Christian life.
It is inevitable, doubtless, that the type of music popular in any church or group shall correspond to the existing type of religion. Classical church music will be appreciated and chosen by the more cultured, while the ditty and tympanic tune will appeal to the shallow-minded. Vachel Lindsay may have been a true prophet when he envisaged General Booth entering heaven to a glorious welcome by the tintinnabulation of the tambourines and the booming of the big bass drum; but to my way of thinking the artistry of Lindsay's poem is more acceptable than the huzza it hails. Probably each will select his religious associates in that communion whose music most corresponds to his own ideals; for surely one's music is a mirror of his soul.
In that case one may be excused for seeking to preserve in his own church what he regards as the highest type of Christian music. One hesitates to sever connections on the sole ground of musical perversion; he prefers, if possible, to prevent the song service from falling into disgrace. And there is no doubt that education, if it be available, can do much to improve the musical taste of the individual Christian and of the church.
Of old time we had an excellent though not a superlative guide in the "S. D. A. Hymns and Tunes." It was happier in its selection of old, tried Christian hymns than in its "Bible Department" of newer songs; but on the whole it was a worthy hymnal, and it had an elevating influence upon a generation now vanishing and sadly reminiscent. Not that there is no good poetry and no good music in modern composition; on the contrary, there possibly is a greater proportion than in the past. But time has winnowed away the ancient chaff, leaving the good wheat, while the present harvest is still in the fanning mill.
In our college departments of music, for the most part, high standards prevail; but out in the field,--alas! The tendency of some of our evangelists to imitate the bizarre methods and devices of the world in its preaching and advertising has a reflex influence upon those associated with them, the singers, who have developed for themselves, and by imitation of popular "singing evangelists," some most inappropriate attitudes and methods. These are manifest not only in evangelistic efforts among those not of our faith, but also, very naturally, in our camp meetings and young people's gatherings where such song leaders or their imitators are employed.
The fervor of true religious feeling must be lacking when a song leader resorts to sensational methods to rouse enthusiasm in his audience. It may not be amiss, on occasion, to divide the audience and sing section by section; but when this device degenerates into a chopped-up melange, until the audience appears to be engaged in a stacatto medley, the effect is neither beautiful nor inspiring. Certainly there is apparent here nothing of spiritual power, and one is puzzled to see in it any musical education of the masses.
Some song leaders seem to have difficulty in knowing when their own voices should break into melody. They talk to their audience, gradually assuming a singsong tone, and then with a "Ready-e-EE" on a rising inflection, make the last "EE" the first note of the song.
And to do them justice, it must be confessed that the audience is usually ready to end the initial effort. When this caricature of Christian singing is accompanied by such mannerisms as teetering on the toes, bending the knees at every beat, and swaying the whole body with the rhythm, the effect is ridiculous.
A present fad seems to be to employ the hold excessively. The audience is, in effect, invited to take a long breath and hold some note to their last gasp, while the baton describes a series of arcs or the leader walks with suspended animation across the stage. As a contest in vocal gymnastics this may be excellent, but as an exhibition of musical art it is a failure. Directors are aware of this simple fact, that the hold in music has no intrinsic merit; its value depends upon where and how it is used. At a recent camp meeting, in a single day, my favorite Junior song was spoiled for me when the youngsters were set on such a respiratory contest; then at the young people's meeting all the preliminary songs were so treated; and finally I was driven from the evening song service by hearing a grand old hymn similarly treated. Is it too much to hope that we may return in our singing to the simplicity of a heart-felt religion which requires no bombast and no vocal tricks to make its appeal to legitimate emotions and bring our minds into condition to receive the impressions of the Holy Spirit? I speak the truth when I say that the plain people of our church are weary, and the musically cultured are contemptuous, of this spectacular performance in the dispensing of sacred music.
Our schools might have a stronger influence if they would not only set a high standard in the music department, as they generally do, but bring that influence to bear upon the whole faculty and student body in a more aggressive crusade for good music and dignity as well as verve in leadership. But, nevertheless, the field in chief part sets its own standards, and we must appeal for higher ideals and conduct to those of our evangelists, both preaching and singing, who do hold to a true Christian standard of music, that they more effectively exert their influence over their comrades in pulpit and choir. For let him who will decree the policies of the church; they who write and sing its songs will be the fashioners of its life.
Arlington, Calif.
