The music director is often brought face to face with a delicate situation. Before him stretch several paths. Which shall he choose? Will it be what the musician of the world might term "artistic"? Shall he decide to follow what seems to be the more popular style,—to entertain? Or should he strive to prepare the heart soil for the gospel seed, making the musical service the song-steps to the temple of worship? Which way shall he take? In the fear of God let him seek his path by divine direction, and studiously avoid other courses which, though they may bring personal praise, will not yield so rich a spiritual return.
The Artistic Path.—The appeal in this direction is strong to the musician. The beautiful, the technical, the deep, the lofty,—all these call insistently to the musician. Were art the ultimate goal, this path would well serve its purpose. Not art, however, but God is the end of all our music. The tendency of music that carries the stamp of the artistic is to bring praise to the singer. It is the voice, the song, or the interpretation which impresses. Sacred music should excite praise and adoration, but these should be directed to the Theme of the song, not to the singer.
The heavy type of church music, which many singers feel they must render to keep their musical "face" with a community, is frequently like a secular song of equal difficulty. The glory likewise comes to the individual instead of being given to God. Better for our congregations that our singers were struck dumb than to have them forget to whom they are singing, and for what purpose. Musicians are too conscious of what others will think of them, and it is this popular appeal that leads many astray into the technical path.
Weighing name s in the scales of eternity, Bliss, Sankey, D y k e s, Bradbury, Stebbins, and other gospel hymn writers will far outweigh Beethoven, Brahms, Chopin, and all other idols of the music world.
The Path of Entertainment.—Those whose craving for "something interesting," for "variety," has been carried from Babylon into the church, do not seem to be satisfied unless their musical food is full of pepper and spice. Health reform should include the musical diet for the mind and heart as well as the food for our stomachs. It is quite as unnecessary to provoke a congregation to laughter before the preaching hour, as during that time. Let the ministry cry out against these things, let them call a halt to the cheap practices of some song services. The music director was never intended to play the clown nor simulate the actor. Neither should he puzzle his brain from one evening to the next to originate ways and means to keep up an "interesting" song period.
Dedicate a song service to the mothers if you want to hear some sweet singing. Among other appropriate songs, let them sing, "Where Is My Wandering Boy Tonight?" Set apart another service for the young people, and listen to their youthful voices in "My Name in Mother's Prayer." Another evening devoted to old advent • hymns, and another to hymns of the Reformation could be effectively used with great benefit. There are beautiful, dignified, and wholesome ways of keeping a variety in the song hour without dropping to the low level to which many leaders permit this sacred period to descend. After reading of the work of Ira D. Sankey in his service with D. L. Moody, one is reminded that his simple methods were very fruitful. There were no efforts to amuse, or to impress with so-called "artistic" songs. Moody's simple, direct messages found their echo in Sankey's songs.
The Ideal Path.—"Stand ye in the ways, and Benediction see, and ask for the old paths, where is the good way, and walk therein, and ye shall find rest for your souls." Jer. 6:16. This is a "Stop, Look, and Listen" text which we do well to heed in music.
"Paul was an eloquent speaker. Before his conversion, he had often sought to impress his hearers by flights of oratory. But now he set all this aside. Instead of indulging in poetic descriptions and fanciful representations, which might please the senses and feed the imagination, but which would not touch the daily experience, Paul sought by the use of simple language to bring home to the heart the truths that are of vital importance. Fanciful representations of truth may cause an ecstasy of feeling; but all too often, truths presented in this way do not supply the food necessary to strengthen and fortify the believer for the battles of life. The immediate needs, the present trials, of struggling souls,—these must be met with sound, practical instruction in the fundamental principles of Christianity."—"The Acts of the Apostles," pp. 251, 2,52.
The musician can derive as much counsel from the foregoing quotation as the young preacher who has not yet learned that orations are not sermons.
A song has two parts, the music and the words. Without the words it is merely beautiful; but with the words (intelligibly sung)
it is applied beauty. Beautiful colored lines arranged to form a pretty design may be pleasing enough without conveying any impression apart from their beauty; but lines arranged to form something with which we are familiar, convey a definite impression of practical value. The addition of the words brings in the definite element and elevates the music to its highest use. When the music is so complicated that it claims the most of the attention, it robs the words of their office. It may be beautiful, but not to such an extent. Songs should be chosen whose words are not overgrown with music.
Claudia Muzio, a prominent operatic singer, after hearing several pickaninnies sing, "Count Yo' Many Blessings," said: "That is the most beautiful song I have ever heard. I have been counting my many blessings ever since." This artist had heard what the world calls its "greatest music." The simplicity of the gospel, whether in a sermon or in the music, will appeal to the educated class as well as to the common people.
It is time that we became willing to lay aside ideals and plans which have been handed to us by the world, where we see that these things do not and cannot fit into our needs, and reach out for something more genuine, real, and effective in soul winning, which will be a power to the advent message instead of a retarding weight.
Do our ministers resort to light, cheap talk one moment to be followed by a burst of oratory the next, or do they endeavor to preach the truth in the beauty of its simplicity? The wise follow the latter course. Music should be governed likewise. It serves the same end. O that the musician would be concerned for fear he would not please God with his product rather than be uneasy as to what any group of people might think!
As the rainbow encircles the throne of God with beautiful, subdued, blending colors, so should music form its arch of beauty over the preaching service. Its character and spirit should draw our eyes from the earthly, and lead them steadfastly to behold the beauties above. The glaring color of display should find no place in the rainbow of music.
Let us open our hearts to impressions which the leader of the heavenly choir is unquestionably anxious to give to us. Thus the ministry of music will find its exalted place by the side of the gospel, and serve as an echo from the harps of angels to woo us to the realms of peace, beauty, and song.
Washington, D. C.
