Let us now consider some of the governing principles of aesthetics, so important in the evaluating of hymn tunes, and the basic laws of beauty as seen in operation in various tunes. It must be remembered that each hymn tune may represent more than one law. The various hymns cited as illustrations are all taken from "Christ in Song."
1. Association. Religious music must be free from secular associations. This principle was first enunciated when God set apart the Sabbath and made a distinction between sacred and secular time, and is also stated in the fourth commandment, where we are instructed to make a difference in the way we relate ourselves to the Sabbath and to the other six days. Just as the Sabbath may be secularized by the .introduction of associations from the world, so the music which we associate with the Sabbath may be secularized by the introduction of devices which belong distinctly to secular music. Such devices are the use of dance rhythms, the excessive use of chromatic progressions, certain discordant effects, and tone qualities associated with jazz and dance orchestras.
The difficulty in the application of this law is that the same composition may have entirely different associations for different people. A musically trained person may find some hymn tunes decidedly secular in style, while to the untrained these tunes may appear to have a religious atmosphere. Secular associations disqualify hymn tunes from serving as beautiful examples of religious music. Examples in "Christ in Song" are: No. 686 ("We Lay Us Down to Sleep"), built upon the secular music of Schumann's "Traumerei ;" No. 666 ("The Lord Is My Shepherd"), based upon a German secular song; No. 518 ("The Cloud and Fire") and others of this type which are too suggestive of secular marches and popular music. These are therefore disqualified from being satisfactory religious pieces.
2. Unity. Good hymn tunes must have a unified structure. There must be a oneness of purpose throughout. Every part of the whole must have some relation to the other parts, so that the effect is that of unity. Hymn No. 682 ("Amsterdam") achieves the effect of unity by using the same melodic strain for the first, second, and fourth lines. This binds the hymn together. In No. 663 ("Bethany") the first two measures are found repeated in the last line, and the last two measures of the hymn tune are a repetition of the seventh and eighth measures. This also brings about the effect of unity.
3. Variety. Devices which create the effect of unity might lead to monotony, unless relieved by variety. Variety adds to the in-
terest. The contrast brought in by variety must be such that the unity is not destroyed.
However, there must not be too much variety, or the element of diffuseness will be present. Composers are ever seeking to effectively combine these factors of unity and variety.
The beautifying effects of variety can be seen in No. 681 ("A Mighty Fortress"), in which each phrase adds something different.
Unity is achieved by the repetition of the fourth and fifth measures at the close, but there is great variety in the melodies and harmonies of this tune. In fact, it contains so much variety that many consider it too difficult to sing.
In No. 682 ("Amsterdam") the third line gives a touch of variety which keeps the tune from monotony. Hymn No. 261 ("Diademata") is rich in variety ; it has a wealth of beautiful progressions. Notice the similarity in melodic outline in the phrases of No. 312 ("Crusader's Hymn"), and how these similarities are varied by different scale steps.
4. Restraint. There should be no excess or extremes in style of composition. There must be present a certain dignity which will make one feel that there is no striving just for effect. Hymns that are too familiar or too sentimental are lacking in restraint. Hymn No. 655 ("Eventide") represents the dignity and the restraint of a good tune. There is nothing startling or excessive in this tune. A lack of restraint is seen in No. 518 ("The Cloud and Fire"), by the addition of extra notes for the instrument after the words "hovering o'er" and "just before." Tune No. 502 ("Lean on His Arms") lacks the dignity that should be, found in treating this subject, and the very popular hymn, "I Come to the Garden Alone," lacks restraint. By comparing tunes Nos. 633, 634, and 635 ("Hollingside," "Refuge," and "Martyn") we can see examples of more and less restraint.
In this group, No. 633 and No. 635 are much more restrained than the more sentimental No. 634.
5. Appropriateness. Religious music has a function to perform as part of the worship service, and it should conform to this purpose. Just as certain attitudes of reverence are expected of the worshiper in the sanctuary, so there are appropriate marks which should distinguish church music from that used for secular purposes. Church music need not always be slow, but surely it must never be frivolous or trivial. It should always be appropriate to the great themes of religion. Tunes should not be out of harmony with words. An outstanding example of lack of appropriateness is tune No. 316, usually used with the consecration hymn, "Take My Life and Let It Be." Compare this tune with No. 937 ("Hendon"), and see how much more appropriate the latter tune is.
6. Harmony. The law of harmony is similar to the law of appropriateness. Church music should always be in harmony with the Christian faith. The music should harmonize with the sentiment of the words. There should be a feeling of harmony between the type of music and the occasion for which it is used. A religious message of peace and good will toward men will not be accompanied by a discordant musical setting. Fundamentalist religion will not be clothed in Modernist tone language. Harmony should pervade all sacred music. No. 32o ("Webb") is an example of simple harmony, and No. 261 ("Diademata") is an example of beautiful harmony. No. 231 ("Music in My Soul") represents a monotonous type of harmony. Both No. 503 and No. 515 ("Leaning on the Everlasting Arms" and "Tell It to Jesus") represent a shallow and monotonous harmonic structure. No. 324 (-Ellacombe") represents a hymn tune of strong harmony.
7. Balance. The various parts of a hymn tune should balance one another. A sense of proportion should be felt between the sections of a composition. The phrases of a hymn tune should balance one another so as to give one a sense of satisfaction. In the presence of true art we sense the inevitable, and are conscious of a perfect balance. We feel that not a note can be changed without injury to the work. Hymn tune No. 327 ("Nicaea") represents perfect balance. The first two lines are exactly balanced in musical thought by the last two lines. This may also be noticed in Nos. 320, 318, 312, and 911, ("Webb," Aurelia," "Crusader's Hymn," and "Austria").
8. Rhythm. In all works of art, there is a recurring motive or pattern. This is what is meant by rhythm. There is a rhythm in nature, in the recurring seasons, the return of day and night, the phases of the moon, the tides, and in the heartbeat of man. So in great works of art there is a return of patterns. The pulse in music, or the successive patterns of strong and weak pulses which constantly, recur, represents rhythm. Dance rhythms, or secular rhythms, are not in place in religious music. However, there should be a prevailing dignified rhythm in good sacred music. A beautiful example of strong and convincing rhythm is found in No. 335 ("Lyons") and examples of good and vital rhythm may be seen in Nos. 614, 619, 628, and 681 ("Something for Jesus," "Aurelia," "Ellacombe" and "A Mighty Fortress"). Meaningless rhythms which are of little value in expressing the meaning of the texts are found in Nos. 490, 522, 535, 239, 201, and 518 ("Faith Is the Victory," "He's the One," "Anywhere With Jesus," "Bring Ye All the Tithes," "My Sins Are All Taken Away," and "The Cloud and Fire").
The foregoing examples were all chosen with reference to the music, or what is known as the hymn tune. The classification as poor or weak is no reflection upon the message of the words, or upon those who happen to like any of these tunes. This is merely an explanation or an attempt to give reasons why certain tunes rank higher than others in musical value. Sentimental and religious associations with hymns have caused many hymns to continue in use though they are of doubtful musical and artistic value.
There may be other principles which govern works of art, but the foregoing laws are the general guiding principles which assist in determining values. To the extent that a hymn tune conforms to these laws, to that extent it may be judged a work of beauty. On the other hand, sacred music which violates these principles falls short of being beautiful. It may serve a certain religious function, but as a work of art it will not be recognized as beautiful, and therefore will not appeal to the aesthetic sense.
Many compositions fall short of these canons and still serve a useful purpose in the work of the church, but such music cannot be considered as great music. We are the more fortunate in our religious work if we can combine true and great works of art with the spiritual function of the church in saving souls and building them up in the faith. The Bible itself represents such a combination, for it is both a great work of literature and a great spiritual power. If the music of the church, both in evangelism and in worship, can combine the artistic with the spiritual, its appeal will be lasting and influential.
