Modern Church Music—No. 3

MUSIC OF THE MESSAGE: Modern Church Music—No. 3

Third part of the article

Editorial Assistant, Department of Education

The hymns of Mason, Hastings, and their associates were worshipful and certainly worthy of a place in the church. Yet even they did not meet the needs of the new, aggressively missionary bodies that were forming in America —Baptists, Methodists, United Brethren, etcetera. These evangelistic denominations sang the hymns, but they also began using "camp meeting ditties" and common folk-song tunes set to religious words. These soon came to be known as "spirituals." Most of them have not been preserved, simply because they were never writ ten out. But one direct outgrowth is the jubilee songs or Negro spirituals of the colored race. The rhythmic swing of the songs of the whites and their harmonic color effects have been aggravated, or emphasized, by the black race, and the music certainly has the Negroid touch, but the songs are largely of white origin.

The number of these spirituals was very great. One collection made in 1858 contained over three hundred. Probably there were thousands of them in common use. In style they resembled the old Scottish and English ballads which had been brought to America by the early settlers. Many of the tunes definitely resembled those of Scotland, but the rhythm was decidedly American. Some of them were ballads of personal experience, and were sung by the preachers as solos, often running on through ten or twelve four-line stanzas. There was often a minor setting, pathetic and sad, with many slurrings and quaverings which added greatly to the total emotional effect.

The appeal to the nerves made by many of these old songs was extraordinary, in fact, almost hypnotic. Thousands of persons have walked to the "mourner's bench" to their stir ring appeal. The music suited the people among whom it was produced and sung. The desired effects were obtained by its use. Hence, we may say it was good church music, although from an artistic standpoint (as well as from the point of view of a Seventh-day Adventist) it would not be so classed.

The effect of the American spiritual upon music elsewhere was very great. It was inevitable that it should influence the American hymns. Many of those now in common use with minor tunes probably owe their origin to the spiritual. The effect was seen upon the music of other lands. Thus we have what can be called "spiritual hymn tunes," appearing on both sides of the ocean. The tune, "Dulcimer," or "Beloved," to which the beautiful hymn "O Thou in Whose Presence" is usually sung, is a good example.

But the greatest effect of the spirituals was on the gospel song. This type of religious song certainly owes much of its simplicity of harmony, its marked tunefulness, and its attractive rhythm to the American folksongs or spirituals.

The Sunday school movement found the church without any hymnbooks really suitable for congregations made up largely of children. As early as 1827 a Juvenile Psalmody had been issued, and some books had been published for use by children in the public schools, but even as late as 1857, when I. B. Woodbury put out his Sunday-School Lute, most of the songs were simply hymns transferred from the Methodist hymnbook, although a few songs of a more pop ular cast were included. Very little adaptation had yet been made to the needs of youth and children. Two years later William Bradbury published Oriola, built upon very similar lines, but including a few easy rhythmical tunes and some of the camp meeting ditties, or spirituals.

In 1859 a piano merchant of New York City named Horace Waters put out a compilation of secular and religious folksongs arranged for Sunday school use under the name The Sunday School Bell. It became immensely popular, and won almost instant approval of the Sunday school leaders of the country, although it had many literary and musical shortcomings.

William Bradbury, who was holding singing school conventions all over America, soon realized the demand for lively and emotional music, and began compiling and composing songs of this type. His Golden Chain published in 1861, was exceedingly popular. He was a composer of real merit and an advanced student in music, so he was able to produce many excellent songs, among them, "Jesus Loves Me, This I know." In 1862 he issued the Golden Shower, which was very well received. The next year he re vised both books, adding much new material. The following year The Golden Censer appeared. In 1866 he produced a combined edition of the three. His last work, Fresh Laurels, appearing shortly before his death in 1868, was by far his best book from the standpoint of both literary and musical value.

Bradbury had used spirituals freely, and his own songs had much the same form and style, but were always in the major mode. Many of them were dignified and devout, but were not always adapted for use among children and youth. Of his 151 tunes, 44 are in the hymn style, and of these only 26 are in use today.

Gospel Song "Teams"

Other writers very naturally tried to do what Bradbury had been doing. Robert Lowry and S. J. Vail had prepared and published Chapel Melodies in 1868, and William F. Sherwin and Chester G. Alien had published Bright Jewels in 1869. The firm of Biglow & Main began publishing these, as well as Pttre Gold, by Mr. Lowry and W. H. Doane. This latter book was of excellent literary and musical value, and soon ran above one million copies in sales. It was a complete departure from the old hymn tunes and the church hymn, being filled with songs of rhythmical freshness, variety, and vigor beyond any collection appearing before it.

These two writers, Lowry and Doane, were well suited to work together. "I Need Thee Every Hour" and "Rescue the Perishing" were typical of their moods and styles and quality of production. Their music was very "singable" and practicable. Fanny Crosby's cooperation with them made their productions of even more outstanding value. The widespread use of their books stimulated a large circle of writers and gave them access to many devotional and evangelistic song poems. Their contribution to the field of the gospel songs was, therefore, very great.

A new gospel-song team grew out of the needs of the great Ocean Grove camp meetings of the Methodists. Their music director, John R. Sweney, and William J. Kirkpatrick soon began the production of gospel songs, and made new collections of them. Mr. Sweney was a better musician than either Lowry or Doane, but was probably less successful in producing easily singable melodies. He was, however, original and capable of great diversity of style. Mr. Kirkpatrick was of a quieter type, as seen by his " Tis So Sweet to Trust in Jesus." Together they produced and published many successful songs.

George F. Root, P. P. Bliss, H. R. Palmer, and E. A. Hoffman are other writers of gospel songs who should be mentioned. William A. Ogden probably originated the rhythmic style of Sunday school songs seen in "When the Mists Have Rolled Away" and "When the Roll Is Called Up Yonder." This style has been imitated greatly, but most of the imitations have turned out to be rather soulless rhythmic clatter.

After the beginning of the Moody-Sankey evangelistic campaigns in 1875, the gospel song became more standardized in type and should really be called the gospel hymn. This was, indeed, the title of six books put out by or under Moody-Sankey influence. These men became famous and powerful enough to wield a great influence upon other evangelists, so their type of 'gospel hymn became quite standard during the last decade of the century. Songbooks of J. H. Fillmore, Charles H. Gabriel, E. S. Lorenz, and many other composers appeared during this time and met with much success.

After Gospel Hymns was published, it swept America from coast to coast and made its way not only across England and Scotland but into all of Protestant Europe and into mission fields around the world.

Adam Geibel, Ira B. Wilson, and J. Lincoln Hall, with the Hall-Mack and the Tullar-Mere- dith companies as their leading publishers, began publishing in the '90*3 a new type of Sunday school music, which became quite popular in the large cities with their big Sunday schools and well-organized choirs. This music had only one part—the melody sung in unison—with very rhythmic instrumental (usually piano) accompaniment, and often with antiphonal passages for men and boys. This type of song was excel lent for festival occasions, but has never re placed the four-part gospel song.

As we have seen, the American Sunday school music leaped the ocean. Not only were the new American songs reprinted and freely used in England and Scotland, but their use furnished both model and inspiration for com posers in those countries. The use of the gospel song has proved extremely valuable in mission fields everywhere.

Why has the gospel song had such wide influence upon the music of the church? It has combined the effective qualities of both the American hymn tune and the spiritual. It has the harmonies and the major scale of the former, with something of the form and freedom and vigor of the sacred folksong. It is decidedly evangelistic in purpose and spirit, emotional in character, and devout in attitude. Its music is definitely people's music—simple, appealing, and melodic. It received its name in England, where, as we have seen, it became quite popular, both before and after Sankey's great evangelistic work there.

Other composers and compilers who have kept the gospel song alive should be mentioned: E. O. Excel!, who with the able assistance of Charles H. Gabriel produced several books of great popular demand; and later Homer A. Rodeheaver. Mr. Gabriel was music editor for the Rodeheaver-Sunday Evangelistic Company for some time. He was a leading exponent of the freer and more rhythmic western type of gospel music. He was extraordinarily versatile and gifted, and his influence upon the gospel song has been great. Another successful writer of gospel songs cooperating with Mr. Rode heaver was B. D. Ackley. The Rodeheaver Hall- Mack Company of more recent years has made immeasurable contribution to the field of gospel music.

Most of our readers are familiar with the present trends in gospel singing, and with the use being made of it today in evangelistic and other church activities. Perhaps there is too great variety of taste in the Christian Church today (as is shown by the multiplicity of de nominations and sects), and in the needs and desires of worshipers, for any one type of church music to gain universal acceptance. There does seem to be a definite return to hymns of a more sedate type among the "settled" de nominations.

The appearance and general acceptance of Gospel Melodies and of the Church Hymnal give evidence of the same trend in the Seventh- day Adventist Church. There is a growing consciousness of the musical heritage of the church, and of our great indebtedness to the saints and masters of the past and current writers as well, for the songs we sing.

There are many among us who are not satisfied with the music of the past. They are producing songs and hymns of their own, and these are winning or have won a place in the hymnody of the church. There is need for more work of this type. Seventh-day Adventists hold a peculiar place among the religious groups of the world. They have a unique message for the world. Neither the type of preaching nor the methods of evangelism in common use among other church groups would be appropriate and acceptable in the remnant church.

Likewise, the pioneers of this movement found a need for unique songs of the message. There grew up, therefore, a considerable repertoire of "early advent hymns" which played an important part in the establishment of this denominational group and in the spread of the important message they had to give to the world. Many of the songs adopted for their use were borrowed from existing church hymnals, but many others were composed and written by the pioneers themselves. There will not be room in this present study to name even the more important producers of songs among the Advent believers, but at least the names of Annie R. Smith and F. E. Belden, with his Christ in Song, should appear.

In these closing days of the great Second Ad vent Movement there is equal need for songs of the hour. This movement is going to culminate in glorious power and victory. Why should there not be a special "flowering" of musical talent to aid in the final triumph?

It is patently not easy to write either a new hymn or a new tune. When one thinks of the thousands of hymns and songs that have been written, and considers how few of them have stood the test of time, one is tempted to decide that it would be useless to try to produce anything original or successful. But we can be sure that our God will inspire many of our musicians and authors to do more work of this type to fill the present and future need.

Let us all pray that this may be so, and that all who are able will be led to produce more "songs of the kingdom," more "music of the message" that will take its place among the great hymns and songs of the past, and thus become a part of the great musical heritage of the church—nay, more, that will be used of God to bring this gospel of the kingdom to its full fruition, to the glory and praise of its heavenly Author.

 

 


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Editorial Assistant, Department of Education

August 1950

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