A masterpiece is usually considered to be the product of one of the old music masters at his best. His creation ranks, because of its excellence, head and shoulders above the common. He is a genius, but much of his labor is for that which satisfies only partially. His work provides moments of pleasure and aesthetic enjoyment, which are frequently interpreted to be a spiritual tonic. Aesthetic enjoyment goes only a short way down the road of spiritual satisfaction.
Those who study music are more apt than others to become fascinated by the intricate workings of harmony, melody, rhythm, and form; and because their study provides them a broad avenue of pleasure, both intellectual and emotional, they may become so enraptured by it as to want nothing else. It is noble and worth while to choose the best in the field, which provides the means for such delightful intellectual exercise.
In the main, the world is interested in the greatest music. The concert halls are usually well filled with interested listeners. The masters of keyboard and voice have liberal followings. These devotees of art take much personal pride in their ability to recognize excellence of com position and performance. But to be quoted as one who enjoys a gospel song is apt to en danger one's music standard. The idolizing of great music productions to the exclusion of other things of lesser musical value as judged by the standards of art presents a real danger.
Pieces for the Master are not necessarily con fined to the gospel song field. There are many songs that yield spiritual satisfaction that do not attract attention to the ability of the per former. No one rule can cover every situation or evaluate every musical number.
There is a tendency in some quarters to devaluate the gospel song as trash. If we were more selective in our use of these songs, this attitude would not exist. It can be harmful to an evangelistic program to rule out the gospel song, because it is evangelistic in nature and purpose; yet it needs to be carefully chosen. In either category of music there is the desirable and the undesirable. Much music of the opera is considered among the masterpieces, but its rank does not necessarily make it desirable.
"Many of the amusements popular in the world to-day, even with those who claim to be Christians, tend to the same end as did those of the heathen. There are indeed few among them that Satan does not turn to account in destroying souls. Through the drama he has worked for ages to excite passion and glorify vice. The opera, with its fascinating display and bewildering music, the masquerade, the dance, the card-table, Satan employs to break down the barriers of principle, and open the door to sensual indulgence." Patriarchs and Prophets, pp 459, 460.
Among the gospel songs and other similar music, it is well to be selective, choosing only the better class. Those with a secular ring are not desirable for congregational use, and are questionable for smaller groups. It is disheartening to hear a congregation bolt through a secular piece of music with sacred words.
Those songs of good grade, be they small and simple or large and intricate, are pieces for the Master if they point in the right direction. Couched in many a gospel song is a ringing testimony of devotion and experience that strikes a responsive chord in the hearts of hundreds yea, thousands.
What Really Is Great Music?
"Shortly before D. L. Moody's death, Thompson was admitted to the sickroom. Reaching out a feeble hand, the great evangelist said, 'Will, I would rather have written "Softly and Tenderly" than anything I have been able to do in my whole life.' " Where is the evangelist who could say as much for a Beethoven symphony, great as it is?
One day in class a student asked this question: "Which music form do you consider to be the greatest?" My response was a matter of amusement to the student, who had previously absorbed this blind devotion to art. "That," I responded, "depends upon what we consider the word 'greatest' to mean. If we think in terms of eternity, then we may discover that the gospel song is the greatest song form." It is this attitude toward this simple song form that is dangerous, for many gospel songs are worthy of the musician's study and praise.
Gideon's army is still fighting the battles, and the number has not increased beyond the original proportion. The names of great poets and composers are conspicuously absent from the hymnals, because their interests and experience centered in other things. Said one composer in answer to a request for him to write a hymn for a new hymnal, "I could more easily write an orchestral suite than a hymn." If great names were abundant in these simple forms, we would be led to credit the work of the Spirit to the composer. This is one reason why the authors and composers of hymns and gospel songs are, in the main, little known or totally unknown.
Despise not the day of small things. God spoke not in the thunder, but in the still small voice. It is well to learn to enjoy the best in the gospel song field, and through this wholesome influence be drawn nearer to God.
When the Titanic was sinking in the icy waters of the North Atlantic, the band could have played a masterpiece; but the conditions then existing demanded a piece for the Master, so "Nearer, My God, to Thee" was played as that proud vessel slipped to her watery grave with her human cargo.
The battle between masterpieces and pieces for the Master is largely in our attitude toward each. Paul said, "For I determined hot to know any thing among you, save Jesus Christ, and him crucified." Have we not reached the time when some of the old branches should be lopped off to allow the sun to reach the flowers at the foot of the tree? We would do ourselves and others much good to put greater emphasis upon those songs that turn our eyes toward Jesus and His kingdom, and give less room for the masterpieces as we devote more attention to pieces for the Master.
