Address delivered before the Hastings and Mason Musical Association, at Pittsfield, December 25, 1837

AS

ADDRESS,

CVl OF Pfi/iy^
82 1932

DELIVERED BEFORE THE

HASTINGS AND MASO»

sffV£S€«fiA ^ss^smss^ser,

At Pittsfield, December 25, 1§37.

BYr EDWARD W. HOOKER,

?iSIOR OF THE FIRST CONGREGATIONAL CHURCH IN BENNINGTON, YE&2(OXf.

PUBLISHED BY REQUEST OF THE ASSOCIATION.

PITTSFIELD :

FEINTED BY PHINEHAS ALLEN AND SQ.V.

APRIL* i*$&

FROM THE LIBRARY OF
REV. LOUIS FITZGERALD BENSON. D. D.

BEQUEATHED BY HIM TO

THE LIBRARY OF

PRINCETON THEOLOGICAL SEMINARY

ADDRESS

ff he friends of Sacred Music have occasion for gratitude to
God and encouragement to effort, in many things which indicate
the advancement of this important part of divine worship. And
of music generally, both sacred and secular, there is far more to
hope than in many former years.

Among these indications are the following. Associations for
the promotion of sacred music, like this on whose performances
we attend this evening, are becoming organized, making attain-
ments, and exerting influence. Smaller Societies and Choirs are
promoting the object, in smaller fields. Teachers are more nu-
merous ; and generally, better qualified, than formerly, both as
to knowledge of their profession, and moral and religious charac-
ter. Improvements have been made in the art of teaching music.
Collections of sacred music are much improved in their charac-
ter ; and those which deluged our congregations and vitiated the
taste of our choirs, formerly, with hasty, crude, quick-step Amer-
ican compositions, have nearly passed away, and given place to
books whose editors have drawn judiciously and richly upon the
writings of scientific musicians of past ages and the present. So
far as American compositions now occupy a place in our collec-
tions, they exhibit American talent and taste to much better ad-
vantage and far more to our credit, than formerly. The popu-
larity of such tunes as New Jerusalem, New Durham, Florida,
Stafford, Northfield, and many others, in which one part or an-
other gives chase in an undignified and jingling fugue, we think is
on the wane. The science of music is becoming a subject of
study, more than in past years ; and American composers are less
prolific and more modest, and dip their pens more carefully, fot

qptDposition. The practice of holding concerts, a.i^d of improv-
ing such occasions for discussing musical subjects, is believed to
be accomplishing something, for raising the standard of taste and
promoting correct views of the design of sacred music. The
sentiment has been advanced, ar.d is gaining ground, somewhat,
that music deserves a place in our arrangements for the education
of the young. We may also congratulate ourselves on the es-
tablishment, in one of our New-England cities, of an Academy
for the education of teachers of music, and to promote the edu-
cation of children and youth in this art. American ingenuity,
enterprize and taste are becoming more extensively employed in
the construction of instruments, especially those of the larger and
permanent kind. So that the city is not now the only place where
can be found the organ-builder and piano-maker, and manufac-
turer of smaller instruments ; but also, here and there, is the
country village to which resort may be had, by Churches, Socie-
ties and Choirs in their vicinity, for instruments With this we
should notice the greater frequency with which, now, in our coun-
try places of worship, as well as in our cities, the ear is greeted,
and the soul in which is music, is elevated, by " the organ's sol-
emn peal ;" and that religious assemblies are learning to prize
this noble and consecrated instrument, as an aid to religious wor-
ship. It is also pleasant to find the piano-forte or the organ more
frequently in the family residence than in former years.

With all these favorable circumstances, however, we should not
be wise in concluding that all has been done, or is doing, which
is necessary to make our sacred music what it should be. The
circumstances mentioned are evidences of a reformation com-
menced, and of improvement in progress. But we are a long
distance from perfection, in our music, yet. Much remains to be
done, to make a truly and generally prosperous state of the art ;
and to place American music in advantageous comparison with
that of other countries.

Let not the speaker be judged captious, and difficult to be sat-
isfied, for the remarks just made. Look at another set of fact? ;
and let it be done with this consideration in view, — that mindful-
ness of our defects is always an indispensable requisite to im-
jtrovement*

Good sacred music, in the strict meaning of the language, i!
still wanting in a great proportion of our congregations ; and in
some considerable districts of Churches, good music is far more
frequently heard from the professional vocalists and instrumental
performers at the theatre ; and from the band accompanying the
travelling circus or the caravan of wild animals; than in many
places of worship. Music is made to contribute its higher at*
tractions to the scenes of amusement and circles of fashion and
dissipation. And the Christian, who " has music in his soul,"
as he passes within hearing of their songs of soft, though unsanc-
tified harmony, almost stops to listen, perhaps quite ; and goes
his way, sick at heart, that many a Church is so far outdone by
the men of the world, in their regards for an art so justly termed
heavenly. And on the next Sabbath, perhaps, in some place of
religious worship, he hears that offered in sacrifice to God, as
sacred music, which, from its discordancies, or other faults, would
be hissed in the theatre, and jeered and laughed at in the social
party. Our best musical associations are still small ; and, if they
be regarded as a fair index of the number of enterprizing and
deeply interested cultivators of the art, they shew that they com-
pose a mere fraction of the whole community. Even in this good
County of Berkshire, with the name of which is associated, in
many minds, ideas of New-England thoroughness, liberality, ef-
ficiency, and sound and enlightened views on most subjects ; even
here, the musical Association assembled, which bears its name,
and stands as the principal representative of the state of sacred
music and the number of its friends, counts on its catalogue of
members less than one hundred and fifty. The Choirs of most
of our Churches and Congregations are composed of very small
numbers, compared with the number attending our places of wor-
ship : and these Choirs, much of the time, are in a low state, and
their performances limited to a small number of tunes. Too fre-
quently Churches and Congregations, as such, do nothing for the
support and improvement of sacred music ; leaving it a burden
and expense, both as to time and money, on the hands of their
Choirs and a few publick spirited individuals : and rather than
pay a reasonable annual stipend to keep their sacred music good,
jput up with " confusion worse confounded," performed as sing*

ingt every Sabbath. Look also at the frequent fact, that for the
revival of the sacred music of a Church and Congregation, and
for the instruction of a Choir and placing their performances on
a good basis, dependence is too commonly placed upon having a
singing school " got up" once in five years or more, and a teach-
er employed two evenings per week for three or six months, to
teach thirty or forty young men and women to half sing, and that
mechanically, some fifty tunes, — three quarters of which tunes arc
left out of use, forgotten, or cannot be sung, within three months
after the teacher has taken his departure. A system of instruc-
tion, this, — if system it can be called, — which, if applied to teach
the art of reading language, would not, once in five years, carry
a common school of children half through the Spelling Book.
Look also at this, that probably not one professed singer out of a
hundred, if indeed one in five hundred, in the generality of our
Choirs, ever reads through, attentively, one of our ordinary col-
lections of music Also, among those who are called singers,
and many of whom can perform, respectably, tunes with which
they have become familiar by considerable practice; probably not
one in a hundred, if one in five hundred, can read music " at
sight." Let a Hastings or Mason, a Handel or Haydn, pass a-
round in one of our Choirs and open to each person somewhere in
one of our books of Anthems, or in the Oratorios of Messiah or
Creation ; and try who could read any music laid before him
" at sight," as he reads his own language ; and such a movement
would probably be not only a matter of curiosity, but of lively
and spirit-stirring solicitude, to many a one who calls himself a
singer : and, " I beg to be excused," would not improbably be
the plea of the heaviest proportion. A like test in the case of ma-
ny a gentleman, of his powers upon the flute or other instrument,
and of many a lady upon her piano-forte, would probably be
shrunk from in like manner. My meaning is this, that with all
our love for music, and our taste for it ; and with all the skill ac-
quired in performing certain pieces of music ; still not many a-
mong us are readers of music, — if we take reading, in relation to
music, to mean what it does in relation to language. The singer
or instrumental performer, who can execute, at sight, any music,
is likely to be regarded as a prodigy in skill and attainments ;

I

^ud as though there were some necromancy by which he can move
on, page after page, through a seeming chaos of crotchets, qua-
vers, semi-quavers, demi-semi-quavers, rests, fugues, chusing
uotes, rests, and flats and sharps single and double, and out of all
(read or play a delightful, melting, soul-thrilling piece of music.

If it be thought that we are making unreasonable and extrav-
agant demands of qualifications for being estimated a good read-
er or executant of music, we shall be vindicated from the charge,
it is believed, when we shall have examined for a few moments
the subject of Musical Education ; a subject appropriate to this
occasion, and worthy the attention of the friends of sacred music
here assembled.

We may properly call music a species of language. It has
most of the attributes of language ; at least as an instrument for
producing effect on the finer feelings of the soul. It is a language,
too, which almost every one speaks, in some form. For even the
person who has never ventured to sing a regular Psalm tune, will
be sometimes heard singing, in his own way, some air which he
has heard from the fife or the military band ; or some old song
he has heard. Very few there are who will not at least claim
that they can " do their own singing," — albeit they may not
please the taste of other people. The boy who rolls his ball or
his hoop, in the street ; the mechanic who beats his anvil or his
3ap-stone ; the labourer in the field ; the hired domestic, at her
kitchen labours, or over the loom or the spinning jenny in the
factory ; are as often heard singing, in some sort, — (and it may
be no contemptible sort either) — as the gentleman merchant, law-
yer, or physician, or as the fashionable and elegant lady at her
piano-forte in the drawing room. Every body makes music, in
some sort, as much as they talk, almost. The elements or sym-
bols of music, moreover, are presented to the eye by certain signs
tfchich are understood and read all over the civilized world, as fa*
miliarly as the alphabet. Moreover, the natural medium of the
communication of music to the ear, is by the voice, like language,
To a certain extent it communicates ideas to the mind. Its pow-
ers to move men's feelings are proved, by facts, to be, many times,
hardly surpassed by words. It is capable of cultivation, like el-
oquence, to sfich an extent, that like eloquence* it. shall ceove asd

-elevate and energize all the powers of the soul. We need nof
extend our comparison farther.

If, then, it be admitted that music is a species of language ; has
most of the attributes of language ; and is adapted to produce
effect on the human mind and feelings like language ; then we are
prepared for the position tiiat there must be such a thing as edu-
cation in the use or practice of this language: an application of
the mind to the study of it, and of the voice to speaking it ; and
these pursued to the acquirement of a skill, and the exhibition of
correctness, facility and taste, like what are attained in proper
and eloquent speaking of our own English. And this education
is to be sought by much the same means, and in pursuing much the
samej)rocessy with education in good and proper reading of our
own mother tongue. A good English reader is made by a well
conducted course of practical education in the art, on the basis of
a knowledge of the elements of our language and of grammar
and composition. And a good performer of music, whether with
the voice or an instrument, can also be made by a course of prac-
tical education in this art, based upon knowledge of the elements
of music, and of musical grammar and composition.

How, then, does a teacher of the art of reading the English
language, — for example, — set himself about educating a reader?
He generally prefers to take a child on which to make his exper-
iment, rather than a person twenty or thirty years of age,whonev-
er has read a word; for a good reader is not easily made of one
who has come to adult years in ignorance of written language.
He will begin with this child as soon as he can fix his attention
and use his mind to learn any thing. He will commence with
carefully teaching him the names, forms and sounds of the letters
of the alphabet. Then to combine letters into syllables ; sylla-
bles into words; words into sentences ; sentences into paragraphs :
then, to consider the meaning of what he reads, and to bring out
that meaning impressively, in the use of accent, emphasis, inflec-
tion, &ic. he. To this he will join a course of instruction in
grammar, as laying the foundation for a proper acquaintance with
composition. Moreover, as he begins early, so he expects his
undertaking will require time, patience, careful practice iu tbe
use of various kinds of composition, didactic, dramatic or <flt*-

logic, poetic, &c. ; and this accompanied with judicious and thor- '
ough criticism, for the correction of a thousand mistakes and
faults in the learner. With these he will join the cultivation of
the voice, in the use of various experiments for giving it depth,
strength and compass. These are things professedly attempted
by all good school-teachers. A good reader, in truth, any one
knows, is not born so. He must be made so by a thorough pro-
cess of education in the art of reading. Nor is this education
accomplished in a day ; nor by instructing the pupil one or two
evenings in a week for three or six months out of five years ; and
these evenings spent in his commitment to memory, or in drilling
him to read mechanically, a selection of extracts, while he acquires
no habits of reading which he can carry to the perusal of any
thing else ; but he must be educated by years of daily practice,
and in reading any where, and in hundreds of books added to
those used in the school. All this process of education in the art
of reading his own language, goes on without any interference
with the pupils progress in other branches of school education,
pursued at the same time.

Now, from the School-Master, aiming to make a good English
reader, we get some hints for the improvement of our system of
musical education ; — or rather for the creation of such a system.

In the first place, then, to make a good performer of music,
begin early in life. A young gentleman or lady, of eighteen^ or
twenty years, who cannot teil one note from another, nor ever half
sung any thing, except an old love-song, or a reel learned in the
ball room, is a discouraging subject out of which to undertake
the making of a singer. I do not say it can not be done ; but it
is neither easily nor often done. " Just as the twig is bent the
tree inclines," says a poet. But here you have a thrifty tree
which has attained its growth ; and you may try to bend, and
prune and train it ; and after all, your object will be very imper-
fectly accomplished, because the favourable time is long since
gone by. ',

Into the same place, then, where, and at the same tims when
there is undertaken the education of readers of language, we would
recommend the introduction of education in the art of music. £t
ii $ branch of Education which,— it shouH be known and felt, by

all intelligent christians, — is of high importance to the interests
of religion and religious worship. So important is it, that no
christian parent, especially no minister of the Gospel, ought to be
indifferent to it. A christian parent, of the Episcopal Church,
would feel himself to be greatly guilty in neglecting to teach his
children to read, as preparing them to join in reading the church
service There should be a like conscientiousness in every chris-
tian parent in regard to the education of his children in the art
of sacred music, as an aid of their preparation for that part of
divine worship. Let every child be early examined as to his
possession of an ear and voice for music, and put under a course
of instruction. It will be found that there are comparatively few
children who cannot be taught to sing.

2. Begin at the beginning, — the A. B. C. of the process of
musical education. In almost every thing else except music, com-
mon-sense has generally taught this simple rule. Whether the
neglect of this rule in regard to teaching music is the fault of
teachers or learners, admits of question ; — perhaps it is with both.
Begin with simple sounds. Make sure of the right formation of
a single note : which, in its production, shall not be a noise of
the voice, merely, made in the rush of the breath, one half through
the nose and the other through the teeth ; but a formed sound,
which shall have the element of music in it. For a child can as
easily be made to form a musical sound, as to form the proper
sound of a letter in the alphabet. Take the pupil from one sound
to another ; and after such a course of instruction in distinguish-
ing and comparing one with another, as is necessary, then -take
him back and forth through one or more octaves, according to
the compass of his vcice, and teach him the proper formation of
intervals. In short, teach him " the eight notes," as they are
called, as you would teach him the alphabet. And no more over-
pass the sounding of four out of eight notes wrong, than you
would his calling thirteen out of twenty-six letters by wrong names.
Accuracy should be made an indispensable matter, in the outset
of musical instruction. Thus also teach all the musical charac-
ters. I am thus particular on this point, because, if I mistake
not, deficiency here is at the foundation e( much professed in-
duction in mnric.

in

3. The process of the voice in correctly sounding the notes of
an octave, in succession, is the beginning of the third thing, com-
bination ; and prepares the way for the succeeding steps in com-
bining notes of different intervals, and the execution of musical
phrases, of any number of notes; aud thence to the performance
of passages, of such simple composition as o lead the pupil
gradually forward in learning to read music. It used to be the
fashion, so soon as the pupil had learned to sound the eight notes
and " got the gamut," (as the quaint expression was) — to put
him directly to singing tunes. Now no school teacher, not a
simpleton, ever thinks of taking a child, from having learned his
alphabet, directly into Murray's English Reader, for example ;
nor sets him to reading sentences and paragraphs, before he has
learned to put together and pronounce the letters a-b, or b-a-g,
or b-a-k-e-r. Let the progress of the pupil in music be made
step by step ; as much so as the pupil in reading the English lan-
guage ; combining notes into bars, phrases, strains, &x.

Our collections of music, in years past, have commonly con-
tained from two to ten or twelve pages of what have been called
ground rules of music ; necessary, — we are gravely told, — to be
understood, before the learner can undertake to sing. This, now,
is like publishing a collection of pieces of prose, or poetry, or
both ; and at the beginning of the book giving some ten or
twelve pages of ground rules of reading : to wit, the alphabet,
a table of sounds, the vowels, and diphthongs, a table of stops
and marks, a few lessons in spelling, and some few directions on
reading ; all very wisely and respectfully recommended to the
reader as being quite necessary to be understood before reading
the book. A wonderful compliment, truly, the makers of collec-
tions of music have been in the habit of paying to the might and
majesty of the human mind ; as though it could, in a few hours,
perhaps minutes, take in a few general principles of an art or sci-
ence ; and then stride, leap, or fly, at once, over a thousand in-
termediate steps, into the perfection of skill in the application of
them. We would, with all due respect, submit the question,
whether at this distance of time from the days of Jubal, it may
not possibly be safe to put ground rules of music, for learners,
into books by themselves ; amplified and particularized and illus*

.•!:.ileJ, as may be necessary, for learners ; and that Lciitors of
our Collections of Music should take it for granted that their
readers are far enough advanced in principles, to use them with-
out a preface of such a kind ? Then, the difference between a
mere learner, and an actual reader of music, might perhaps be
better understood and acted upon. With my own very limited
capabilities for reading music, and my hopes that the present gen-
eration of learners will be better educated than the last, I would
confess myself thankful to some recent professional teachers in
our country, who have furnished us some first books of music, de-
signed to precede the use of Collections ; and to help the learn-
er to walk, safely, one step at a time, into the art of reading mu-
sic, without any temptation to the hazardous experiment to which
we have alluded. The principle of combination, in learning to
perform music, must be made a practicable affair, in order to the
education of good singers.

Before leaving this point, a word on the object of it. It is not
simply to have the learner commit to memory, or drill himself in-
to the ability to perform a few tunes ; as has been the practice in
•* days departed, — never to return," we hope. It is nonsense to
talk of one's having learned to sing, who has done only this.
Has a school boy learned to read, who has committed to memo-
ry, so that he can repeat, without book, a few pieces of prose or
poetry, or a few hymns ; or who has learned mechanically to read
them, while he can read nothing else, at sight? To recur again,
for illustration, to the art of reading language. The object of
the teacher is not simply to have the pupil learn to read mechan-
ically ; or perform, from the familiarity acquired by many times
reading, parts of the spelling or reading book, with no expecta-
tion that he will ever read any thing else, except by the same
process of preparation. The object is to have him acquire that
acquaintance with the elements of language and their use, which
shall prepare him to read millions of times more compositions
than he could ever commit to memory or make familiar to his
mind by many times reading ; — and so that he shall have such a
facility, and that facility become a fixed habit, in reading, that he
shall read correctly, at sight, any composition he may never have
spen before. The exercise of conning over a page of a book, her

fore daring to attempt to read it aloud, for fear of not being able
to go through with it ; and to be obliged to spell this and that
hard word ; and to observe, beforehand, the position of this com-
ma, and that colon, and this period, are things which any New-
England gentleman or lady, calling themselves readers, would be
ashamed to be caught doing. " I never saw that tune before,55
said a " singing master," of twenty years since, when excusing
himself from the attempt to sing a part with others, in a common
tune in one of our collections. What kind of a teacher of a
New-England common-school would he be esteemed, who should
offer a like apology for not being able to read a paragraph in a
school book with which he was not familiar ? The object of mu-
sical education is to learn to read music, — any music, — by the
kind of facility in combination, and that acquaintance with mu-
sical composition, which, in reference to language, makes a good
reader ; and thus to get command of all the music ever written,
as much as of all the books ever written in our own language.
A singer thus educated can be as much at home on the pages of
Handel's Messiah or Haydn's Creation, as in singing any tune in
our most common collections. Such facility will secure the stor-
ing of the memory with tunes for common performance, in publick
religious services. For the memory retains nothing with more
ease than it does music, when there is taste for it. And were this
not the fact, there would be a substitute for it, in that facility at
reading music, which would ensure the correctness of a singer's
performance with his music book before him, as much as of his
reading of a psalm or hymn, with his book open. I have known
a choir of singers, — and would hope it is not the only one, — who
would perform, in the services of the Sabbath, any tune which
should be set to psalm or hymn by their leader ; without stopping
to inquire whether they had practised upon it before. They could
read it at sight, and that was all which was necessary. It is
earnestly to be hoped that the time is coming when such will be
the ability of all who call themselves singers,

4. The study of musical composition is another requisite in
good musical education. We see not why the knowledge of mu-
sical grammar and composition are not as attainable and neces-
sary to the singer as those of language to a reader. We need

14

!iot enlarge on this point, for the illustration, beyond what has al-
ready been done, of the importance of this as concerned in laying
a foundation for good musical reading or execution.

5. Patient and long-continued training of the pupil is another
requisite in musical education. Has any acquirement of skill, in
any art. ever been made, without this ? Common-sense general-
ly teaches its indispensableness ; and if this fail, in one instance,
to teach it, disappointment certainly will make a man sensible of
it. Progress in any art is usually slow, is acquired by degrees, —
by not more than one degree per day ; if indeed so much. But
the progress which may be slow, if it proceed upon the settled
principles which lie at the foundation of excellence, is generally
sure, also. In first learning to perform music well, many faults
and inaccuracies, of course, are to be pointed out, and their cor-
rection insisted on with the same particularity as in any other art.
It is the omission of this, and letting choirs try to sing before they
are ready to do it, which makes musical performances, in so ma-
ny places of worship, little else than a concatenation of blunders.
A criticalness in performance, and a niceness of ear, as to time
or harmony, which would make the blood of singers chill in their
veins, and their flesh to quiver, at a discord, or a jarring of time,
would be blessings in our choirs ; and would often be a very great
mercy to their fellow-worshippers, who have ears, and nerves
which will not bear rasping. A standard of accuracy and habits
of correctness should be formed and established in the perform-
ance of music, so that it shall be natural, and a matter of course,
to sing right, — a thing not of every-day occurrence. While on
this point, I would observe, that it is gratifying to perceive, in
the practice of this Association, in their rehearsals, that they make
systematic and thorough criticism one of their first objects.

6, Practice, in the reading of music of different kinds and styles,
is another requisite in good musical education. And this, on the
same principle that a judicious teacher of the art of reading puts
into the hands of his pupils compositions of different classes and
authors. In the compositions of Luther, Handel, Haydn, Mo-
zart, Beethoven, and many other writers of past and present time,
we might point out specimens, various, peculiar to the genius of
ealh ; and exhibiting all the variety of musical talent and excM-

id

Jence which we are accustomed to admire in the poetry of Milton,
Cowper, Young, and others ; or in the prose of Addison, Burke,
Johnson, and other writers What good singer has never notic-
ed and felt the rich harmony and solemn majesty of Luther's Old
Hundred ; or the sweet, Scottish, "wild warbling" of Dundee?
In higher compositions, who has not felt his soul melt under the
plaintiveness of Handel's Dirge in the Oratorio of Saul ; or the
pathetic and touching appeal in his recitative in the Messiah,
" Behold, and see if there be any sorrow like unto my sorrow."
His Hallelujah Chorus might well lift a king and his court from
their seats. His chorus, " Worthy is the Lamb that was slain,"
&c. cannot well be sung or heard, by a true-souled singer, except
standing. His Dittengen Te Deum, it would seem to a mortal
man, might be almost elevated enough to be sung from the or-
chestra of heaven. So of many passages of Haydn's Oratorio
of the Creation, we might speak ; in which we hardly know
whether most to admire the bewitching delicacy and sweetness of
his conversations between Adam and Eve in Eden ; or the beauty
and majesty of his dialogues of the angels ; or his choruses of
all creation, which seem made for all creation to sing together.
7. One more requisite in good musical education we notice,
extensive reading, as a matter of taste, and of intellectual and re-
ligious enjoyment. I\o one calling himself a singer ought to have
the confession to make, that he has not read all the music of the
collections in common and approved use in his choir. And on
the same principle that you would furnish your library with stand-
ard authors in the English language, possess yourself also of choice
musical authors. Purchase and read, especially, such of the works
of Handel and Haydn, and the selections from others, which have
been published in this country. Add a new collection of music
to your stock of books, as you would a valuable volume of ser-
mons or essays. Have in your bouse some musical instrument,
and use it, daily. There are many minutes, and sometimes hours,
in the lives of the busiest, when, with a taste for music, time can
be found for its cultivation and practice, vocal and instrumental.
Commend to us the singer, who as a skilful performer, but better
still as a christian, can sit down to the study of such a work as
Handed Messiah, in the retirement of. home; aud read, with o

id

tention and enjoyment, its various parts, as a kind of commenta-
ry on that interesting collection of scriptures ; and feast his soul,
taste, intellect, on the matter of his pages.

In a well conducted course of musical reading will be acquired
additional skill in performance, in many points. As a means for
cultivating musical expression, especially, no one is of more im-
portance than this. Here also let us recommend the reading of
musical history and biography. It is much to be wished that the
American press might be patronized by the friends of music, in
the re-publication of some of the most approved European works
of this class. To know what music should be and may be, in
this country, we need to know what it has been in other countries;
not only as to be learned in the writings of eminent composers.
but in their professional characters, and in those of eminent per-
formers. A Society like this will doubtless find a Musical Libra-
ry an important means for the advancement of their acquaintance
with the art of music and its eminent men, and an aid in raising
the standard of musical taste.

If, now, we be asked, Is such a system of musical education
practicable ? ue point to what has been done in individual cases ;
and to the old proverb, worthy to be repeated in other places be-
sides the school room, " what man has done, man can do." The
practicableness of attaining such skill in reading music as we have
urged, is illustrated in the case of c\ery decent reader of his
mother tongue.

As skill in combination is a leading requisite, and as more doubt
may be felt on that point than some others, let us illustrate this by
reference to certain things which are done, from which we may
legitimately infer the entire practicableness of this. You can sing
the tune of Old Hundred, doubtless, in a long metre psalm ; and
herein is the combination of two things, commonly done ; and with
entire facility. Practice will enable you to join with these seve-
ral other things. While you sing the air or bass of this piece, in
words, you can carry in your mind another part, still; and prob-
ably you often do it ; for if another person is singing that part,
you observe whether lie harmonizes with yours, and perceive any
mistake which he makes ; — a third thing. Again, you are perhaps
a player upon a. viol ; and, — irbicb is not uncommon, — you play

the bass, sing in words the air, and carry, (as before supposed,)
a third part in your mind or watch its performance with your
ear: four things combined, which you do not call difficult. To
change our illustration to another instrument ; here is a young
lady at her piano-forte, who sings this Old Hundred in words,
plays the air with her right hand, the bass with her left, carries
in her mind a third part, and in proof of this throws in notes
here and there as chords : five things. And nothing wonderful,
this ; for it is done, after a fashion, by every young lady who
sings, and professes to play on that instrument. Now a step
farther : here is an organist who does all these things and adds
a sixth thing, throws in bass chords, an octave below. We sup-
pose this to be no uncommon thing.*

The complicated combination of parts which can be accom^
plished is exemplified in these remarks ; if the speaker has made
no mistake in his observation of performers and his estimate of
the things which are embraced in their executions. If, now,
these things can be accomplished, then surely it is entirely prac-
ticable for you to accomplish the combinations necessary to read
your. "single part, at sights in common performances ; and in any
music whatever. And no gentleman or lady ought to make pro-
fessions of being a very great singer, who cannot read well, at
sight, one part, in any musical composition. It ought not to be
any longer regarded as such an impracticable and wonderful at-
tainment. Why do we not wonder to see any one read, at sight,
a letter from his friend, which he has just opened ; or a para-
graph of news in his paper just taken from the post-office ?
There is nothing in the science of music, nor in the art of per-
forming it, to prevent such singers from becoming as common
every-day beings as decent readers of our own language. This
would be a natural result of a system of musical education, con-
ducted as much on the principles of common sense, as education
in other branches in our common schools.

* Handel, on an occasion when he felt the need of more hands, to accom-
plish all the combinations he wanted, bowed his face down to the keys of thg
ergau, and employed his eoss to do the (Sutfci of a third htafl.

48

I point to the fact, also, that in some countries in Europe, the
experiment of musical education by system has been extensively
shewn successful. Of Germany, particularly, remarks a late
writer : " It is perhaps more truly the country of music than a-
i: ny other in Europe. It makes a part of the business of al-
16 most every common school, of every town and village and
" cottage ; so that genius has opportunity for early instruction,
ei and the patronage and even example of the princes of the
Cl empire give every encouragement to the exertions of professed
t! musicians,"

In looking for the means by which such a system of musical
education may be introduced, we may take encouragement from
the fact, that already experiments are making in some primary
schools in our country. It is to be hoped the experiments will
be rendered complete, by conducting instruction in this art in
the same manner in which other things are taught. It can also,
doubtless, be introduced into our American schools, as easily as
into those of other countries ; and it is to be hoped that our
children have as much music in their souls, and as flexible or-
gans for singing, as Germans or any others. Parental instruc-
tion may do something in aid of this object. Moreover, let the
demand be made for qualifications to instruct in music, in those?
who shall teach our primary schools, and it will operate, even-
tually, to produce a supply. The attractions of the art itself,
also, as it advances into notice, will probably aid its progress.

We should briefly notice some of the obvious advantages of
such a system of musical education.

Its influence on the state of our choirs, as to their number?,
would be important. Many more voices would be brought un-
der cultivation, than at present. Instead of a handful of sing-
ers, almost lost in the orchestra of a large congregation, fifties
and hundreds might be employed in this delightful part of divine
worship. Such a system would, in time, indeed, make singers
of the largest proportion of our congregations ; and the advan-
tage of this, to the interest and impressiveness of this part of
publick worship, would be of great worth.

It would give better permanence to the sacred music of our
- ^regatici:?, from tho fret; that such a ?ystefD of educ.

1*

la reading music is not liable to the catastrophe which so ofi
befals memoritei or mechanical singing. Once a good reader,
and in the common practice of it, always a good reader. And
with equal truth we may say, once a good singer, always a good
singer.

Such a system will be best economy, both of time and
money.

The influence of such a course of musical education on the*
habits of our choirs, in publick performances, would be of high
value. Give a choir the facility at performance which would be
thus imparted, and we should have performances marked with
that simplicity, and expressiveness, which come of their being"
conducted in habits based on principles.

Another important advantage of such a system of musical ed-
ncation will be, that singers will be far more at ease in their
publick performances. They are not liable to fail, in time or
harmony. On the plan of learning tunes heretofore practiced,
a choir will not dare attempt the performance of a tune, in pub-
lick, which they have not first nearly worn out, by the kind of
school practice of which we have spoken. It is doubtless fa-
miliar to many a singer in this Association, how great an under-
taking it is for a common choir to perform an anthem, in pub-
lick. After having practiced upon it, many an evening, in sing-
ing school, they undertake its performance at the ordination, or
thanksgiving, or some other occasion for which it has been se-
lected ; each performer, in all probability, trembling, and afraid
lest some unlucky mistake in time or tune should throw them in-
to confusion. The feelings of a religious assembly will common-
ly be in very wakeful sympathy with those of the trembling and
anxious choir ; and all are probably more occupied with the
object of executing the piece without mistake, — with getting
through it alive, — than with the devotional feelings appropriate
to the occasion. I have seen choirs thus appear most distress-
edly ridiculous. A want of thorough education in the art of
reading music, as preventing composed facility in performan-
ces, is a very great hindrance to the devotional feelings of an
assembly.

But by proper musical education let it be made easy, and a

patter of course, k>r a choir to sing correctly ; and tiiey ar&
far better able to make the exercise truly a religious one. They
are at all the liberty necessary to enter into the spirit of the
Psalm, Hymn, or passages of Scripture to be sung And if
there be any feelings of common reverence, as engaged in a
solemn act of worship to God ; and if there be in their hearts
true devotion ; they cannot well help singing expressively.

Another advantage of such a system of musical education,
will be, its aid to the impressions of the ministry of the Gospel.
Let any one, of good musical taste, united with correct chris-
tian judgment, search for the actual benefits of much that is
called sacred music, to this end ; and let him point out to us a-
ny benefits which would not have been as well secured, — and
perhaps better, — by a psalm or hymn being well read, and then
followed by five minutes of silence in the congregation, to be oc-
cupied in meditation on what has been read. Yes, and better
too, than to have the violence done to the auditory nerves of an
assembly, which is frequent. An interval of perfect silence would
be far preferable to much of the singing which is applied to sa-
cred poetry. The effects of bad music on a preacher are un-
happy, both for himself and his congregation. *lt is related of
the venerable Dr. Bellamy, of Connecticut, that on one Sab-
bath, after the choir had sung a psalm very badly, he arose and
read them another, saying, " You must try again, for it is im-
possible to preach, after such singing." There is not a little of
what is called sacred music, which ought to be named sanctimo-
nious discordancy ; and is much better adapted to make a hear-
er angry, than to promote his devotional feelings.

On the other hand, make this part of divine service what it
ought to be, to answer its design ; let it be the raising of a sa-
cred song, which', from its proper performance, shall have a-
waked right feeling, and promoted devotion ; and preaching is
a different exercise, both with minister and congregation. In-
stead of having to recover from the discomposure of feelings
produced by a disagreeable and irritating strain of discords, —
costing the time of half a sermon to recover from, — they can
enter upon this part of divine service under positive and impor-
tant advantage. Such music is sometimes to be heard, — when.

: it be always ? — which carries forth the heart in the spirit of
true prayer; and is adapted to he, to the heart and the lips of a
preacher, like " a live coal from off the altar."

The remarks which have been made respecting the education
of vocalists, apply also to instrumental performers.

And here we would speak of another requisite to good sacred
music, a ivell conducted instrumental accompaniment. The
Providence of God, who has given man faculties for the art of
music, has also led man's ingeuuity to the invention of instru-
ments, by which the powers of the voice may be aided, and the
impressiveness of this part of divine service augmented. While
this is true of various kinds of instruments, there is one which
seems to have been designed by the God of the sanctuary, more
especially than any other, for the publick services of religion ;
I mean the organ. The Providence of God in causing an in-
strument to be invented, so perfectly adapted to sacred music, is
as noticeable as in leading Watts and other christian poets to
the version of the Psalms and other portions of Scripture which
we use. The powers of that noble instrument are beyond those
of any other one yet invented. Under the hands of one who
understands and can bring out its fine powers, its effect for giv-
ing dignity, solemnity, and 1 will say sublimity, too, to the
songs of the sanctuary, is altogether peculiar. Nothing cau
surpass the full, sweet, harmonious and solemn tones of a good
organ to give depth, strength and effect to the music of a
choir ; and to assist the worshipper to feel that he is in " the
house of God" — " the gate of heaven," and to send up, with
fervency, the pious aspirations of his heart to the throne of
" the High and Lofty One who inhabiteth eternity." This no-
ble instrument is to be regarded as a gift, of peculiar value,
from Him who designed every thing about his Zion and her or-
dinances to be desirable and beautiful ; to impress sentiments of
veneration and love upon those who " walk about her," and
mark her spiritual excellence, and the means of its promotion »
Not that we advocate, in religious services, that which shall
stnke the senses and regale the taste, irrespective of the great
objects of christian worship ; but we are to remember, that in
this imperfect and sinful state, the heart is to be reached and in>*

flucnced through the instrumentality of such means, associated
with more strictly spiritual ones. What is true of the art of el-
oquence, as necessary to enforce divine trulh, is equally true of
the art of music, as to aid the devotions associated with the min-
istry of the word.

One more requisite, — this part of divine service should be
regarded more distinctly than it has been, as being, itself, wor-
ship of God.

There is far more instruction in the scriptures, to the duty and
manner of singing the praises of God, and to the use of instru-
ments in aid of this exercise, than seems to be considered by
one christian in a thousand. Far away be banished the idea of
its being a kind of interlude, for the entertainment of a congre-
gation, and the relief of the preacher from continual exercises.
Look into your Psalm and Hymn books, and consider the spirit
which breathes through their pages. It is the spirit of adoration
to God, and of praise, humility, supplication ; and of grati-
tude, faith, love, hope and joy. It is the spirit which should
breathe in every note of music : and to this end, the music
should be made such that it shall be a suitable vehicle for such,
sentiments. Insincerity should be dreaded, as sin, in this exer-
cise, as much as in prayer. The hearts and voices which join in
it, here, should have the feelings which swell the anthems of the
redeemed and of the angels of God around the eternal throne.
This, therefore, obviously renders personal piety an important
qualification, in those who conduct this part of religious wor-
ship. They need to know what it is to melt in tender penitence
for sin ; to adore and love the holiness of God ; to live by
faith in Christ Jesus the Lord, and in the spirit of prayer. —
With none else can this be an act of worship acceptable to a ho-
ly God.

With such requisites as these, it is to be seen what the sacred
music of any church and congregation may be made. Gather
a choir, thus educated and aided, in the place of worship ;
their hearts burning with the spirit of true devotion, and with
theirs the hearts of their fellow-worshippers. Let their sougs,
exhibiting all hich is sweet, inspiring and sublime in harmony,
be rendered expressive and lively, by all which is tender, sol-

its

■earn, and devout, in the aspirations of the soul to God. And,
though on earth, the worshippers may, in spirit, enter into the
high praises of heaven. Though in an earthly temple, they
may, in the holy fervours of the soul, go up before " the throne
of God and the Lamb." And the Sabbaths thus employed will
be seasons of happy preparation for the Sabbath which is eter-
nal. And the services thus rendered and enjoyed, will richly
and rapidly7 advance the preparation of the true child of God, to
strike his golden harp, and raise his enraptured voice, in the an-
thems of eternity, to the praise of " Him who hath loved us,
und hath washed us from our sins in his own blood."

Gaylord Bros.

Makers
Syracuse, IM. Y.

PAT. JAN. 21. 1908