03.11. XVI. Managing The Music And Musicians

XVI MANAGING THE MUSIC AND MUSICIANS TO CONDUCT a church without music would be to accomplish what no one has yet had the hardihood even to attempt. It is true that Charles Spurgeon, owing to his surpassing eloquence, dispensed with all music save a small organ and precentor. And yet, as Dr. Glover of Cambridge, in accounting for Spurgeon’s popularity, indicated, “His marvelous voice and supreme gift of oratory” were in no small measure a substitute for music itself.

Music is the one art that appeals to all classes, that reaches and strangely moves the ignorant and the educated, the poor and the rich, the denizen of the home, the attendants at church, and even the gay and godless who gather for social converse. As someone has said, “It is the gift of tongues; and is able, therefore, to speak to each in the vernacular to which he was born.”

Among the arts it can come nearest to the claim of divine origin, since, at the finished creation, “The morning stars sang together, and all the sons of God shouted for joy.” (Job 38:7) The art that has such approval and employment cannot be despised by the church of God. THE IMPORTANCE OF MUSIC can scarcely be overstressed. In worship it has a Scriptural warrant.—David of the Old Testament is called the sweet singer of Israel. Neither the Scriptures nor tradition tell us anything of his voice. We do not surely know that he sang at all; but, with the pen of inspiration, he so wrote as to inspire anthems and oratorios in almost endless numbers, and his appeals were such as to stir the most sluggish souls to song. No man ever lived who so often voiced his praises to God or made such multiplied appeals to his fellows to join him. “I will praise thee with my whole heart” is a phrase that rings through the 150 Psalms or Songs written by this inspired man with such constant repetition, as to remind one of the call of morning bells.

He is not content with solo work. He would have the forces of nature peal forth the praises of God like an infinite organ; “fire and hail,” “snow” and “vapors,” “stormy wind” and “all deeps.” He would have the earth itself become vocal and “mountains and all hills join in the praise of God.” He would have “the beasts and all cattle,” “creeping things and flying fowl” to utter forth their praise. He would have “the sun and the moon and all the stars of light” to join. He would have “all young men and maidens,” “old men and children” “all people,” including “princes and judges and kings of the earth” praise the Name of the Lord. Yea, he would have “the heaven of the heavens” and “the waters beneath the earth” unite their voices in the glad refrain. Finally, he would have “all angels and all the hosts of heaven” tune their tongues to the paean of God’s praises. The New Testament apostles are no whit at variance with this Old Testament prophet in this matter. On that night before Jesus was betrayed, when He had both instituted and administered the Supper that should forever remain a type of His sacrifice, we read, “When they had sung a hymn, they went out into the Mount of Olives .” (Matthew 26:30)

Paul and Silas were in prison at Philippi. They had been mercilessly beaten; their feet were fast in the stocks and their hands were manacled; but “At midnight Paul and Silas prayed, and sang praises unto God; and the prisoners heard them” (Acts 16:25) James, in his epistle (James 5:13) writes, “Is any merry? let him sing psalms.” Evidently he regarded it as an appropriate method of praising God.

Paul, writing to the Hebrews, (Hebrews 2:12) said, “I will declare thy name unto my brethren; in the midst of the church will I sing praise unto thee”

Singing, then, is not one of those non-essential accretions that have been fastened on the blood-bought Body. On the other hand, it is the very expression of its new, glad life; and Christianity without song is well-nigh inconceivable.

Little wonder that Donald Fraser said, “Sing, oh, Christian, on your heavenly way; let God be extolled both in the sanctuary and in the firmament of His power. Let all breath praise the Lord.”

Music can be made the medium of service.—One of the essentials of success in church work is a constant increase in the number of those called to participate in the same. The Will of God in the matter of music would seem to have been clearly declared in the creation of vocal organs. The boys and girls, young men and women who are destitute of musical ability are comparatively few. The overwhelming majority could sing if they would. That circumstance is a clear indication of both duty and privilege.

While Charles Spurgeon magnified the ministry of the Word, and minimized the service of music, he realized its value and made effective appeal for its consecration. In Vol. 19 of his 20 volume series of sermons, he says, “I should like King Jesus to have our special gifts. I know one who, before his conversion, was wont to sing, and he often charmed the ears of men with the sweet music which he poured forth; but when he was converted he said, ‘Henceforth my voice shall sing nothing but the praises of God.’ He devoted himself to proclaiming the Gospel by song for he said, This is David’s spoil.’ ” And then Spurgeon continues, “Have you not some gift, dear friend, of which you could say, ‘Henceforth this shall be sacred to my bleeding Saviour?’ ” When I consider that a voice is commonly God’s natural gift to men, I confess my amazement, and to a certain degree even my disgust, that so many young men and women are willing to leave it undeveloped, and in disuse! It may represent their one pound for which the Lord will yet come inquiring as to its uses, and concerning which they will be compelled with shamefacedness to say, “I wrapped it in a napkin and hid it away.” The pastor who encourages his young people to cultivate this gift, is not only conferring upon them a blessing which they will increasingly esteem as time moves on, but is also building up a possible contribution to the cause of Christ of increasing, yea at times, of surpassing value.

Think of what the singing of P. P. Bliss, Ira D. Sankey, Charles Alexander and Charlie Butler meant in American revivals I And think of what the teaching of D. B. Towner has brought to pass in the production of Rodeheavers, McKees, Hammontrees, Clarks and others too numerous to mention!

We next pass to THE PROBLEM OF MUSICIANS

There are pastors who think and say that one of the hardest problems of pastoral experience is at this point. They say that musicians are tempermental, difficult to manage; often create division in the church, and sometimes detract from and even destroy the effect of the pulpit ministration.

But, a careful consideration of the subject will reveal the certainty that such results need not occur. For the service of song, secure the sane.—The pastor is so positioned as to have great advantages in this matter. His visitation in the homes, his place in the social circles of the church he serves, and his close contact with the assemblies, all provide opportunities of observation. In a small church he can soon learn who have voices and with what sort of disposition they are associated. When he finds the ability to sing connected with an unbearable egotism or a critical spirit, he is under no obligation to suggest that such join the choir; in fact, he may, by a confidential talk with his director, arrange to keep them out. But these queer souls are magnificently in the minority.

It is my observation that a singing voice is often connected with a sound body, and a sound body contributes always to a sound mind.

We have not found singers a queer lot; on the contrary, we believe that, taken as a class, they are rather superior, and that a proper expression of appreciation, and, on occasion when they have done exceptionally well, kindly compliment will encourage their cooperation in the service and render their attendance upon choir practice and services more certain and regular. The leadership of the choir is of prime importance. —There, power for good really resides. A sympathetic, cooperating choir director is of inestimable aid; but a non-sympathetic and contrary one can well nigh circumvent the pastor’s influence and render his tenderest appeals impotent. This is especially true if the director lacks a sense of the fitness of things and knows not how to quickly select a suitable song.

Dr. A. C. Dixon, when pastor of the Ruggles Street Church, Boston, told me this story as his actual experience. He had in that Church a Quartet that was world-famed. Doubtless they have never been surpassed and seldom equaled in the annals of American Church History, but they insisted upon classical music upon almost all occasions.

Dixon called the leader aside one week and said to him, “Beloved, you men are great! Your voices are marvelous; your harmony is perfect, but I do long to hear you sing the gospel. Won’t you give me a Gospel number for next Sunday morning?” “Sure,” said the leader, “we will open with one.” Dixon thought he had triumphed. Imagine, therefore, his chagrin when, at the opening of the service the next Sunday morning, the Quartet stood up and sang lustily, “God Be With You Till We Meet Again.” Dixon said, “Riley, I was determined to have some semblance of intelligence, and so I rose, lifted my hand and pronounced the benediction.”

Often the difficulty of managing singers is the product of mismanagement.—For twenty-five years after I came to the Minneapolis pulpit I had a Music Committee. It was seldom or never united in opinion. Some of its members seemed to be satisfied with the director and the choir, and others would be a little antagonistic to both. You can readily imagine the result. It kept every director on the anxious seat, and it constantly disturbed the comfort of the choir members.

Finally, I dared the dangerous thing of recommending to the Advisory Board, and through it to the church, the abolition of the Music Committee. But I did not employ that term. If I had, there would have been a fight on my hands. “Abolition” is a dangerous word; better let it alone.

It is a bit like the story one of our graduates told in a Regional Conference. An Irishman and a Frenchman traveled together. When they were parting the Frenchman said, “Au Revoir.” “Faith, and what is that?” said Pat. “That is ‘good-bye’ in French,” said the Frenchman. “Sure!” said Pat. The next time they met, in response to the Frenchman’s “Au Revoir” Pat replied, “Carbolic Acid.” “What do you mean by that?” queried the Frenchman. “That is ‘good-bye’ in any language,” said Pat.

It is much so with “abolition”! I did not talk about abolishing the Committee; I talked about creating Heads of departments, and I named among them the Choir Director, saying, “Let him be the head of this department and create his own committee if he wishes one.”

It was accepted and the result is that he and the pastor have been the committee ever since, and for years there has not been a disturbance of any sort. I repeat that sometimes the difficulty of managing musicians is the product of mismanagement.

I do not believe in a Music Committee for the simple reason that a three or four or five headed force never knows where it is going. Let one head direct, then there will be no debate over the path to be chosen, the course to be taken.

Finally, THE PURPOSES OF MUSIC

They are too many for me to attempt even their enumeration. It is an art that has a universal application and consequently is practically unlimited.

I am not here concerned with music as it relates itself to mere mirth; as it used to fill in the spaces between salacious theater scenes; as it attends the rhythmic movements of the modern dance, or as it entertains social circles, whether they be gathered in spacious parlors or City Auditoriums. With these forms of music the pastor has little contact and in most cases small interest. But music as it relates itself to the Christian religion moves to very definite objections.

First of all,

It should voice the praises of a gracious God.—This was its particular employment in the Old Testament times by Israel, as the entire Book of the Psalms attests.

Haydn, whose contributions were the climax of Christian sentiment in both note and word, said, “A religion without thanksgiving, praise and joy is like a flower without perfume, tint or nectar. There may be such a flower, but surely no one would care to pluck it.” Being once asked why his church music was so cheerful, Haydn replied, “I cannot make it otherwise. When I think of God, my heart is so full of joy that the notes dance and leap!”

It is my candid opinion that the spirit that incites to praise and thanksgiving is the very one that will solve practically all the problems of life itself. The singing man is never a soured man, nor a cynical man; and the man whose lips are filled with praises never burdens them with complaints. He is a welcome guest in social circles, he is a leader in Christian service, and he is commonly prized as an inspiring companion.

Walter Trine wrote a book entitled, In Tune With the Infinite. A singer whose lips voice a grateful heart is the living illustration of Trine’s title.

All forms of worship, however, may be voiced by music.—Prayer as well as petition; sorrow, suffering, bereavement as well as joy, gladness and rejoicing.

Someone has said, “Music has a unique relation to our emotional natures. It fits into our feelings as two serrated edges fit into each other. Better, it has an organic connection with emotions so that when one moves the other turns with it. It has more movement in it than any other art. It expresses feeling; yea, life itself!” That is why it has a place and is often indulged when one is solitary and alone. That is why it is engaged in when the family circle assemble around the parlor piano. That is why it swells into anthem proportions when the people gather in the House of God. That is why it is conceivable that the great hours in heaven and of eternity will be characterized by the song of saints and of all angels.

It is the one way to voice worship. Not the only way, but the most natural way, and a divinely approved way.

It may be employed in soul appeal.—Thousands have been won to Christ through Gospel songs. Full well do I remember the night in Chicago when the officials of my church, having spent till two o’clock in the morning of the night previous, rose from their knees and shaking hands, said one to another, “She will be saved tomorrow night!” For that time, we had spent in pleading with God for the soul salvation of a young woman who was engaged to be married to one of the most efficient officers we had in Calvary Church. When the night had arrived I preached the tenderest sermon of which I was capable. She listened through it all, most earnestly, and with evident conviction. In the after-meeting I extended my pleadings to an unusual length, but she moved not.

Finally, almost in despair, I turned to F. H. Jacobs, one of the greatest singers that American history has known, and I said, “Beloved, sing!” He stood up, and with his matchless voice and pleading tones he rendered “Almost Persuaded.” The notes of that number range to every corner of the room, and these words thrust themselves upon her ears,
“Almost persuaded,” now to believe, “Almost persuaded,” Christ to receive.

Seems now some soul to say, “Go, Spirit, go thy way Some more convenient day, On thee I’ll call.” till finally he had reached the last verse,
“Almost persuaded,” harvest is past!

“Almost persuaded,” doom comes at last!

“Almost,” cannot avail; “Almost” is but to fail!

Sad, sad that bitter wail,—

    “Almost,” but lost!

She then rose before the sound of his voice was stilled and fairly rushing forward, she flung herself into the front seat and said, “I resisted the sermon, but I cannot resist the song!”

OUTLINE OF CHAPTER ELEVEN MANAGING THE MUSIC AND MUSICIANS I. THE IMPORTANCE OF MUSIC a.In worship it has a Scriptural warrant. b.Music can be made the medium of service.

II. THE PROBLEM OF MUSICIANS a.For the service of song secure the sane. b.The leadership of the choir is of prime importance. c.The difficulty of managing singers may be mismanagement.

III. THE PURPOSES OF MUSIC a.It should voice the praises of a gracious God. b.All forms of worship, however, may be voiced by music. c.It may and should be employed in Soul-appeal.