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Septe-mber 1927
T h e
K i n g ’ s
B u s i n e s s
Spiritual Hymns—A V ital Influence B y P rof . J o h n B issell T rowbridge Bible Institute of Los Angeles
S ROM the earliest dawn of history music has been a vital influence in human life. In war and wor ship, in work and play, in the home, in the school, j in the church—in every phase of human activity ’—music has been a spontaneous and elemental means of expression. The effectiveness of music art as such. Its function was perceived and realized ages before there was much, if any, thought or investigation regarding its nature. Leon Gautier, in his history of the epic poetry of France, in an imaginative and dramatic passage, pictures the first man, coming fresh from the hand of his Creator,
notes of the soul in joy and sorrow that it is adequate for Christian as well as Jewish hearts. It was not for an age, but for all time.” “David made sacred song a real part of the worship of the sanctuary as it had not been in the Tabernacle service, making it a fixed part of the daily worship of Jehovah.” The service in Solomon’s Temple was doubtless the most elaborate example of liturgical worship the world has ever seen. A choir of four thou sand singers and players had been organized by David and placed under the direction of Chenaniah and Asaph, with prescribed Psalms for every day of the week and more elaborate ritual for feast days, with antiphonal singing that has never been equalled. The services in Herod’s
was recognized long before any advance was made in the
beholding the wonders of the uni verse about him and raising his voice in a hymn of praise to God. True it is that wherever we find any trace of primitive man, through the spade of the archaeologist, through tradition, through history, or, in the inspired Word, we find evidence of his relig ious nature and its expression in song, crude though it may have been. The m u s i c of the Christian
Temple in the time of Christ were also very elaborate, and second only, to those of Solomon’s time. On that memorable night when our Lord partook of the Last Supper with the eleven he joined with them in a “hymn,” as recorded in Matthew 26:30. This was doubtless “The G r e a t Hallel”—Psalm 113-118—- which was the prescribed portion of the liturgy to be sung at the Passover celebration. It is an inspiring thought that Jesus thus put his stamp of approval upon sacred song, and in His last’ hours before making the Great Sacrifice joined in the singing of such words as these:
Church as we find it today, comes to us as a rich heritage that has grown in beauty and value with each suc ceeding generation. With each dis tinctive epoch in Church h i s t o r y there has been an accompanying burst of song that often carried the day with its emotional appeal where the colder and more didactic discourse would have failed. Pure music as an art has developed largely through its association with the church, and whether used alone or in association with hymns and sacred lyrics it has been a real “handmaid of religion.” T h e A rt of H ymn S in g ing In speaking of church music we instinctivelv think of hymn singing, and this involved the art of poetry, in the exercise of which many of the choicest souls of all time have poured out their hearts in adorat'on and praise to God in forms that have become a permanent channel of worship for the church. Four hundred thousand Christian hymns are extant, and doubtless as many more have been lost, discarded or forgotten. The great body of praise literature that began to appear in the first Christian cen tury was preceded by the wonderful background of He brew worship that for fifteen hundred years maintained a glory and vitality that could not be overthrown by the many wars and captivities to which the chosen people were subjected: This wonderful system of praise and worship of Jehovah ;was the Psalms, forming a body of sacred song that has never been surpassed for beauty and gran deur. “The stream of song in David ran broad and deep. The Old Testament Psalm has so sounded the deepest
“What shall I render unto the Lord for all His benefits toward me? I will take the cup of salvation, and call upon the name of the Lord.” ■ “The stone which the builders re fused is become the head stqne of the corner.” “Blessed be the name of the Lord from this time forth and forever more.” “Not unto us, O Lord, not unto us, but unto Thy name give glory.” “O give thanks unto the Lord ; for He is good; for His mercy endureth forever.” . This Hebrew liturgy could not fail to influence Chris tian song, and it formed, indeed, the basis of Christian hymnody. Many of the early hymns that date back close to Apostolic times bear the mark of this influence. Exam ples of this are “Gloria Patria,” “Gloria in Excelsis,” the “Sanctus” and the “Te Deum.” They are so saturated with vital Scriptural truth, both in sentiment altd expres sion, that they illustrate in this the characteristics of every hymn that lives beyond its generation. T h e R ise of S acred M elody From the time of the conversion of Constantine there was a rapid development in the liturgy of the Mass, the sumptuous beauty of which drew the worshipper away from the simple, direct worship hitherto practised by the early Christian. But in spite of many abuses there were
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