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secrated people have given us their heart experiences in these poems. The name of Fanny J. Crosby, our own blind poet, whose fragrant life was a beautiful back ground for the thousands of lyrics she wrote for many musicians, stands preeminent in this list. She will be remembered best by “Safe in the Arms of Jesus,” “Saved by Grace,” “Jesus is Calling,” and “I Am Thine, O Lord.” Major Whittle (El Nathan) wrote “Moment by Mo ment,” and it was set to music by his daughter, May Whit tle Moody. James M. Gray, President of the Moody Bible Institute, wrote “Only a Sinner Saved by Grace,” set to music by Dr. Towner. J. H. Sammis wrote “Trust and Obey,” also set to music by Dr. Towner. And in every Gospel-song book are found the names of Elizabeth Clephane (writer of “The Ninety and Nine” ), Julia John son, Harriet Pierson, William A. Cushing, Frances Rid ley Havergal, Jessie H. Brown and many others whose words have brought blessing to thousands of hearts. P. P. Bliss wrote both words and music of “Almost Per suaded” ; Charles Gabriel did likewise in the “Glory Song” ; P. P. Bilhorn in “Sweet Peace” ; Robert Hark- ness in “Shadows” ; and many other writers of Gospel music have written the lyrics for some of their own best songs. A P anoramic V iew The Gospel-song movement passes before us in pano ramic view as we think of the early struggles for free
Lowry). The latter is very nearly a pure hymn, but is usually classed as a Gospel song because of its form. But this mixing of the types often makes the strongest pos sible song. The Gospel song has been severely criticized for lack of dignity and meaning in the words—-“doggerel” as the lyrics are sometimes called. It is not to be denied that many words set to music are unworthy, but these usually find their place in the discard after one hearing. A great authority in music, in speaking adversely of Gospel music, used as an illustration an old song beginning with the words: “I should like to die said Willie, if my papa could die too,” but he was not fair enough to mention, “Some Day the Silver Chord Will Break,” “Under His Wings I am Safely Abiding,” or “When Peace Like a River At- tendeth My Way.” The fact is that Charles Wesley wrote 6,000 hymns, and over 5,500 of them are never used. Isaac Watts wrote 600 hymns and scarcely 100 can be found in the hymnals of all denominations combined. If only the Gospel-song lyrics that have stood the test of repeated publication were considered, the critic would find a wealth of worthy material. In the music of the Gospel song the same line of criti cism is possible. The hymn tunes are usually written by men of far more musical culture than those who have writ ten the Gospel-song tunes, and so they adhere more closely to the canons of musical art harmonically and contra- puntally. They are admittedly better music. It is a matter of regret that many poorly equipped men have put out their musical efforts in ignorance and inexperience, thus giving Gospel-song tunes a bad reputation. And with the coming of “ragtime” and “jazz” in popular music, a re flection of this style has been found in our Gospel-song books. But a careful study of the work of the best later writers will reveal an upward trend as a result of the wide dissemination of music instruction. The inexorable working of the process of elimination is relegating the unworthy to oblivion, and a body of Gospel-song tunes is growing of which musicians need not be ashamed. T h e “G olden A ge ” of G ospel S ong The Gospel-song movement crystallized around a few great personalities, which is true of every epoch-making event. In this case the great central figure and the greatest promoter could not “carry” a tune. Mr. Stebbins tells about hearing some strange sounds on the occasion when he conducted the music for the first time in one of Mr. Moody’s meetings. He soon discovered that the “dis turbance” was produced by the great evangelist, who was following the song intently and “making a joyful noise.” Mr. Moody’s great practical sense perceived the powerful aid of music in the work he was doing, and he was quick to secure the very best singers he could find in Sankey, Stebbins, Towner, McGranahan, Bliss and others. His in tense and far-seeing way of going at any work in hand would have made him a merchant prince had he remained in commercial life ; but he consecrated his all to the Lord, and in taking his place as one of the greatest names of all time in evangelism he utilized, through others, the magic power of song, of which he himself knew nothing, and thus established the value of Gospel music as coequal with evangelistic preaching. It is a great thing to write a Gospel-song poem, bear ing a vital message of Life. Infinite Results may follow the releasing of such a message on the wings of an attractive musical setting that will carry it world wide. And so we owe a great debt to the army of men and women who have written the words for Gospel songs. Many of these con
“Thou shalt be visited of the Lord of hosts with thunder, and with earthquake, and great noise, with storm and tempest, and the flame of devouring fire.” —Isa. 29:6.
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