T H E K I N G ’ S B U S I N E S S th e gradual development of the elabo rate litu rgy of th e Mass, the sumptuous beauty of which drew th e worshiper away from th e simple direct worship h itherto practiced by th e early Chris tians. ■But in spite of many abuses th ere were' some noble souls seeking and -finding God through these forms. And we read of Augustine, who upon hearing th e Ambrosian chant in the Cathedral a t Milan, w rote in his Con fessions, “How I wept a t thy hymns and canticles, pierced to th e quick by the voice of thy melodious church. Those voices flowed into my ears and the tru th distilled into my heart, and thence th ere stream ed fo rth a devout emotion, and my tears ran down and happy was I th erein .” And on down through th e "D ark Ages” th e people sang outside the church, on the village green, in th eir homes, or on pilgrimages, when the church councils forbade them to sing in th e service. Here and there devout monks, such as th e Bernards, poured out th e ir h e a rt’s devotion in such hymn classics as “The Name of Jesus,” “O Sacred Head Now Wounded,” or “ Je ru salem the Golden,” and a t no tim e was God left w ithout a w itness in song. In th e 16th century came the giant L u th er w ith a flood of sacred melody as an accompaniment to his fearless sermons and open defiance of papal power. An indignant Jesu it paid him the compliment of saying, “L u th er’s songs have damned more souls th a n all his books and sermons.” The Refor mation was “ cradled in song,” as has been every g reat religious movement. John Wesley had his singing brother, Charles; Whitefield had his Cennick; and Moody his Sankey. . And in every mission meeting a t home or abroad— every evangelistic campaign large or small— every stree t meeting—-every Sunday School assembly— every church service, music is an ever increasing
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JOHN B. TROWBRIDGE Gospel songs, and anthem s. The organ prelude to a service, when righ tly given, creates th e devotional fram e of mind, unconsciously quickens the sp iritual sense and strengthens th e moral fibre. The same principle applies to any other instrum ent or combination of in stru ments In whatever way they may be used in Christian work. And con versely, th e introduction of th e light, trivial, or vapid in our Gospel music, either vocal or instrum ental, and es pecially anything th a t savors of “ rag tim e” or “ jazz,” is greatly to be re gretted. It is inherently vicious and creates mental and physical reactions of a n atu re to lower th e moral tone, break down restra in t, and give rein to lust. Music, both in strum en tal and vocal, has been greatly used in all epochs of church history. But its g reatest utility has always been, as now, in carrying home the message in th e words of sac red lyrics th a t “must be sung” to bring out th eir full meaning. Music is a “means,” never an “ end,” in Christian work. . “A rt for a r t’s sake” is the motto of the worldling, and when th is sp irit creeps into Christian music, it always brings dead form ality and disaster. We have seen something of the de votion of th e early Christians th a t had its irresistib le overflow in song. Then came th e conversion of Constantine, and
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