St. Paul daily globe. [volume] (Saint Paul, Minn.) 1884-1896, 1893-12-17
CHURCH MUSIC.

Inc subject OF church music is again
awakening good deal of attention in
the religious world, and. as usual. there
Is much difference of opinion among
men equally sincere and soicitous for
the cause Of religion. There has been
of late a large infusion of what is
sometimes called worldly music" into
collections of church hymns, whereat
there is a vigorous protest from the
''unco' good" as Burns would call them,
and the denominatlonal papers are
filled with arguments against the "sec-
uiarization of the churches" by means
OF the introduction Of popular music
into religious collections.
1t cannot be denied that the adapta-
ton of tune that has long been as
sociated with frivolous or vulgar words
to the uses of religious assembly
sometimes CRATES upon the ear, and
until one becomes accustomed to the
new rendering the old associat ions of
the music will have the create st promi-
nence in his mind. But neither can it
be disputed that many of the old hymns,
made dear to every devout mind by
sacred associations, have had their
origin in the concert halls of the great
cities. 1t was perhaps century ago
that the music of the streets first began
to invade the choir lofts of the churches.
An earnest, deyout and every way ex-
emplary Scotch clergyman was one of
the first to make the innovation; and
when his elders demonstrated he de-
clared emphatically that he did not
propose to surrender all the best music
i'll the world to the service of the devil.
If we trace many of our most popular
church hymns back to their origin, we
will find that they were sung long ago
i'll companies not noted for their relig-
ious inclinations. They may have been
slightly changed or adapted, but they
preserve their original essence. Many
once popular drinking songs are found
in the church hymn books in substan-
TALLY their original form. Their old
associations have been forgotten, and
about them cluster only hallowed mem
cries. The anthems with which the
choir ushers in the service Of praise, the
interludes and the offertory, are fire.
quently taken bodily from some of our
grand operas, or are liberal adaptations
of them. They are inspiring-so of
triumph or praise, suppl cations. prayers,
entreaties-and they move the devout
soul with emotions that brings 1t
closer to the throne of grace. Airs from
Faust" from Martha" and from
Norma" echo amid the rafters of our
sacred edlfices. and no one is found to
say they are not appropriately en-
ployed. And yet hundred years ago
the man VINO should suggest the sing
ing of such anthems in church would
have been denounced as all enemy Of
all things sacred.
This revolution in church music has
not been accompanied by sacrifice of
piety or devoutness. There is much
that is admirable in all our standard
operas. Even in FRA Diavolo' is
found one of the most delicious ariaS in
the domain Of music adapted for render
ing upon occasions of devotion. The eX-
Quiste melody Of the vesper prayer is
incense to Deity, luliing to all the baser
passions of men, prompting to the loft
lest alteration.
In adapting to the uses of devotion so
much that is admirable in what is
known as profane music. the churches
have shown wisdom. Tney have rem
dered the services more attractive, and
lured thousands TO the sanctuary who
care nothing tor the litany or the SER
mon. They attend primarily to listen
to the music. and politeuess compelS
them to hear the sermon. In this way
they are instructed and adlnonished.
and not infrequently the lessons tax e