that the disorders of a depraved population almost demand a despotism, and make it acceptable, and that its services may always be bought to establish one. I never see the drunken crowd on our public days celebrating their freedom, that I do not think they are then preparing themselves to part with it. pp. 42-44.

We do hope that if our sober citizens will not be excited to decided and united exertions, by a sense of religion or humanity, they will be moved by their patriotism, their love of liberty, and their love of themselves.

(To be continued.)

Address on Church Music, delivered, by request on the evening of Saturday October 7, 1826, in the vestry of Hanover Church, and on the evening of Monday following in the third Baptist Church, Boston. By LOWELL MASON. Revised Edition. Boston: Hillard, Gray, Little and Wilkins. 1827. 8vo. pp. 44.

THE state of church music in our country has been long viewed by men of piety and taste, with dissatisfaction and regret. In some instances, measures of improve ment have been put in train; and with a degree of success. More generally, little has been attempted, and little accomplished. The evils which exist have been either indistinctly perceived, or imperfectly estimated. Of course the means of their removal have been neglected; or if not wholly unemployed, have wanted judgment in their selection, or skill and energy in their application.

We are glad to see a subject so deeply momentous to the church, and the community, distinctly presented to the public mind; and in a manner which can scarcely fail to secure both attention and interest. In the pamphlet before us, Mr.

Mason exhibits much good sense, much sound reflection, and no common degree of acquaintance with the principles of musical composition and taste. Nor do we regard it as of less importance, that the whole discussion is pervaded by a truly Christian spirit, and an ardent desire to promote the interests of piety.

Having briefly adverted to the divine institution of church music, the author explains its design.

To animate and enliven the feelings of devotion, is undoubtedly the office of music in the church.

Through the medium of music, truth is presented to the heart in the most forcible manner; the feelings are aroused, the affections elevated.

tion; and, as such, its office is to enMusic is a refined species of elocuforce upon the heart the sentiment which is sung.

Probably few readers who admit the justice of these views, will fail to agree with Mr. Mason, that sacred music" as conducted in many churches at the present day falls far short of producing its legitimate effects." The cause of the evil he

thus explains:

light themselves, and to draw forth the applause of others, by communicating the same feelings to them, in the same proportion they succeed in accomplishing the object of their exertions.pp 8, 9.

Having thus indicated the source of the evil, the author proposes the means of its removal.

well acquainted with the whole subject of church music, and who is capable of instructing others. He should study Watts, if Watts be the book used, and indeed the whole range of lyric verse and musical expression, as regularly as a player studies Shakespeare, or the histrionic art. His soul should swell with the sentiment of the poet, and that reading and that style of performance should be adopted, which are best cal

is so manifest in the benevolent exertions of the present day: the proper object of church music must be under

stood; and Christians must cultivate it as a part of religious duty.—p. 12.

Christian parents should feel it their duty to have their children instructed in such a manner as that when they grow up, and become pillars of the church in other respects, they inay also be so in this.-p. 29.

When the church shall take this subject into its own hands, when children shall be taught music, when choirs shall be composed of serious and proper persons who shall cultivate music as a religious duty, when singing shall be considered as much a devotional exercise as prayer, the evils which have been so long existing will speedily be removed; and church music will be performed in some measure as it ought to be. Christians on earth will imitate the redeemed in heaven; and the praises of God in the church below, will be a faint shadow of the triumphant strains which animate the heavenly choir.-p. 30.

Mr. Mason would not exclude from the public singing those who are otherwise qualified, for the want of decided piety; though he thinks it important that "in every choir there should be a prevailing influence of piety." He adds with reference to the qualifications and

duties of the leader :

Every choir should have a competent leader, if possible a pious man; at least a man of intelligence, taste, judgment, and influence; one who is

of others. He should be as punctual in his attendance as the clergyman ; and to him every member of the choir should be in strict subjection. Such a laborer is worthy of his hire and although, like the minister he should be influenced by nobler motives, yet it is proper he should receive a suitable compensation; for much time and exertion he must necessarily devote to the duties of his office.-p. 27.

The duties of the choir are thus delineated:

Let the choir meet occasionally for practice, perhaps as often as twice a week until they have made considerable progress; and choirs formed from materials now existing in the churches may find it necessary to meet even more frequently than this, for a short time. But they should meet, not so much for the purpose of learning new tunes, as for the practice of such tunes as are already known, in connexion with psalms or hymns, and with reference to devotional effect; keeping constantly in view the great design of church music, the solemnity of public worship, and the responsibility of their station, as leading and greatly influencing the devotion of others. Nor is there any good reason why such meetings may not be profitable and pleasant; for if singing be cultivated as a devotional exercise, why may not singing meetings be as profitable as prayer meetings, both to the choir, and to the congregation? A choir should always feel that the devotions of the congregation, so far as this exercise is concerned,

depend wholly upon them; and let them not forget what an important influence their performances may have upon the other exercises of public worship; that, under God, they have it in their power ordinarily to deepen impressions which divine truth may have made, or

to scatter and dissipate those pious feelings which the minister has been instrumental in exciting.—pp. 27, 28.

Though no friend to "flourishing and fanciful interludes, foreign to the subject, and unfit for the church," Mr. Mason considers the organ as adding much to the beauty and effect of church music. And he justly remarks that "when instruments are employed as an accompaniment, they should always be made subordinate to the vocal parts, with which they should combine in a harmonious and delicate manner."

The author's observations on "the nature of musical adaptation," and "on the character of the music best calculated to promote devotional feeling," though brief, are discriminating and judicious.

In this concise analysis of a discourse of considerable length, many particulars are of course omitted. On a few points introduced into the discussion, we are scarcely prepared to decide. To the grand object of the Address, and to its leading principles, we yield our unqualified approbation.

Mr. Mason has deserved well of the religious community. He has He has rendered an invaluable service to the church of God. He has exposed the defects and vices which mar the beauty of an important part of divine worship, and effectually defeat its design. He has done this, not with the captiousness of a mere critic, but with the salutary severity of a friend. While he has detected and displayed the evil, he has indicated the remedy; and earnestly, though judiciously, pressed its application.

That his complaints are but too well grounded, is indisputable. They do but echo the sentiments and feelings of thousands of cultivated minds, and pious hearts. Who can deny that an exercise pre-emi

nently calculated to raise the soul to heaven, is frequently perverted into an instrument of sensualizing, and chaining it down to earth? Who has not remarked with pain, that the music of the sanctuary, instead of exciting pious affections, and fastening divine truth on the mind, too often dissipates serious thought, and enfeebles, or banishes every devout impression? Thus the temple of God becomes a theatre ; amusement usurps the place of spiritual edification, and immortal beings lose the benefit of those invaluable moments on which their salvation is suspended.

Evils such as these ought no longer to exist. They are the opprobrium of Christian worship, and of the Christian church. Christian church. They ought to be removed without delay. The spirit of the age demands it. The glory of God, the soundness of his worship, the honor of religion, the interests of the church, and of human souls, all unite to demand it.

In a cause so holy, all good men may be expected to unite. Let the "influence of piety," as our author suggests, " be brought to bear upon the subject." Let churches awake and act. Let them act with discretion: and let them act with energy. Let it be ceaselessly inculcated, and universally understood, that the singing of the sanctuary is a direct and solemn address to the Heavenly Majesty; and that in this part of worship, the choir are as really the organ of communication between the audience and the Deity, as the minister is in prayer. Let it never be forgotten, that without a pious heart, the service is essentially defective; and that every degree of levity in thought, in air, in manner, is an outrage on piety, and not less an outrage on decorum. Let children be taught sacred music with special reference to their bearing a part in the praises of the sanctuary. Let religious persons, qualified for his service, be reminded that by

shunning it without reason, they bury an important talent which they are bound to employ. Let singing companies assemble frequently; and this not merely for the purpose of exhibition, or of learning new tunes; but of adapting tunes already learned to their proper subjects, and of awakening and cherishing all those tender, sacred sensibilities which will render their performances edifying to themselves and edifying to others. Let these meetings be rendered solenın by prayer, and by serious remarks from the teacher, addressed directly to the conscience, and the heart. The presence and aid of the minister on these occasions, may be likewise incalculably important and useful. They furnish him a rich advantage for free communication with opening and forming minds, for sowing the seeds of piety, and for refining and elevating the style of

sacred music.

Let a process of this kind be commenced; let it be pursued with vigor and perseverance; and, under the blessing of God, the happipiest results may be anticipated. Meetings for singing will assume a high rank among the means of grace. The choir will be a nursery for the church; its public performances will be marked with a solemnity and tenderness which will be felt through the whole assembly; and the music of the earthly sanctuary will be a lively emblem and anticipation of the songs of heaven.

If much of the character and effect of church music depends on choirs, much likewise depends on the collections employed. On this topic, full of interest as it is, we have room only for a few hints. That some of our modern collections furnish many specimens of a high style of excellence, we readily admit. But we apprehend there is much room for improvement still. We want more of the music of the

heart; by which we mean, music which gives a natural expression to the variety of emotions which Christians feel, and which breathe in the hymns of our best Christian poets. In this essential point, some of the master spirits of Europe not unfrequently fail. For music of this description, neither genius, nor science, nor natural sensibility, nor all united, can furnish all the requisites. The spirit of display which vitiates and degrades so much of our religion, has, we fear, infected our very music. Some of the cheerful airs in our collections remind us of the affected and extravagant joys of the hypocrite, or fanatic, rather than of the meek and subdued delight of the real Christian. In the music of the sanctuary, the grand desideratum is simplicity. It is an essential constituent of the sublime; nor is it a less essential constituent of the pathetic. Some of the compositions recently introduced seem fitted to please for a time; but wanting simplicity, they cannot be inmortal. They will soon pall on the ears of their very admirers.

The musical compositions of MADAN are stamped with excellencies of a high order--simplicity, fervor, refinement, richness of melody, if not perfection of harmony. Few authors have so great a variety of style; few, who have written so much, have borrowed so little from themselves. Many of his airs are the legitimate expressions of tender and deep-toned piety. When there shall be a louder and more general demand for the music of the heart, a greater portion of the compositions of MADAN will enrich our musical collections.

We cannot conclude, without cordially commending the Address before us to a general and attentive perusal. Sincerely could we wish to see its spirit breathed through the whole community. The plans and measures it recommends are worthy of universal adoption. In