IT is with pleasure I reflect, that the design of your present association so happily corresponds with the exhortation here urged by an apostle of Christ. "Does any person find his circumstances easy and prosperous, and his mind enlivened with joy? Let him vent the grateful and joyous emotions of his heart in songs of praise." The vivacity of eastern nations, is strongly marked in this recom­mendation, as music has been, and still is, more practised among them, than those of the west. Music, amongst that sprightly people, holds a principal place in all their festivals, common or religious, and never fails to attend their public processions, or private excursions for amusement and pleasure. Its soothing influ­ence [Page 4] is equally relished in the palace of the prince, and the tent of the wandering shep­herd. It may not be improper to remark, that the passage principally respects the music itself; this will appear from a plain translation: "Is any chearful? Let him make melody." So that the precept, has more for its object, the music which accompanies a sacred song, than the song itself.

Here, then, is a divine warrant for the part you are to act on this occasion; and per­mit me to congratulate you on the propriety of your conduct in recognizing a law of chris­tianity, rather than the corrupt maxims of the gay and inconsiderate part of mankind: while others haunt the theatre of folly, and associate for criminal festivity and mirth, you nobly chuse the more rational, but unfashionable, mode of expressing cheerfulness, by a course of harmonious praise to the King of Saints. While the unthinking exult at the sound of prostituted melody, and tread the unhallowed maze of a guilty revel, you, animated by a nobler ambition, aspire to the pure and eno­bling pleasures of sacred harmony; and enter­tain too high a sense of the dignity of those powers with which heaven has endued you, to degrade them in the service of vice, however popular. Such at least is the language of your present meeting; and happy, very happy, I may safely call you, if it be also the language of your hearts.

[Page 5]The observations I have to offer on this subject, may appear under the following di­visions:

• 1. To illustrate the origin and nature of music;
• 2. To explain its moral obligation as a divine ordinance;
• 3. To enquire into its moral tendency or effects.

I. Music has its foundation in the nature of man. He is formed with powers and ca­pacities equally suited to invent, and perform it: to understand, and relish the eloquent ex­pressions it carries to the heart. Music seems to be a kind of universal language, breathing to the ear intimations clear and intelligible, addressing the heart with resistless eloquence, and putting into motion all the finer springs of human nature. The charms of a good piece of music, will excite the same delightful sensations among all nations on the globe, however diversified as to language or manners. Many curious and even fabulous things have been said concerning its origin. Dr. Brown, with others, is of opinion, that man was led to the practice of vocal music in imitation of the birds, as they sung their soft and melting strains in the forests around him. Kircher thinks with Diadorus, that the first idea of this art was obtained from the noise of the wind [Page 6] whistling through the hollows of reeds on the banks of the Nile. ^* Some, unsatisfied with de­riving it from either of these sources, and unable to give a more probable account of its origin, have had recourse to a divine interposition; while others profess themselves wholly at a loss to say how it originated. To me it seems the least exceptionable opinion, which places the origin of music in the emotions of the human mind, when much roused and agitated by the contemplation of grand and affecting objects. Struck with the beauties and wonders of nature, man would spontaneously vent the glowing enraptured affections of his mind in poetry and song. When the imagination was fired, and the mind strongly moved by extraordinary scenes, or interesting events; when the emo­tions of the soul became too big for common utterance; they burst into song, and overflowed in strains of corresponding melody. This is [Page 7] the true source of poetry and music: they were both prompted by the same cause, generated by the same impulse, and blended in the same character. The history of these two arts will tell you that they began their career together, and were never separated, until civilization and national improvement had made considerable progress. Hence it is, we see so striking a resemblance in the nature and effects of these arts; and such a likeness, or even sameness, in the terms by which they are known and described.

The description Milton gives of the devo­tions of the first pair, when they awoke from sleep, and opened their eyes on the beauties of Eden, is, I think, very natural:

The poet struck upon the true source of music, a mind swelled to rapture and enthusiasm, by the contemplation of the works of God, and unburdening itself in prompt, unmeditated me­lody. There seems to be a very perceivable analogy between musical sounds and the affec­tions of the mind; and a striking relation in all the tones of music, and the various modu­lations of the voice amongst men in amicable [Page 8] intercourse. Beauty or grandeur, in a piece of music, arises from this, that the sounds in combination express the beautiful or grand in minds, and perhaps, what is called expression in this art, is solely owing to the relation of sounds to mental affection.

"In harmony, the very names of concord and discord are metaphorical, and suppose some analogy between the relations of sound, to which they are figuratively applied, and the relations of minds and affections which they originally and properly signify. To me it seems, that every strain in melody that is agreeable, is an imitation of the tones of the human voice in the expression of some sentiment or passion." ^* If this be accurate, it serves to shew, that music has its origin from mind, and also, that it is an art truly noble, which can only express what is sublime and lovely in the mind of man.

It is proper also to remark the exact cor­respondence, and intimate connection, subsist­ing between the various passions of the heart, and the several airs in music. The diversities of sound, correspond with admirable precision, to all the varieties of mental affection. There are the joyful, the animating, the melting, the pensive strains of music, answering to the joy, the courage, the tenderness, and the melan­choly of mind. But why are the different tones [Page 9] of music, and the movements of the mind, in such delightful unison? Doubtless because the one is the genuine offspring of the other.

Again, fact proves the account I have given of the rise of music to be true. In the most rude, untutored nations, where the agricultural and mechanic arts are almost unknown, it is found to be cultivated to a degree of perfection, truly astonishing. It is said of the inhabitants of the Sandwich Islands, a people in the lowest state of savage barbarity, that they had attained to such skill in the practice of music, as to perform in the parts with tolerable ease and propriety ^*. However that may be, it is certain, their com­positions and manner of performing were by no means contemptible. Nor do I recollect a single nation, whose history has reached me, so rude as to have had no knowledge of music. All have their war songs, dirges and hymns in praise of the deities they adore. And I may add too, that these songs among the Arabs, and other nations, are often the effusions of the moment, dictated by such objects, as immedi­ately interest the attention. It would seem, that extemporary songs were frequent among the Children of Israel; of this kind appear to have been, those of the daughter of Jephtha with her chorus of Virgins, celebrating her father's victo­ry and of the Israelitish women, who went out to meet Saul and David on occasion of a signal [Page 10] triumph over the Philistines, singing alter­nately:

Upon what principle then can we account for this universal taste and practice of music but that man was invincibly led to it, from the ori­ginal make of his nature, and the circumstances of his situation? It is the language of passion and is derivable from no other source.

There can be no error in placing the date of music as coeval with the existence of man, if I have been correct in stating its true origin. Very early in the history of human kind, we find Jubal honored, as the father of such as han­dle the harp and organ; and there can be no doubt, that instrumental music was posterior to that of the voice, by a considerable length of time. Sublime, and almost celestial we may well conceive, were the anthems of innocent beings, when creation glowed before them in the unsullied lustre of its charms. Strains a-kin to those of Seraphs, echoed through the bowers of Paradise, when man wore the image of his God, and nature had not languished at the sight of sin! The lapse of human nature, we may suppose, introduced some change into the music of mortals. 'Till then, harmony had not shaped itself to the modulations of sorrow, nor learned to waft the sigh of the wretched. That which once breathed the sweet language [Page 11] of holy joy and exultation, has, since that mournful event, poured sorth the melting strains of pity and grief. Music, being no longer the sole companion of devotion and rapture, wept at the tomb of departed friends, roused the courage of the hero, animated the sufferer to patience, cheered the tent of the shepherd, and soothed the solitude of the languishing swain. And I wish, for the honor of humanity, I could say, it had not been forced to speak the lan­guage of guilty passion, and serve at the altar of impure love. Happy should I be, to draw a veil over the base prostitution, or blot the page that reveals the shame of our nature, but impartiality bids me say, that music has been degraded to the vile purposes of folly, luxury, and vice. And it is remarkable, that when devoted in this way, it assumes new appear­ances and effects, taking the cast of the criminal passions whence it sprung, and adding redou­bled violence to vicious desires and habits. We are not told how early this corruption took place, nor to what extent it was diffused, in the first stages of society. I am willing to be­lieve, it had not spread very generally, nor put on its most dangerous forms until nations be­came wealthy, powerful, and luxurious. The earliest annals of mankind assure us, that music was for a long series of time, limited to sacred worship, or other serious purposes; and the most ancient songs, to which we have access, were either addresses to the Deity, or grave compositions on war, national deliverances, or [Page 12] catastrophies, and the various vicissitudes of do­mestic life. According to these accounts, the laws, moral instructions, the memoirs of illus­trious characters, the theology, and history of nations, were in the first ages, sung by their bards to the sound of the lyre. It is said of the ancient Pythagoreans, that they made mu­sic a special part of study, and availed them­selves of its powerful influence to inflame the mind with the love of virtue, and rouse it to the atchievement of noble and virtuous actions. The sublime notion entertained by these phi­losophers concerning music, was that the soul was originally formed to harmony, and that the most direct way to restore intellectual or spiritual harmony to the soul, was to have recourse to the harmony of sound. ^* The Israelites were long in the habit of using music, on grave and solemn occasions. When success attended their arms, or some long wished-for deliverance occurred; when they approached God in the sanctuary, or observed a solemn festival; when they afflicted themselves for public or private losses; when their prophets gave lessons on moral subjects, or foretold fu­ture events; they never failed to [...]ll in the aid of harmony, to give scope to their joys or sor­rows, and energy to their instructions. For instances you have only to recur to a book with which I hope you are daily conversant. There you will see the triumphal songs of Moses, Deborah, Hannah, and others; the tender elegy of David over Saul and Jonathan; and [Page 13] the numerous devotional odes constantly sung in the Tabernacle. There you will see their prophets delivering sacred instructions, and uttering predictions, with the accompanyment of a tabret or pipe. That beautiful preceptive song, recorded Deut. 32, seems to have been sung before a convention of all Israel, by Moses and Hoshea the son of Nun. Mention is made, 1 Sam. 10.5, of a college of prophets, who "prophesied with a psaltery and a tabret, and a pipe;" and, while a minstrel played before Elisha, at his own request, the spirit of pro­phesy came upon him, and he predicted, to the kings who waited on him, a speedy and copi­ous shower of rain, and a remarkable victory over their enemies. And that melody frequently served as a vehicle for conveying lessons of di­vine wisdom, farther appears from the decla­ration of the Psalmist: "I will incline mine ear to a parable; I will open my dark speech upon a harp." I will only add, that music set to sacred subjects, was very probably sung and played by that people in their journeys to and from Jerusalem, ^* and in the marches of their armies, as well as in the public solemnities on Mount Zion. "And ye shall have a song as in the night, when a holy solemnity is kept, [Page 14] and gladness of heart, as when one goeth with a pipe to come into the mountain of the Lord." Isa. 30.29. ^* "And Jehoshaphat appointed singers unto the Lord, that should praise the beauty of holiness, as they went out before the army, and to say, praise the Lord, for his mercy endureth forever." 2 Chron. 20.21. And it ought not to be omitted, that music was used on more private occasions; such as do­mestic rejoicings, the parting of friends, and watching of flocks. Jer. 33.10, 11; Gen. 31.27; 1 Sam. 16.16—19; Psal. 137. But it does not strike me, that it deserted the cause of virtue and religion amongst that people, till elated with wealth and intoxicated with power. And among unpolished nations, it was chiefly confined to their temples, or other interesting scenes, with which their peculiar superstitions intermixed. It is not however to be concealed, that it was often practised in the celebration of impure rites, and shocking devotions, that took their complexion from the idol or deity that was worshipped: but still, it was not profess­edly separated to the aid of criminal pleasures. It was not till she arose to affluence and power that "Tyre sung as an harlot:" and when Solomon wantoned on the lap of luxury, "he [Page 15] got him men-singers and women-singers, and the delights of the sons of men, as musical in­struments of all sorts."

The Jewish nation seems to hold the pre-eminence in the history of music. If their mu­sical compositions bore any resemblance to those in poetry, as is just to suppose, we may infer much to their merit: they must have been bold, simple, and empassioned to a high degree. It must be granted, that the Hebrew poetry, for richness of imagery, boldness of colouring, dignity of sentiment, simplicity, and energy of diction, stands unrivalled by the productions of other nations; and I must conclude that the same spirit which dictated those inimitable odes, was capable of producing strains of harmony equally excellent. As far back as the time of Moses, we find the matrons of Israel, led by the prophetess Miriam, sing a very animated ode in the responsory, joining the sound of their timbrels to the melody of their voices: and in the illustrious reign of David himself (the best poet and musician of his day), not less than 4000 Levites were appointed to sing hymns, & exhibit on instruments in the service of the tabernacle. From the form of the Hebrew verse, and what is said, Ezra, 3.11, of singing "by course," it is plain the manner of singing was respon­sive, the several choirs answering alternately to each other; and I am induced to think it probable, from the distribution of the bands of singers, 1 Chron. 15. 19—23, that more than [Page 16] one part was wont to be sung. ^* The harmony of the Hebrews, however, was less complex than ours; its combinations were more simple and artless; and its expression more lively, forcible, and passionate. Theirs was the har­mony of nature; ours is that of art. The dignity of the eastern music, abhorred such paltry refinements, as characterize the artificial and almost Gothic compositions of later times. It was the burst of sacred passion, and perhaps I might say, of inspiration; for on what other principle can we account for the sublime genius and peculiar structure of the Hebrew poetry and music; and the purity, splendour, and majesty of that worship they were used to ce­lebrate, which I do not hesitate to say form an illustrious exception to all the monuments of antiquity.

Some ingenious writers have inferred, that the music of the Hebrews could not have been very good, because the present music of the east is sorry and contemptible; but I think it is not fair to determine the character of their [Page 17] music from the rude airs of a Persian or Arab peasant; nor yet from the more courtly ones which give entertainment to a Sultan or Bashaw. Will any one venture to say there never was any good music in Greece, because the present inhabitants of that country sing and play mi­serably, when every person, acquainted with the history of the fine arts, knows the music of that nation to have been fine beyond de­scription?

It has been much agitated by writers on this subject, whether harmony was known to the ancients. I have already supposed the Israelites acquainted with it, and when I find the rude Islander singing a different part, or at least performing a kind of bass with his bam­boo, and when I hear the untaught African among ourselves, attempting the same by sing­ing on a graver tone and beating his calabash in company with another performer; I can­not conceive the polished Greeks and Romans to have been ignorant of harmony. They whose music produced such astonishing effects, must have understood its sweetest energies and most pathetic combinations. To ascertain what was the nature of Grecian harmony, is with­out doubt a desideratum in the history of music, and were it done, might produce the happiest effects in correcting the false notions and worse taste which have long been entertained on that subject. "An enquiry into the nature and merit of the ancient music, and a comparison thereof with modern composition, by a person [Page 18] of poetic genius, and an admirer of harmony, who is free from the shackles of practice, and prejudices of the mode, aided by the counte­nance of a few men of elevated and true taste, would probably lay the present half gothic mode in ruins, like those towers, of whose little laboured ornaments it is an exact picture, and restore the Grecian taste of passionate harmony once more, to the delight and wonder of man­kind." ^* Whatever was its structure, we must suppose it to have been simple, pathetic and descriptive to an astonishing degree. The na­ture of modern compositions, have led some men of taste to deny the propriety of harmony altogether; but for this I cannot see so much as the shadow of reason; for if it be considered, that man, of all this lower creation, alone pos­sesses powers capable of harmony, and that the original differences of the human voice, are such as to intimate, that men were never de­signed to sing the same part, the varieties of pitch in male and female voices, being in that exact proportion which is requisite for making good harmony, there can be no ground for questioning its propriety.

To understand the nature of music more perfectly, we must advert particularly to its ef­fects. Such is the frame of our nature, that the different tones of music excite emotions congenial with themselves. Deep and grave airs, fill the mind with awe and reverence; the elevated and sprightly, generate joy and ani­mation; [Page 19] the soft and languishing soothe and melt the heart; while the mournful and plain­tive inspire with sorrow and melancholy.

Nor is it at all strange that music, which is the echo of the passions, and seems to possess the power of description, should thus powerfully and variously impress the heart, when every lively representation of human affections, in oratory, painting, or poetry, will awaken those very sensations imaged by it. There seems to be something like musical painting or descrip­tion. "The most elevated sensation of music, says Usher, arises from a confused perception of ideal or visionary beauty, and rapture, which is sufficiently perceivable to fire the imagina­tion, but not clear enough to become an object of knowledge. This shadowy beauty of the mind attempts, with languishing curiosity, to collect into a distinct object of view and com­prehension; but sinks and escapes like the dis­solving ideas of a delightful dream, that are neither within the reach of memory, nor yet totally fled." What this elegant author attri­butes chiefly to the sensations produced in mind by music, would, with more accuracy, apply to those confused visions or shadowy represen­tations of passions or things it seems capable of giving.

[Page 20]But it is to be observed, though music has the power of exciting all human affections, by the pictures it presents to the mind, yet it never inspires any that are not of the virtuous and ennobling cast, if not perverted from its original purity. It is friendly to every passion which forms the dignity and happiness of human kind. It sweetens the temper, refines and ennobles the mind, and elevates the powers of the soul to the contemplation and love of moral beauty. Even when the emotions produced by it are gay and pleasant, they are not dangerous to virtue: and it is the singular property of this art, to infuse a certain sweetness with every species of sensation it produces. To the pangs of sympathetic woe, it adds a secret delight, and makes even the glooms of melancholy pleasing: its pains, its sorrows, its rage, have something gentle and charming in their nature.

Thus this delightful art tends directly to promote the glory of man, and diffuse joy and happiness around. Polybius says, that music was necessary to sweeten the manners of the Arcadians, a people famed in song, on account that the air of their country was cold and gloomy; and remarks, that the inhabitants of Cynaetha, who neglected to cultivate music, were notorious for their cruelty and vices, above all other Greeks. And Plato supposed the power of sound to be so great, that either the virtues or vices of the soul might be created by it; and [Page 21] that a change in the constitution of the state, might be produced by a change in the music. ^*

It may not be amiss to observe some things concerning the indirect influence of music to promote our happiness. It not only banishes or mitigates the cares and disquietudes of life, but possesses a surprising power over that black groupe of depraved passions that agitate the breast of man: Malice, envy, rage, anger, and a thirst of revenge, those demons that ravage the empire of the heart, and aim at desolating the globe, die away before the sacred magic of sound. Of its influence over melancholy, you have a fine instance in sacred history, where it is said, the evil spirit which troubled Saul, gave way to the charms of David's lyre. Seneca and others, mention of Mecenas, that having drag­ged out three sleepless years, through care and anxiety of mind, he was at last restored to health and tranquility by music, performed at a distance. ^† And the records of pathology, give many instances of ancient and modern times, wherein music has been successful in re­lieving melancholy, madness, and even the most obstinate diseases of the body.

II. That music is to make a part of man's adoration to the Supreme Being, will appear from a few considerations.

[Page 22]If it be a common sentiment among men, that the Deity should be praised with audible harmony; if the foundation of music be deep laid in the nature of man; if it be the exalted exercise of heavenly intelligences, and if there be express scripture authority for it; then the conclusion forces itself upon us, that it is of divine appointment, and our obligations to observe it become indubitable.

We have seen already, that music makes a part of the religious worship of all nations, and that it was originally limited to that pur­pose: I would then ask, why this deep-rooted and universally prevalent sentiment, with re­gard to music's being a proper instrument of praise to the Deity? From one of these causes doubtless; either man was prompted to it from some instinctive impression made upon his na­ture, or reason and the light of nature, clearly enunciated as to its propriety, or an express declaration from heaven, enjoined it; either of which suppositions infers obligation

Again, has music its origin in the consti­tution of our nature? Has God given us powers capable of performing it in honour of himself, and receiving the most refined pleasure and improvement from it, and all this in vain?— Then we possess powers, and peculiarities of nature, which may not be employed in the service of our Creator, or they are bestowed upon us for mockery and insult! But who does not shudder at such an inference!

[Page 23]But does not music make a part of celestial worship? Yes, with crowns of everlasting joy upon their heads, and psalms of triumph in their hands, the spirits of the just made perfect, shout forth the exulting anthem, "Salvation to our God, who sitteth upon the throne, and unto the Lamb," while adoring Seraphs, answer in rapturous acclamation, "Blessing and glory, and wisdom, and thanksgiving, and honour, and power, and might, be unto our God for ever and ever." Rev. 7.9—13. "And I heard a great voice of much people in heaven, saying, Alleluia; salvation, and glory, and honour, and power, unto the Lord our God:—And I heard the voice of a great multitude, and as the voice of many waters, and as the voice of mighty thunderings, saying, Alleluia; for the Lord God omnipotent reigneth," &c. Rev. 19.1—10. In this remarkable passage, we have not only a representation of the church triumphant, ce­lebrating the praise of her Redeemer, but also of the church on earth, taking up the joyful theme, and imitating her jubilant strains; so that it is impossible for us to mistake our duty when we have such illustrious models, and so plain an example for our imitation.

Lastly, our obligation to use music in prais­ing God, arises out of direct scripture authority: "Praise ye the Lord, for it is good to sing praises unto our God; for it is pleasant, and praise is comely—Let the word of Christ dwell in you richly in all wisdom, teaching and ad­monishing one another in psalms and hymns [Page 24] and spiritual songs—And a voice came out from the throne, saying, praise our God, all ye his servants, and ye that fear him, both small and great." Add to this, the concurring example of all the worthies, whose lives are sketched in scripture, and especially the exam­ple of our blessed Lord, whom we revere as our pattern and our judge: "And when they had sung an hymn, they went out into the Mount of Olives."

III. I now come to speak of the moral tendency or effects of music.

And first, permit me to observe, that a very important effect appears to be informa­tion and conviction. By the proper union of poetry and music, truth must be borne with almost resistless energy to the understanding and heart. The law of our nature is such, that unless the understanding be enlightened by truth, no conviction or impression can be pro­duced. Sacred harmony, like every other or­dinance of God, being adapted to the laws of human nature, addresses man as a rational creature, by enlightening the mind, while it rouses and interests the feelings of the heart.— Hence we see the force of the Apostle's con­clusion, "I will sing with the spirit, and I will sing with the understanding also:" He under­stood human nature too well, to suppose any valuable or permanent effect would be pro­duced by psalmody, unless the mind had a dis­tinct perception of truth. To teach, and ad­monish [Page 25] in psalms, hymns, and spiritual songs, also implies, that a principal design of psalmody is, to enlighten and convince. When a spi­ritual song, or hymn, embracing the truths of Christianity in their purity, is attended by the pathetic expression of corresponding sounds, it is presumed, the happy result will be a deep and penetrating conviction, or belief of their reality and importance. Is it possible, the sublime, the moving, the animating doctrines of the cross, which represent the glories of the divine character and government, the wonders of re­deeming love, the native guilt and misery of man, the dignity and felicity to which he is advanced by grace, with all the august scenes of a future state, can be addressed to the heart, by the eloquence of sound, without effect? It is not probable—So far as a natural mean can influence, the sinner must tremble; the saint must rejoice! And if conviction be not gained, nothing is done to purpose; without this a thoughtless world will sleep secure; without this the pious will want comfort and edification. I wish not to be mistaken here; when I speak of information and conviction being effectuated by psalmody, I mean nothing more than that it becomes so, under a superior agency. It is the blessed comforter alone who can convince of sin, righteousness, and judgment; but still, it must be allowed, he does so by co-operating with the means of his own appointment. If then psalmody be a divine ordinance, and if it be a forcible method of conveying truth to the mind, I think it unquestionable that such will [Page 26] be its tendency. ^* Were I to attribute the same effects to pulpit oratory, no person would think it exceptionable. To me it seems clear and decisive, that psalmody in the primitive church, was a kind of musical oratory uttered extem­pore, for the express purpose of instruction.— A very accurate observer ^† on scripture, thinks the apostle refers to extemporary devotional songs in 1 Cor. 14. 26—"Every one of you hath a psalm;" and adds, "the psalms, the hymns, and the odes, mentioned by Saint Paul, in his epistle to the Colossians (ch. 3.16), were supposed to be of the same extemporary kind, for they were to be the vehicles of appropriate instruction and admonition." And I am of opinion, the same is implied, Eph. 5.19— "Speaking to yourselves in psalms, and hymns, and spiritual songs; singing and making me­lody in your hearts to the Lord;" where some­thing like an instructive recitative is probably meant. ^‡ And if I recollect right, it is the ge­neral opinion of commentators, that the pri­mitive hymns and odes were commonly prompt [Page 27] extemporaneous effusions, under the afflatus of the Holy Spirit, musically pronounced or sung for mutual instruction; and if so, the object of psalmody, as well as oratory, is to instruct and persuade.

Again, it is the tendency of psalmody to promote purity of heart, and the comforts of piety. Whatever carries divine truth to the heart, must be allowed to have such a tenden­cy: "And ye shall know the truth, and the truth shall make you free—Sanctify them thro' thy truth; thy word is truth—We are chosen through sanctification of the spirit and belief of the truth—Whatsoever was written, afore­time, was written for our instruction, that we through patience and comfort of the scriptures might have hope." These scriptures teach us, that holiness and comfort come through a knowledge of sacred truth. How happy and powerful a method then must that be, of pro­ducing these effects, which carries the truths of revelation to the mind by the persuasive ener­gies of harmonious sound. It has been already said, that music alone has power to excite all the various affections of the mind, and to soften and humanize the disposition; is it not there­fore allowable to suppose the most forcible and vivid impressions will be made, and the moral improvement of our nature best answered, when it becomes the vehicle of divine truth? There is perhaps no holy affection, which may not, with the concurrence of a divine influence, be [Page 28] excited, enlarged, improved, or refined, by the aid of harmony. By this the soul is elevated to transport and exultation, when the goodness and faithfulness of God, the glories of the Re­deemer, the fullness and stability of the pro­mises, or the future rewards of virtue, is the theme; by this it melts in grateful sorrows for its numerous sins and follies, and sinks in lowest prostration before its God; by this it rouses to indignation against sin: and burns with gener­ous ardour in the spiritual warfare; yes, by this divinest consolations are inspired, and the heart moulded into the sweetness of piety. The Prophet connects the joy and melody of Zion in the same description: "Joy and gladness shall be found therein, thanksgiving and the voice of melody."—Isa. 51.3. The soothing influence of divine music, in the dark hour of affliction, was well understood by him who said, "In the night his song shall be with me; —thy statutes have been my songs in the house of my pilgrimage," Psal. 42.8—119.54; and Paul and Silas, at midnight, forgot their pains, and relieved the horrors of confinement, by chanting forth the praises of God. "Sacred music, under proper regulations, removes the hindrances of our devotion, cures the distrac­tions of our thoughts, and banishes weariness from our minds. It adds solemnity to the pub­lic service, raises all the devout passions in the soul, and causes our duty to become our delight. "Of the pleasures of heaven," says the eloquent and elegant Bishop Atterbury, "nothing fur­ther is revealed to us, than that they consist in [Page 29] the practice of Holy Music, and Holy Love; the joint enjoyment of which, we are told, is to be the happy lot of all pious souls, to end­less ages." ^* In short, it is the tendency of this exalted part of worship, to soothe, gladden, and animate the pious in this valley of weep­ing; to soften and mitigate the cares and agi­tations of life; to raise the mind above the world, and fill it with the contemplation of divine and eternal objects; and to move all the sublimer passions of devotion, and give us a foretaste of the blessedness of heaven, "Praise is our most excellent work; a work common to the church triumphant and militant, and which lifts us up into communion and fellow­ship with Angels. The matter about which it is conversant, is always the perfections of God's nature; and the act itself is the perfec­tion of ours." ^†

It may be proper, before I retire from the subject, to make a few reflections, which na­turally suggest themselves upon a review of what has been said.

The first observation I shall make is, that church music should be simple and adapted to the matter of the psalm or hymn to which it is sung. If music want simplicity, it may gra­tify the ear, or agreeably agitate the fancy; but will never reach the heart, or make deep and pungent impressions. It is only the strong and [Page 30] manly tones which accord to nature itself, that have sufficient energy and pathos to do this.— Nor is simplicity at all incompatible with that variety of modulation and expression, which is necessary to move the several passions; so far from this, that it constitutes the very essence of the sublime and affecting in music. The pre­sent taste, which admires nothing so much as complex, elaborate, and fantastic productions, is certainly false, and vitiated in a high degree. We can scarcely hear a piece of music in the modern style, without observing all the proprie­ties of language, and all the charms and graces of poetry, horribly mangled and disfigured: no attention is paid to emphasis, cadence, or pronunciation; the ear is cloyed with endless repetition, or confused by a crowd of different words or sentences, assailing it at once. ^* When a particle or some unemphatic word, perhaps an unaccented syllable, is drawled to a synco­pation of several bars, or mouthed into many syllables through a long slur; and when the same words, sentence, or piece of a sentence, is bandied about in quick succession, through a great part of the tune, accented by one part and not by the others, or pronounced by differ­ent parts at different times; that man's taste must be strangely depraved, who can relish the performance. ^† Instead of making the music [Page 31] conform to the poetry in its genius and spirit, modern composers seem to study sound only, without regard to the sacrifice they make of sense, and the beauties of poetic composition. What has been said of style, may be said of music with equal propriety:

Musical sounds should breathe the same passionate language with the poetry, paint the same scenes and passions, and in short, echo its very spirit to the soul; but this will never be done by the spruce fopperies, and laboured conceits, of the fashionable music. Nothing can be more improper, than the introduction of such compositions into the harmony of the church. Plato would not tolerate music in his republic, and I cheerfully give my vote for banishing this kind of it from the Christian republic. Were this a mere matter of taste, I should think it unnecessary to trouble you with such observations; but when I consider the connexion of music with practical religion. I [Page 32] cannot let so far an opportunity pass, without remarking upon the injurious tendency of the reigning taste in music. The least observation will teach you, that the music which is now most in esteem, is not calculated to produce, but ra­ther to counteract, the effects I have attributed to psalmody. Where there is such needless re­petition, such violation of emphasis and pronun­ciation, ^* such confusion in the words sung, and such grossness, ^† (I know not better how to express myself), in the harmony, there can be nothing like instruction or edification. Besides, the grandeur and interesting nature of divine subjects, by no means comport with over-nice and complicated strains. Here let me correct a sentiment, which though popular and sanc­tioned by some venerable names, is nevertheless wrong: "That we should take the Devil's tunes and convert them to a religious use." Is it not of all things the most preposterous, to apply [Page 33] the frivolous unmeaning airs of the opera or the army, to the sublime and awfully august doctrines of our holy religion? Can tunes, which are the mere froth of criminal passions, and only serve to inflame impure desire, ever be­come so far regenerated, as to be instrumental in lighting up a flame of sacred passions in the soul? And is it not the direct way to depreciate divine truths, and lessen their influence upon the mind, to introduce them into the sanctuary? ^* I do not mean, however, to pass an indiscrimi­nate censure upon all the musical productions of our own or past times, which may have reached us; there are a sufficient number of them free from the exceptions I have made, and from their simplicity and pathos are justly entitled to the Poet's description:

But tunes may be truly excellent, and yet im­properly applied: to sing a brisk animating air, [Page 34] to a mournful theme, or a plaintive one to a joyful subject, is very unnatural, and tends very much to destroy the influence of both the music and the poetry. Those who conduct this part of worship, should be careful to select tunes that are adapted to the nature of the subject about to be sung.

Again, I infer the necessity of acquiring so much knowledge of music, as to be able to practise it with ease and propriety. It is not wonderful, that the moral effects of music are so inconsiderable, when we consider the poor, pitiful manner, in which it is performed. I mean not to reflect upon pious, well-thinking people, who have never had an opportunity for improvement in singing; but when none but a single part is sung, and that in a drowsy, un­skilful manner; when a few hackneyed tunes, are droned out in dismal accents to all subjects indiscriminately; and when the whole service is interrupted till the chief musician reads, or rather dolefully cants, out the line; what edi­fication can be expected? How base and cri­minal is such negligence! All must grant that God has endued us with powers to relish and execute harmony; I would then enquire for what purposes were they bestowed? Was it that they might be abandoned, to the celebra­tion of wanton themes, or at best, to the use of idle amusements? Or was it that they should be sacred and appropriate to the service of their great author? Every honest heart knows the answer! The truth is, God has given these ta­lents [Page 35] in trust, and commanded us to occupy till he come; if we then suffer them to lie unim­proved, when we enjoy means for their culti­vation, or wickedly pervert them to an impro­per use, we may expect, as "wicked and un­profitable servants, to be cast into outer dark­ness," no more to hear the gladdening voice of harmony, but the dire discord of "weeping, wailing, and gnashing of teeth" forever.— "Cursed be the deceiver, which hath in his flock a male, and voweth and sacrificeth unto the Lord a corrupt thing." Mal. 1.14. Hear it and tremble, ye that neglect to cultivate your powers of harmony; hear it and tremble, ye that impiously dare to profane music, at a guilty revel, or the midnight debauch! "Wo unto them that rise up early in the morning, that they may follow strong drink, that continue until night, till wine inflame them. And the harp and the viol, the tabret and pipe, and wine are in their feasts: but they regard not the work of the Lord, neither consider the operation of his hands. Therefore hell hath enlarged her­self, and opened her mouth without measure: and their glory, and their multitude, and their pomp, and he that rejoiceth, shall descend into it." Isai. 5.11—15.

I further observe, that the Christian's amusement ought to consist in sacred music.— This may perhaps appear strange and novel to the gay part of my audience, but it is many centuries since the doctrine was taught: it is as [Page 36] old as the apostolic age; "Is any merry? Let him sing psalms." I know the maxim is not likely to be popular, but I shall not blush to espouse or practise it, while I find it in the sa­cred volume. Much has been said in praise of various kinds of recreation, but I have never seen any thing to convince me, that those gay scenes called amusements, are either profitable or safe for the Christian; and should he indulge in them, he will find he treads unhallowed ground, and breathes an air that chills the fer­vors of his piety. What amusement can so sweetly unbend a pious mind, when fatigued by the cares and bustle of life, or qualify it for the returns of business, as the pleasant exercise of chanting a song of Zion, in concert with a well-chosen instrument? What can make the intervals of active life so delightfully entertain­ing, and cause our vacant hours to glide so softly away, as the ravishing drains of sacred harmo­ny? Duty, pleasure and recreation, would then unite; a union very rare in most other amuse­ments! Did Christians thus relieve the fatigues of labour and business, we would soon see the happiest consequences resulting from it: the practical knowledge of music would abound; a sweet favor of piety and solid joy, would en­liven the domestic circle; and beauty, order, and harmony, become conspicuous in our churches. "The pious Mr. Nicholas exhibited, in the last century, an instance of a Protestant family, in which a constant course of psalmody was appointed, and so strictly kept up, that, through the whole four and twenty hours of [Page 37] day and night, there was no portion o [...] [...] when some of the members were not employed in performing that most pleasant part of duty and devotion." ^* A remarkable example in­deed of what I recommend! I do not however pretend to say, what portion of your time shall be employed in this way, nor do I mean to proscribe every other method of recreation; all I wish is, to insist on your making this a con­spicuous part of amusement, as well as devo­tion. Be persuaded then, to fill up your cheerful hours with the pleasures of harmony, and let "the voice of joy and salvation be heard in your tabernacles."

I have only to add, that when the exter­nal part of praise is performed, your duty is not done; there is a "singing with the under­standing," and "melody of heart," without which your praise cannot be acceptable. En­deavour to get an experimental acquaintance with the truths you utter in your songs of praise, and let this be accompanied by a sweet concert of holy affections. Let every sentiment of love, gratitude, and reverence, fill your minds, and holy joy and peace expand your hearts, when you praise the Eternal; or at least, let humble penitence, ardent desires after holiness, and a proper sense of your weakness and dependence, give life and spirit to your devotions. Cold, spiritless praises, do but insult God, and are unprofitable to yourselves. Let the noblest [Page 38] ends of praise be answered in you, that at last you may be prepared, to bear a part in the harmony of the general assembly of the first-born in heaven: and my last, and most earnest wish is, that your songs here, may be an in­troduction to that burst of unceasing rapture and triumph, which forms at once the praise and felicity of the heavenly Sion! "Unto Him that loved us, and washed us from our sins in his own blood, and hath made us kings and priests unto God and his Father; to him be glory and dominion forever and ever. Amen."