articulation, accent, emphasis and other things of the sort, which should have been mastered in childhood, are in our adult classes, so strongly and so constantly associated with the consecrated themes of song, as to form an almost indissoluble connexion. We are creatures of habit; and in this way, cannot fail, without the intervention of some other pow. erful agency, to bring these deadening influences and associations, directly into the solemn services of the sanctuary. Conscience may there plead for devotional feeling, but habit almost with the power of me chanical necessity, will lead to dissipation of thought.

But this is not all. The rehearsals which take place after a knowledge of the rudiments have been gained, must still maintain the drillings upon style; and the usual practice is to place before the singers that music chiefly which is new, complicated, and of a spirit-stirring character. This secures a more punctual attendance at the rehearsals, and a livelier interest in the exercises. If the drillings now are not so severe and constant as before, still the mind is no less absorbed in the music, through the difficulties and attractions which are presented; and though the sentiments should be derived from the sacred text, the attention is directed wholly to matters of taste and art, and not to such as lead the heart of the singer to communion with spiritual things.

In music, just as in oratory, there is an immense difference between a personated devotion and a devotion which is real and sincere. When the prima donna of the opera, kneels and assumes the language of supplication, no one ever considers her as actually engaged in prayer. Her attitude and expression may have a strong resemblance to that exercise; but her representation, morally speaking, has no more reference to real prayer than grave mimicry has to true devotion of soul. Nor will

the constant practice of such mimicry have the slightest tendency to promote a spirit of prayer. The tendency of course will be in the opposite direction.

Now the sentimentalities of which we speak as characterizing rehearsals of religious music, though not intended for such mimicry, are just as distinct from the real spirit of praise, as are those of the opera singer from the true spirit of prayer. We are not saying that these sentimentalities are necessarily wrong, or that they need always be sup. pressed. But we say that they are too exclusively artistical; and, that, not being in any sense devotional exercises, they are not means of promoting a spirit of praise. Their tendency is to histrionism, rather than to devotion. Music cultivated in this way with artistical success, has, to the initiated, many powerful attractions. Its influence is sometimes so great that neither the performers nor auditors can tell "what manner of spirit they are of." Persons thus circumstanced, learn at length to fix their minds so exclusively, even in hours of devotion, upon the charms of the music and poetry, as scarcely to leave room for any thing better than the mimic solemnity of musical enthusiasm. In a multitude of cases, however, these influences are not exerted, for the expression of the music is so at variance with the religious sentiments of the hymn as to savor more of the ambition of the practice-room, than of the solemnities of public worship.

We have generally a fair exhibition of church music in those places where there is some amount of cultivation. The examples of a better sort, though delightful in themselves and worthy of all commendation, are yet, we fear, comparatively speaking, but few and solitary, while those of a character far worse than we have described, are exceedingly

numerous.

The abuses in some

places have become so flagrant and mischievous as to sunder the bonds of religious society. In many instances, the members of an amateur choir, assume an attitude entirely independent of the pastor and church, refusing all advice or interferencea circumstance which leads many of the devoutest minds to despair of any remedy for these evils.

But there is a remedy. To deny it would be to call in question the wisdom of a divine ordinance. What if we were to say, there is no remedy for heartless preaching and exhortation; no remedy for the want of a spirit of prayer! This would be apologizing for sin. And shall we venture to say there is no remedy for heartlessness in the of fice of praise? There is a remedy which can be safely and successfully applied. We must call back into vigorous action, that long-neglected principle, to the disregard of which, most of the existing evils may be distinctly traced. Music for the church must be cultivated not chiefly as a fine art for the gratification of taste, but as the most impressive, impassioned enunciation or expression of the hallowed themes of song. Social merriment must be driven from our schools of church music, by the force of religious principle. Religious influences of a decided character, must prevail in our rehearsals. The real spirit of praise in its due connexion with poetic and musical taste must be religiously cultivated.

Let us not, however, be misunderstood. There will be of necessity, a wide difference between a school for improvement, and a meeting for social and religious worship. There must be industriously carried into the one, such drilling and critieism as could find no admission into the other. When juvenile instruction has been limited or superficial, the elements of notation and style must continue to occupy in adult classes, at least for a time, a large

share of attention, and the words of a psalm or hymn must here, as in schools of oratory, be often taken in hand for the special purpose of securing distinctness and propriety of utterance. And such is the low state of psalmody among us, that the most strenuous exertions of a teacher will be required to produce in the little time allotted him, any satisfactory amount of improvement. Nor is this all. The growing attention to musical science in the higher branches, and the consequent adoption of manuals of instruction which go more extensively and with more elaborate minuteness into the elements of the art, form to the teacher in his straitened circumstances, another source of necessary embarrassment. It would seem indeed as if all things were conspiring to increase the disproportionate amount of elemental drilling. It is admitted also, that beyond the period of rudimental exercises, there remains much to be done in the way of criticism and adaptation. There is of course no resting place in the progress of improvement. We can not either pass onward or fall back from our present standard. Hence there is a strong and perpetual temptation to neglect the necessary religious training.

But is this temptation irresistible? And is it really necessary for us to "cast off fear and restrain prayer," and withhold the solemn offerings of thanksgiving and praise in our preparatory exercises in sacred music? And must all our drillings and criticisms have reference solely to the manner of song?

It is precisely at this point that the whole subject of improvement in church music labors. Our efforts towards improvement, have been too limited and too ill-directed. They have not only been feeble and fitful, but partial and one-sided. These faults might be avoided. The school and rehearsal might be opened and closed with prayer. Favored

moments might be found for meditation on the words of the psalm or hymn. Some comments on their meaning might be briefly given, and constant instruction in respect to the emotions to be expressed. Whatever else in devotional music may be allowed to suffer, these are the "weightier matters of the law," the neglect of which will inevitably be fatal to its highest excellence and effect.

It is not the amount of elemental training and of criticism that we complain of, for in many respects there is need of more. But we speak of that exclusiveness and disproportion which are almost every where seen to prevail,—and for this we know of no sufficient apology. Schools should be longer continued, and rehearsals more faithfully and constantly sustained-and if this is impossible, a part of the time which is now devoted to the difficulties of execution, should be employed in direct reference to the spirit of praise. This must be done. There must be a direct and specific training of the religious affections in our schools and rehearsals of church music.

Here we take our stand. Let the one long-neglected and forgotten principle, in regard to the spirit of praise, be restored to its legitimate rank and influence. Let the training be no longer one-sided or disproportioned, and in this respect, let us take the Scriptures with enlightened Christian experience for our guide. Let us learn to pursue the study and practice of sacred music, intelligently, with a truly devotional spirit; and then the abuses of which we complain will gradually disappear. Already this experiment is in successful operation in a few favored places, and promises permanent results.

But without enlarging on this part of our subject; we invite attention to the influence of oratorios and other musical performances upon the interests of church music. The

oratorio is a high-wrought dramatical composition, founded usually upon some inviting portion of Scripture history. While the words are thus sacred; the music is so ordered, as to produce a public en'ertainment of the most attractive kind. The composer tasks himself to the utmost, to bring forth rich materials of every sort for a musical feast. The idea of worship in the evangelical sense is never thought of. The histrionic principle prevails here as entirely as in the opera― and all the arrangements for rehearsal and performance, are in keeping with the leading object in view. Much talent in execution is here indispensable. Ordinary singers of a choir are engaged for the fitting up of a chorus or double-chorus, but the recitatives, airs and soli movements can be well sustained only by professional talent of a high order; and this will not always be drawn from sources the most desirable. A similar remark may also be made in reference to an orchestra. Talent must be enlisted, however, if it is to be obtained. This circumstance brings together such strange mixtures of society, at the rehearsals, as would prevent the maintenance of religious order, even if such a thing were thought to be desirable. The frequent practice is, to rehearse, with the most solemn words, in an artistic way, in the midst of mental exhilaration and thoughtless mirth. Even such rehearsals often lead to performances, in which the music is truly imposing and delightful-but how are the members of our choirs affected by such a species of training? Can we here discover any conservative influences, in reference to devotional singing? No one will pretend

this. The tendencies are in a different direction. Let a well trained choir be engaged in such exercises for any length of time; and their spirituality on the Sabbath will be seen to have diminished. Oratorios,

it is true, are the pride of the art. They form a necessary part of the library of the musical student. In this point of view they are like the classics in literature. Nor would we by any means undervalue the musical achievements of those who de vote themselves to the practice of such music. But to the singers of a choir, we say the tendencies are histrionic and not devotional. We must look steadily in another direction, if we are to recover in psalmody, the right spirit and influence.

When concerts of sacred music are made up of oratorial extracts, anthems and motets, they are very liable to exert the kind of influence which has just been described. Public entertainments of religious music, when the great themes of salvation are habitually uttered for entertain ment, without any reference to true religious impressions, either upon performers or auditors, are always injurious. Much less can those concerts of a mixed character, embracing anthems and amatory songs, be tolerated with Christian propriety. Their tendency has ever been prejudicial to the cause of church mu sic. But the case is different on those occasions where sacred subjects can be treated with becoming reverence. And here Christian experience, where there is sufficient watchfulness, will enable us to make right decisions. Beyond a certain point, however, these performances will not prove beneficial. The strongest tendencies are artistic; and we can never cure the habits of ostentation, by the indulgence of public display. What if ministers of the gospel were frequently to deliver their sermons and religious lectures before a promiscuous auditory for the mere gratification of a passion for oratory? The tendency to desecration would be unspeakable. And can a similar thing be habitually done in song without danger.

Quartette choirs of hired singers

are subject to strong temptations. The voices heard, individually, as at a public concert, will of necessity reveal every excellence and defect in such a manner, as to invite commendation or censure from the amateurs below. The criticisms may be fickle, fastidious and severe

nevertheless, the demands of taste must be met. The choir must give satisfaction to their employers or be driven out of place. To maintain devotional feeling, they will therefore need strong religious principle, and thorough discipline in the school of Christ.

We shall not stop to reason with those who make no distinction as to responsibility between human beings and the pipes of the organ. As surely as the Bible is to be our guide, those who lead our devotions are themselves bound to be devout. Besides, if a congregation are to be edified, they must occasionally unite their own voices in song; and in this case they will need a greater number of leading singers. For these reasons, the experiment of quartette choirs in evangelical congregations will doubtless be soon relinquished. Larger choirs are not liable to the same objection; for the commingling of many voices offers less inducements to individual criticism.

Parlor melodies, glees, and the various species of instrumental mu sic, need no commendation from us. They have already spoken suffi ciently to the public ear, in their own behalf; and the general fondness for them is every where increasing. So far as the present dis cussion is concerned, we may regard their influence on church music, somewhat in the light of the cur rent literature which, with here and there an exception, soon passes and is forgotton. Amidst the teeming multitude of literary publications, we need the greatest care and judgment in selection; for an indiscriminate indulgence in reading must ever tend to mental dissipation

and imbecility. The same is true in secular music. There is a great choice in pieces, in respect to character and influence. Pieces of the better sort may become a source of high enjoyment in hours of weariness or relaxation. But the indul gence of an exclusive passion for secular music is scarcely consistent with excellence in religious song. The importance of this consideration seems not to be sufficiently understood; especially in those Christian families where years of instruction and practice are devoted to the secular department, to the almost entire neglect of sacred music. We can not take leave of the subject of church music without offer ing a single suggestion to the educated classes of the community. If what we have said is true, it will readily be seen that much remains to be done which can not safely be entrusted either to thoughtless youth or to men of one idea. Other appliances than those of an artistical nature must be brought to bear upon the subject. A general knowledge of rhetoric, oratory and mental phi

losophy, as well as a deep acquaintance with religious experience, will be found indispensable to success in that kind of training which is demanded. Zeal, susceptibility and enterprise are, to some extent, already enlisted in the cause-but there is need of more intelligence, religious principle and weight of character, to secure the right direc tion and the right issue. The work to be done can not be postponed ; for counteracting forces are now in action, that will not easily be im peded. The present is on the whole the most favorable period we have ever known for redeeming the character of religious music, and placing it upon a just basis. But the work will not be accomplished without an effort, and the favorable opportu nity may soon pass.

We commend the subject, there. fore, to the immediate and earnest attention of those friends of religion who have intelligence and taste to discern the imperfections of our church music, and ability to apply the remedy.

SINCE the issue of our last number, events have transpired in Europe which will make the year of our Lord 1848 an era in history. The suppressed popular agitation in England and Ireland, which in ordinary times would absorb our interest, has been quite distanced in public regard by the mighty_movements on the continent. France, the Papal States, Naples, Sicily, Tuscany, Parma, Placentia, Modena, Lucca, Venice, Lombardy, Austria, Prussia, have been tossed on the billows of popular commotion or civil revolution. And in these States, as also in some others where the popular movement has been less

violent or has been anticipated by concessions from the rulers-as in many of the smaller States of Germany and in the Netherlands-steps have been taken, within a few months, which, if they shall be rightly maintained, if there shall be no retrogression toward arbitrary rule, and no diversion toward popular anarchy, will accomplish more, for civil and religious freedom and the vast human interests dependent upon it, than has been accomplished in a previous century.

We shall not attempt within the brief limits of this article to survey the recent changes in all those countries. It will be better to con