III. Changes in the psalmody of the church.
In the course of a few centuries from the fourth onward, several variations were introduced in the mode of performing this part of public worship, the effect of which was to withdraw the people from any direct participation in it, and to destroy in a great degree its moral power.
1. The first of these changes has been already mentioned, singing alternately by responses. This was introduced into [375] the Syriac churches, afterwards into the Eastern church, and finally, into the Western, by Ambrose. In this the congregation still bore some part, all uniting in the chorus, and singing the responses.
2. The appointment of singers as a distinct class of officers in the church, for this part of religious worship, marks another alteration in the psalmody of the church. These were first appointed in the fourth century. But the people continued, for a century or more, to enjoy their ancient privilege of all singing together.
3. Various restrictions were from time to time laid upon the use of hymns of human composition, in distinction from the inspired psalms of David. Heretics of every name had their sacred hymns, suited to their own religious belief, which had great effect in propagating their errors. To resist their encroachments, the established church was driven to the necessity, either of cultivating and improving its own psalmody, or of opposing its authority to stay the progress of this evil. The former was the expedient of Ambrose, Hilary, Gregory Nazianzen, Chrysostom, Augustine, etc. But the other alternative in turn was also attempted. The churches by ecclesiastical authority were restricted to the use of the Psalter and other canonical songs of the Scriptures. All hymns of merely human composition were prohibited, as of a dangerous tendency and unsuitable to the purposes of public worship. The synod of Laodicea, A. D. 344-346, c. 59, passed a decree to that effect. The decree was not, however, fully enforced. But this and similar efforts on the part of the clergy, had the effect to discourage the use of such religious songs. The Arians of that age also opposed these ancient sacred hymns, for a different reason, and cultivated a higher style of sacred music.
4. The introduction of instrumental music. The tendency of this was to secularize the music of the church, and to encourage singing by a choir. Such musical [376] accompaniments were gradually introduced; but they can hardly be assigned to a period earlier than the fifth and sixth centuries. Organs were unknown in church until the eighth or ninth century. Previous to this they their place in the theatre, rather than in the church. They were never regarded with favor in the Eastern church, and were vehemently opposed in many places in the West. In Scotland no organ is allowed, to this day, except in a few Episcopal churches. “In the English convocation, held A. D. 1562, in queen Elizabeth’s time, for settling of the liturgy, the retaining of organs was carried only by a casting vote.”
5. The introduction of profane, secular music into the church was one of the principle means of corrupting the psalmody of the church. An artificial, theatrical style of music, having no affinity to the worship of God, began to take the place of those solemn airs which before had inspired the devotions of His people. The music of the theatre was transferred to the church, which, accordingly, became the scene of theatrical pomp and display, rather than the house of prayer and of praise, to inspire, by its appropriate and solemn rites, the spiritual worship of God. The consequences of indulging this depraved taste for secular music in the church are exhibited by Neander in the following extract. “We have to regret, that both in the Eastern and the Western church, their sacred music had already assumed an artificial and theatrical character, and was so far removed from its original simplicity, that even in the fourth century, the abbot Pambo of Egypt complained that heathen melodies, [accompanied as it seems with the action of the hands and the feet,] had been introduced into their church psalmody.”37 Isidorus of Pelusium, also complained of the theatrical singing, especially of the women, which, instead of inducing penitence for sin, tended [377] much more to awaken sinful desires.38 Jerome, also, in remarking upon Eph. 5: 19, says, “May all hear it whose business it is to sing in the church. Not with the voice, but with the heart, we sing praises to God. Not like the comedians should they raise their sweet and liquid notes to entertain the assembly with theatrical songs and melodies in the church; but the fear of God, piety, and the knowledge of the Scriptures, should inspire our songs. Then would not the voice of the singers, but the utterance of the divine word, expel the evil spirit from those who like Saul are possessed with it. But instead of this, that same spirit is invited rather to the possession of those who have converted the house of God into a pagan theatre.”39
The assembly continued to bear some part in the psalmody of the church, even after this had become a cultivated theatrical art, for the practice which, the singers were appointed, and trained as a distinct order in the church. The congregation may have continued for a time to join in the chorus or in responses. But is it conceivable that a promiscuous assembly could unite in such theatrical music as is here the subject of complaint? Was not music, executed in this manner, an art which must require in its performers a degree of skill altogether superior to that which all the members of a congregation could be expected to possess?
6. The practice of sacred music, as an ornamental, cultivated art, took it yet more completely from the people. It became an art which only a few could learn. The many, instead of uniting their hearts and their voices in the songs of Zion, could only sit coldly by as spectators. A promiscuous assembly, very obviously, could not be expected to bear a prominent part in such theatrical music as is here the subject of consideration. They might, indeed, unite in some [378] simple chorus, and are generally understood not to have been entirely excluded from all participation in the psalmody of the church until the sixth or seventh century. Gregory the Great was instrumental in bringing singing schools into repute, and after him Charlemagne. Organs came about this time into use. But in the early periods of the Christian church, instrumental music was not in use in religious worship.
7. The clergy eventually claimed the right of performing the sacred music as a privilege exclusively their own. This expedient shut out the people from any participation in this delightful part of public worship.
Finally, the more effectually to exclude the people, the singing was in Latin. Where that was not the vernacular tongue, this rule was of necessity an effectual bar to the participation of the people in this part of the public worship. Besides, the doctrine was industriously propagated that the Latin was the appropriate language of devotion, which became not the profane lips of the laity, in these religious solemnities; but only those of the clergy, who had been consecrated to the service of the sanctuary. The Reformation again restored to the people their ancient and inestimable right. But in the Roman Catholic church, it is still divided between the chants of the priests and the theatrical performances of the choir, which effectually pervert the devotional ends of sacred music.
37 Μελωδουσιν ασματα και ρυθμιζουσιν ηχους σειουσι χειρας και μεταβαινουσι (βαλλουσι?) ποδας.— Scriptores Ecclesiastici, De Musica, T. 1. 1784. p. 3.
38 Isodor. Pelus. C. 1. Ep. 90. Biblioth. Vet. Pat. Vol. VII. p. 543.
39 Comment. in Ep. Eph. Lib. 3. c. 5. T. 4. p. 387. ed. Martianay. Cited in Allgem. Kirch. Gesch. II. S. 681, 2d ed.