Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient PeoplesDickinson, Edward
History
Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient Peoples
Dickinson, Edward
Church music
The unemotional unison tunes to which these rhymed psalms were set also
satisfied the stern demands of those rigid zealots, who looked upon every
appeal to the aesthetic sensibility in worship as an enticement to
compromise with popery. Before condemning such a position as this we
should take into account the natural effect upon a conscientious and
high-spirited people of the fierce persecution to which they were
subjected, and the hatred which they would inevitably feel toward
everything associated with what was to them corruption and tyranny.
We must, therefore, recognize certain conditions of the time working in
alliance with the authority of Calvin to bring into vogue a conception
and method of public worship absolutely in contradiction to the almost
universal usage of mankind, and nullifying the general conviction, we
might almost say the instinct, in favor of the employment in devotion of
those artistic agencies by which the religious emotion is ordinarily so
strongly moved. For the first time in the history of the Christian
Church, at any rate for the first time upon a conspicuous or extensive
scale, we find a party of religionists abjuring on conscientious grounds
all employment of art in the sanctuary. Beginning in an inevitable and
salutary reaction against the excessive development of the sensuous and
formal, the hostility to everything that may excite the spirit to a
spontaneous joy in beautiful shape and color and sound was exalted into a
universally binding principle. With no reverence for the conception of
historic development and Christian tradition, the supposed simplicity of
the apostolic practice was assumed to be a constraining law upon all
later generations. The Scriptures were taken not only as a rule of faith
and conduct, but also as a law of universal obligation in the matter of
church government and discipline. The expulsion of organs and the
prohibition of choirs was in no way due to a hostility to music in
itself, but was simply a detail of that sweeping revolution which, in the
attempt to level all artificial distinctions and restore the offices of
worship to a simplicity such that they could be understood and
administered by the common people, abolished the good of the ancient
system together with the bad, and stripped religion of those fair
adornments which have been found in the long run efficient to bring her
into sympathy with the inherent human demand for beauty and order.
Public-domain text, read in full here on John Shaqi.
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