Church Music.

Waiapu Church Gazette, Volume XIV, Issue 9, 1 March 1924, Page 364

Church Music.

DR. TEMPLE'S CRITICISM. The Bishop of Manchester, m his "Letter". in the "Diocesan Magazine M for December, says he would like to take the opportunity of expressing some personal views on "Music m Worship," m connexion with a report on the subject by a committee appointed by the Archbishop of Canterbury. They are views, he says, "which may be fads or prejudices, but which I believe to have some basis m sound principles." His remarks, however, do not apply to cathedrals or churches with music of the cathedral type. "Prayer," says Dr. Temple, "is always an approach to God. I see no reason to suppose that we approach Him better or that He welcomes us more readily if we approach Him on one note. Monotoning should be reduced to a minimum; to monotone the General Confession and Absolution is (to my mind) a sheer absurdity — except m very large churches where it greatly assists audibility and unity of speed or rhythm. If monotoning is felt to be necessary, at least let the Confession and the Lord's Prayer be taken on a low note, as near as Possible to that of the natural voice, so that the congregation may join m. The natural voice should (as I think) be used for everything before the first versicle; then intoning (with inflections should start, and should be continued down to the end of the Third Collect. If the congregation dislikes inflections m the collects, the three collects would be monotoned. Then the natural voice should be resumed. ' ' This is Dr. Temple's first point. His second and third are as follows: — Neither at this point m the service nor on any conceivable occasion should "Amen" be sung after a prayer that has been said. But the choir must be taught really to say "Amen," and to avoid compressing those two syllables into an inarticulate grunt, which is sometimes all that is forthcoming m some places, if the word is not sung to two chords. Anyhow, let us get rid of the sung and accompanied "Amen" after the Invocation and Ascription at the beginning and end of sermons; it is supremely ludicrous. Let the "Amen" at the end of all hymns be abolished. It is quite unnecessary, and musically it is an offensive redundance. "Let the vestry prayer," proceeds Dr. Tempre, "be said m a natural voice, very quietly and reverently. It is the preparation for worship on the part of those who are to lead the worship of the congregation.

And let the 'Amen' be said m like manner. It is not uncommon for the choir to shout this 'Amen' at the top of their voices. If I supposed that this fortissimo represented a rapturous excitement at the thought that the opportunity for united worship was near, I could forgive the shock to my cars and the frequent dissonance with the voluntary, which is not always m the same key; but, m fact, I think it only a meaningless habit, unless perhaps it is intended as a warning to the organist that the choir is about to come m. "Let tunes be chosen for their appropriateness to the spiritual meaning of the words. 'A. and M.' sets '0 Jesus, I have promised' to a tune suggestive of dancing; at many confirmations the atmosphere is largely ruined for any musical person by its presence. This is one reason why I al]ow no hymn after my address." "I have written with some vehemence," the Bishop continues, " because I believe the subject to be intensely important, and sober utterances are powerless against the immense blocks of prejudice that exist m all quarters. But no doubt I, too, am prejudiced, and I write to stimulate reflection, not to give orders. Let no one folloAV my wishes unless he shares them. But let every clergyman and choirmaster read 'Music m Worship' and form his own methods after real consideration of what is there set forth."'