THE NECESSITY OF ADVERTISING
Community "sings" (like everything else that is to achieve success in this age) must be advertised, and to the leader usually falls the lot of acting as advertising manager. It will be well to begin the campaign a month or more before the first "sing" is to be held, sending short articles to the local papers, in which is described the success of similar enterprises in other places. Then a week or so before the "sing," carefully worded announcements should be read in churches, Sunday schools, lodge meetings, and high-school assemblies. In connection with this general publicity, the leader will do well also to talk personally with a large number of men and women in various walks of life, asking these people not only to agree to be present themselves, but urging them to talk about the project to other friends and acquaintances, inviting them to come also. On the day of the first "sing" it may be well to circulate attractively printed handbills as a final reminder, these of course giving in unmistakable language the time and place of the meeting and perhaps stating in bold type that admission is entirely free and that no funds are to be solicited. These various advertising activities will naturally necessitate the expenditure of a small amount of money; but it is usually possible to secure donations or at least reductions of price in the case of printing, hall rental,et cetera, and the small amount of actual cash that is needed can usually be raised among a group of interested people without any difficulty. It is our belief that the whole project is more likely to succeed if the leader himself is serving without remuneration, for he will then be easily ableto refute any charge that he is urging the project out of selfish or mercenary considerations.
PROVIDING THE WORDS OF SONGS
The leader of community singing must not make the mistake of supposing that "everybody knowsAmerica,Swanee River, andOld Black Joe," and that no words need therefore to be provided. As a matter of fact, not more than one person in twenty-five can repeat correctly even one of these songs that "everybody knows," and we may as well recognize this fact at the outset and thus prevent a probable fiasco. There are three ways of placing the songs before our crowd of people:
1. Having the words of all songs to be sung printed on sheets of paper and passing one of these out to each person in the audience.2. Furnishing a book of songs at a cost of five or ten cents and asking each person in the audience to purchase this book before the "sing" begins, bringing it back each succeeding time.3. Flashing the words (sometimes the music also) on a screen in front of the assembly. The disadvantage of the last named method is the fact that the auditorium has to be darkened in order that the words may stand out clearly; but in out-of-door singing the plan has very great advantages, being for this purpose perhaps the best of the three.
1. Having the words of all songs to be sung printed on sheets of paper and passing one of these out to each person in the audience.
2. Furnishing a book of songs at a cost of five or ten cents and asking each person in the audience to purchase this book before the "sing" begins, bringing it back each succeeding time.
3. Flashing the words (sometimes the music also) on a screen in front of the assembly. The disadvantage of the last named method is the fact that the auditorium has to be darkened in order that the words may stand out clearly; but in out-of-door singing the plan has very great advantages, being for this purpose perhaps the best of the three.
After the chorus has gotten well on its feet, it will probably be best to purchase copies of some larger and more elaborate book, the copies being either owned by individual members or else purchased out of treasury funds, and therefore belonging to the organization. At the first "sing" it will be a distinct advantage if no financial outlay whatever is required of the individuals composing the chorus.
THE ADVANTAGES OF PLANNING IN ADVANCE
In conclusion, let us urge the leader of community singing to decide beforehand just what songs are to be used, and to study the words of these songs carefully so as to be able to imbue the chorus with thecorrect spirit of each one, having at his tongue's end the story of the song and other pointed remarks about it that will enliven the occasion and keep things from stagnating. He will, of course, frequently find it necessary to modify his plan as the "sing" progresses, for one of the most necessary qualifications in the leader is flexibility and quick wit. But if he has a definite program in mind and knows his material so well that he does not need to look at his book, he will be much more likely to succeed in holding the interest of his chorus throughout the "sing."
Let him be sure that a skilful accompanist is at hand to play the piano, perhaps even going to the trouble of meeting the accompanist beforehand and going through all material to be used so as to insure a mutual understanding upon such matters as tempo,et cetera. In out-of-door group singing a brass quartet (consisting of two cornets and two trombones, or two cornets, a trombone, and a baritone) is more effective than a piano, but if this is to be done be sure to find players who can transpose, or else write out the parts in the proper transposed keys. When such an accompaniment is to be used, the leader should have at least one rehearsal with the quartet in order that there may be no hitches.
THE MEETING PLACE
If possible, let the "sing" be held, in some hall not connected with any particular group of people, so that all may feel equally at home (there are decided objections to using either a church or a lodge room); and, in giving the invitation for the first meeting, make sure that no group of people shall have any ground whatsoever for feeling slighted, even in the smallest degree.
Granting the various factors that we have been recommending, and, most important of all, having provided the right type of leader to take charge of the "sings," the enterprise cannot but have significant results along both musical and sociological lines.
DIFFICULTIES INVOLVED IN CONDUCTING A LARGE ORCHESTRA
Conducting an orchestra from full score is a vastly more complicated matter than directing a chorus singing four-part music, and the training necessary in order to prepare one for this task is long and complicated. In addition to the points already rehearsed as necessary for the conductor in general, the leader of an orchestra must in the first place know at least superficially the method of playing the chief orchestral instruments, the advantages and disadvantages involved in using their various registers, the difficulties of certain kinds of execution, and other similar matters which are often referred to by the terminstrumentation. In the second place, he must understand the combinations of these various instruments that are most effective, and also what registers in certain instruments blend well with others; in other words, he must be familiar with the science oforchestration. In the third place, he must understand the complicated subject oftransposing instruments, and must be able to detect a player's mistakes by reading the transposed part as readily as any other. And finally, he must be able to perform that most difficult task of all,viz., to read an orchestral score with at least a fair degree of ease, knowing at all times what each performer is supposed to be playing and whether he is doing the right thing or not. This implies being able to look at the score as a whole and get a fairly definite impression of the total effect; but it also involves the ability to take the score to the piano and assemble the various parts (including the transposed ones) so that all important tones, harmonic and melodic, are brought out. A glance at even a very simple orchestral score such as that found inAppendix Bwill probably at once convince the reader of the complexity of the task, and will perhaps make him hesitate to "rush in where angels fear to tread" until he has spent a number of years in preparation for the work.
DIRECTING A SMALL ORCHESTRA
The above description has reference, of course, to conducting an orchestra of approximately symphonic dimensions, and does not refer to the comparatively easy task of directing a group consisting of piano, violins, cornet, trombone, and perhaps one or two other instruments that happen to be available.[25]In organizing an "orchestra" of this type, the two most necessary factors are a fairly proficient reader at the piano (which, of course, not only supplies the complete harmony, but also covers a multitude of sins both of omission and of commission), and at least one skilful violinist, who must also be a good reader. Given these two indispensable elements, other parts may be added as players become available; and although the larger the number of wind instruments admitted, the greater the likelihood of out-of-tune playing, yet so great is the fascination of tonal variety that our inclination is always to secure as many kinds of instruments as possible.
The chief value to be derived from ensemble practice of this type is not, of course, in any public performances that may be given, but is to be found in the effect uponthe performers themselves, and the principal reason for encouraging the organization of all sorts of instrumental groups is in order to offer an opportunity for ensemble playing to as many amateur performers as possible. For this reason, unavoidable false intonation must not be too seriously regarded.
An orchestra such as we have been describing is frequently directed by one of the performers; but it is our belief that if the group consists of ten or more players it will be far better to have the conductor stand before the players and direct them with a baton. The type of music that is available for amateur ensemble practice is unfortunately not often accompanied by a full score for the conductor's use, and he must usually content himself with studying the various parts as well as he may before the rehearsal, and then direct from a first violin part (in which the beginnings of all important parts played by other instruments are "cued in"). Directing from an incomplete score is, of course, extremely unsatisfactory from the musician's standpoint, but the necessity of doing it has this advantage,viz., that many persons who have charge of small "orchestras" of this type would be utterly unable to follow a full score, and might therefore be discouraged from organizing the group at all.
SEATING THE ORCHESTRA
Symphony orchestras are always seated in approximately the same way, and if our small ensemble group consists of twenty players or more, it will be well for the conductor to arrange them in somewhat the same manner as a larger orchestra. In order to make this clear, the ordinary arrangement of the various parts of a symphony orchestra is here supplied. The position of the wood winds and of the lower strings as well as of the percussion instruments and harp varies somewhat, this depending upon the composition being performed, the idiosyncrasies of the conductor, the size and shape of the platform,et cetera.
SEATING PLAN OF A SYMPHONY ORCHESTRA
In dealing with a smaller group (not of symphonic dimensions), it will be well to have the piano in the middle, the lower strings at the left, the winds at the right, and the violins in their usual position. The diagram will make this clear. It is to be noted that this seating plan is only suggestive, and that some other arrangement may frequently prove more satisfactory.
SEATING PLAN SUGGESTED FOR A SMALL ORCHESTRA
PROPORTION OF INSTRUMENTS
In a symphony orchestra of about one hundred players, the proportion of instruments is approximately as follows:
It will be noted that out of about one hundred players almost three-quarters are performers upon stringed instruments, and it is this very large proportion of strings that gives the orchestral tone its characteristic smoothness, its infinite possibilities of dynamic shading, its almost unbelievable agility, and, of course, its inimitable sonority. The wind instruments are useful chieflyin supplying variety of color, and also in giving the conductor the possibility of occasionally obtaining enormous power by means of which to thrill the hearer at climacteric points.
Our reason for supplying the above information is mainly in order to direct attention to the small proportion of wind (and especially of brass) instruments, and to warn the amateur conductor not to admit too large a number of cornets and trombones to his organization, lest the resulting effect be that of a band rather than that of an orchestra. If there are available a great many wind instruments and only a few strings, it will probably be better to admit only a few of the best wind instrument players to the orchestra (about two cornets and one trombone) and to organize a band in order to give the rest of the players an opportunity for practice.[26]It will probably be necessary for the conductor to warn his wind players to aim at a more mellow tone than they use when playing in a band, in order that the brass tone may blend with the string tone. In the case of the reed instruments, this will sometimes mean a thinner reed in orchestra work than is used in bands.
TRANSPOSING INSTRUMENTS
In dealing with any ensemble group that includes wind instruments, the conductor must master the intricacies involved in the subject oftransposing instruments, and although this book is not the place to get such technical knowledge as was referred to in the introductory paragraph of this chapter, yet perhaps a brief explanation of the most important points will not be wholly out of place, since we are writing more especially from the standpoint of the amateur.
By a transposing instrument we mean one in the case of which the performer either plays from a part that is written in a different key from that of the composition, or that sounds pitches an octave higher or lower than the notes indicate. Thus,e.g., in a composition written in the key of E-flat, and actually played in that key by the strings, piano,et cetera, the clarinet part would probably be written in the key of F,i.e., it would be transposed a whole step upward; but, of course, the actual tones would be in the key of E-flat. The player, in this case, would perform upon a B-flat clarinet—i.e., a clarinet sounding pitches a whole step lower than indicated by the notes. (It is called a B-flat clarinet because its fundamental gives us the pitch B-flat—this pitch being a whole-step lower than C; and it is because the pitch sounded is a whole steplowerthat the music has to be transposed a whole stephigherin order to bring it into the correct key when played.) In the case of the clarinet in A, the pitches produced by the instrument are actually a minor third lower than the notes indicate (A is a minor third lower than C, just as B-flat is a whole-step lower). In writing music for clarinet in A, therefore, the music will need to be transposed upward a minor third in order that when played it may be in the right key; just as in the case of the clarinet in B-flat, it has to be transposed upward a whole-step.
"Clarinet or cornet in B-flat" means, therefore, an instrument that sounds pitches a whole-step lower than written; "clarinet or cornet in A" means one that sounds pitches a minor third lower than written; "horn in F" means an instrument sounding pitches a perfect fifth lower than written (because F is a perfect fifth below C); while the "clarinet in E-flat" sounds pitches a minor third higher than written. Whether the pitches sounded are higher or lower than the notes indicate will have to be learned by experience or study.
If the passage marked Fig. 1 were to be orchestratedso as to give the highest voice to the clarinet and the lowest to the horn, the clarinet and horn parts would appear as shown in Fig. 2.
Figs. 1 and 2
[Listen to Fig. 1] [Listen to Fig. 2]
In order to make this information more specific, we add a table showing the keys of the original and transposed parts. The practical band man expresses the substance of this table tersely by saying, "subtract 3 sharps or 2 flats."
REASONS FOR TRANSPOSING INSTRUMENTS
The principal reasons for the use of transposing instruments are: first, because certain sizes of instruments produce a better quality of tone than others (e.g., the B-flat clarinet sounds better than the C clarinet); and second, becauseit is easier to play in keys having a smaller number of sharps and flats, and by transposing the parts to other keys, we can usually get rid of several sharps or flats.
In the case of performers on the clarinet, each player is necessarily provided with two instruments (an A and a B-flat—the C clarinet being almost obsolete, and the E-flat being used only in military bands); but in playing upon the brass wind instruments the same instrument may be tuned in various keys, either by means of a tuning slide or by inserting separateshanksorcrooks, these latter being merely additional lengths of tubing by the insertion of which the total length of the tube constituting the instrument may be increased, thus throwing its fundamental pitch into a lower key.
In order to gain facility in dealing with transposed parts, the amateur is advised to try his hand at arranging simple music (hymn tunes, folk songs, easy piano pieces,et cetera) for his group of players, transposing the parts for clarinets, cornets,et cetera, into the appropriate keys. In this way he will also get an insight into the mysteries of instrumental combination that cannot be secured in any other way.
PITCH STANDARDS
The first difficulty that the conductor of an amateur ensemble group usually encounters is that the instruments owned by his players are tuned according to various pitch standards; and he is very likely to find at his first rehearsal that his first-clarinet player has an instrument tuned in "high pitch,"i.e., what is commonly known as concert pitch (about one half step above standard), while his second-clarinet player has an instrument in "low pitch,"i.e., international, a´ having 435 vibrations per second. (There is also a third pitch which is used by many of the standard symphony orchestras—this pitch being based upon a vibration rate of 440 for a´). If the conductor attempts to have his orchestra perform under these conditions, disaster will surely overtake him, and he will not only find his ears suffering tortures, but will be more than likely to hear uncomplimentary remarks from the neighbors, and will be fortunate indeed not to be ordered on to the next block or the next town by the police force! The difficulty arises, of course, because the oboe, English horn, clarinet, and other wood-wind instruments are built in a certain fixed pitch, and since the length of the tube cannot be altered, they must either play in the pitch intended or else not at all. In the case of the clarinet and flute, the pitch can be altered a very little by pulling out one of the joints slightly (the tube is made in several sections) thus making the total length slightly greater and the pitch correspondingly lower; but when this is done the higher tones are very apt to be out of tune, and in general, if the player has an instrument tuned in high pitch, he cannot play with an ensemble group having low-pitched instruments, especially when the piano supplies the fundamental harmony. In the case of the brass instruments, a tuning slide is usually provided, and the same instrument can therefore be utilized in either low or high pitch combinations.[27]
TUNING
The conductor of an amateur ensemble group will find it very greatly to his advantage to be able to tune the various instruments, or at least to help the players to do it accurately. This involves not merely a mechanical knowledge of what to do to the instrument to change its pitch, but, what is much more important, a very high degree of pitch discrimination on the conductor's part. It is at this latter point that assistance is most often necessary, and the conductor who can tell his cornet player when he is justa shade high or low, and can determine precisely when the violinist has his strings tuned to an absolutely perfect fifth, will have far less trouble with out-of-tune playing than otherwise; for a great deal of sharping and flatting (particularly in the case of wind instruments) is the result of inaccurate tuning.
BOWING
Since an orchestra contains such a large proportion of stringed instruments it will be very greatly to the interest of the conductor to take up the study of some instrument belonging to the violin family, and to learn to play it at least a little. If this is altogether impracticable at the beginning, the next best thing for him to do is to study bowing, learning not only the bowing signs and their meaning, but familiarizing himself thoroughly with the principles underlying the art. For this purpose some good work on bowing should be studied, but meanwhile a few words on the subject at this point will give the absolute beginner at least a small amount of indispensable information. The signs commonly employed in music for violin, viola, violoncello, and double-bass, to indicate various manners of bowing, are as follows:
The ordinary staccato mark (staccato dotorstaccato wedge) means a long quick stroke, either up or down as the case may be. The absence of slurs indicates a separate stroke of the bow for each tone. Sometimes the player is directed to use the lower half, the upper half, or the middle of the bow, such directions being given by printing the words "lower half,"et cetera, above the passage, or by giving the initials of these words (sometimes in German). When no bowing is indicated, a phrase beginning with a weak beat commonly has an up-bow for the first tone, whileone beginning on a strong beat has a down-bow; but this principle has many exceptions. It is perhaps needless to state that correct phrasing in the case of the stringed instruments depends upon the employment of suitable bowing; and since the first violin part is most prominent and most important in orchestral music, it becomes the business of the conductor to observe most carefully the bowing of his concert-master and to confer with him about possible changes in bowing wherever necessary. It will save a great deal of confusion if players understand that the bowing is to be exactly as indicated in the score unless a change is definitely made. The first player in each group in point of position on the platform is called the "principal," and is supposed to be the most skilful performer in that section; and he is responsible, in conference with the conductor when necessary, for selecting the best bowing,et cetera, all others in the group watching him, and all phrasing as he does. In actual practice, this means that the players at the second desk bow like those at the first, those at the third desk follow those at the second,et cetera. Absolute uniformity is thus secured in each section. It should perhaps be remarked at this point that when different groups are playing the same phrase,e.g., violoncellos and basses, or second violins and violas, the bowing must be uniform in the two sections, if absolute uniformity of phrasing is to result.
In addition to the bowing signs explained on page103, the conductor should also be familiar with certain other directions commonly found in music for stringed instruments. Some of the most important of these, together with their explanations, are therefore added.
SCORE READING
Reading an orchestral score is a matter for the professional rather than for the amateur; and yet the great increase during recent years in the number of amateur orchestras probably means that more and more of these groups will continue their practice until they are able to play a more difficult class of music—this involving the necessity on the part of their conductors of learning to read an orchestral score. For this reason a few suggestions uponscore readingare added as a final paragraph in this chapter, and an example of a score is supplied at the end of the book—Appendix B(p.166.)
The main difficulties involved in reading a full score are: first, training the eye to read from a number of staffs simultaneously and assembling the tones (in the mind or at the keyboard) into chords; and second, transposing into the actual key of the composition those parts which have been written in other keys and including these as a part of the harmonic structure. This latter difficulty may be at least partially overcome by practice in arranging material for orchestra as recommended on page101; but for the first part of the task, extensive practice in reading voices on several staffs is necessary. The student who is ambitious to become an orchestral conductor is therefore advised, in the first place, not to neglect his Bach during the period when he is studying the piano, but to work assiduously at the two- and three-part inventions and at the fugues. He may then purchase miniature scores of some of the string quartetsby Haydn, Mozart, and Beethoven, training himself to read all four parts simultaneously, sometimes merely trying to hear mentally the successive harmonies as he looks at the score, but most often playing the parts on the piano. After mastering four voices in this way, he is ready to begin on one of the slow movements of a Haydn symphony.
In examining an orchestral score, it will be noted at once that the string parts are always together at the bottom of the page, while the wood-wind material is at the top. Since the strings furnish the most important parts of the harmonic structure for so much of the time, our amateur will at first play only the string parts, with the possible addition of the flute, oboe, and certain other non-transposed voices a little later on. But as he gains facility he will gradually be able to take in all the parts and to include at least a sort of summary of them all in his playing. The student is advised to purchase a number of the Haydn and Mozart symphonies either in the form of pocket editions or in the regular conductor's score, and to practise on these until he feels quite sure of himself. By this time he will be ready to try his hand at a modern score, which will be found not only to contain parts for more instruments, but many more divided parts for the strings. Meanwhile, he is, of course, taking every possible opportunity of attending concerts given by symphony orchestras, and is begging, borrowing, or buying the scores of as many of the compositions as possible, studying them in advance, and taking keen delight in following them at the performance; perhaps even imagining himself to be the conductor, and having visions of changes in interpretation that he would like to make if he were directing. As the result of several years of this sort of study, even an amateur may get to the point where he is able to conduct an orchestra from a full score with some degree of skill, and hence with some little satisfaction both to himself and to the performers.
TABLE SHOWING RANGES OF ORCHESTRAL INSTRUMENTS
[Enlarge]
Note:The arrangement of instruments here indicated is essentially that found in a modern orchestral score. The ranges given represent practical orchestral usage. Additional tones possible for highly skilled performers or on instruments with certain special keys (like the lowbof the flute) are shown in brackets.
THE PROBLEM
In taking up the special problems of conducting involved in directing a church choir, we shall first of all need to consider the dual nature of church music—its religio-artistic aspect, and in studying the matter from this standpoint we shall soon discover that most of the difficulties that have encompassed church music in the past can be traced directly or indirectly to a conflict or a lack of balance between these two factors. The churchman has not been sufficiently interested in theartside of church music, while the music director, organist, and singers have all too frequently been not only entirely out of sympathy with the religious work of the church, but have usually been wholly ignorant concerning the purpose and possibilities of music in the church service. The result in most churches at the present time is either that the music is vapid or even offensive from the art standpoint; or else that it emphasizes the purely artistic side so strongly that it entirely fails to perform its function as an integral part of a service whoseraison d'êtreis, of course, to inculcate religious feeling. "The church wishes for worship in music, but not for the worship of music," is said to have been the statement of Father Haberl at the Saint Cecilia Conference in Mainz (1884).[28]And it is indeed a far cry from this demand to the very evident deification of music that exists in many of our modern city churches, with their expensive soloists and their utter failure to cause music to minister as "thehandmaid of religion." The problem is not a new one, and in a book written about a century ago the author says:[29]
The guiding rule which ought always to be present to the mind of a clergyman should also be held in mind by all good musicians who would help the church's object, and not employ the sacred building merely as a place where all kind of sounds that tickle the ear can be heard. All kinds of music are suitable for sacred use that do not raise secular associations. ALargo, anAdagio, aGrave, anAndante, anAllegro, a fugal or a non-fugal composition can all be performed in the Church but should one and all be of a staid and dignified character throughout, elevated and sober, and of such a nature that any preacher of note could say: "This splendid music is a fitting introduction to my discourse"; or "After such singing my lips had better be closed, and the spirit left to its own silent worship."
The guiding rule which ought always to be present to the mind of a clergyman should also be held in mind by all good musicians who would help the church's object, and not employ the sacred building merely as a place where all kind of sounds that tickle the ear can be heard. All kinds of music are suitable for sacred use that do not raise secular associations. ALargo, anAdagio, aGrave, anAndante, anAllegro, a fugal or a non-fugal composition can all be performed in the Church but should one and all be of a staid and dignified character throughout, elevated and sober, and of such a nature that any preacher of note could say: "This splendid music is a fitting introduction to my discourse"; or "After such singing my lips had better be closed, and the spirit left to its own silent worship."
A distinguished modern writer voices the same thought in the following words:[30]
The singing of the choir must be contrived and felt as part of the office of prayer. The spirit and direction of the whole service for the day must be unified; the music must be a vital and organic element in this unit.
The singing of the choir must be contrived and felt as part of the office of prayer. The spirit and direction of the whole service for the day must be unified; the music must be a vital and organic element in this unit.
But in most churches music does not function in this ideal way and in many cases (especially in non-liturgical churches) there is no unity whatever in the service, and the music is evidently both performed and listened to from a purely art standpoint; or else it is so crude and inartistic as to be actually painful to the worshiper with refined sensibilities.
THE REMEDY
What is to be the remedy for this state of affairs? Or is there no remedy, and must we go on, either enduring tortures artistically, or suffering spiritually? We are not omniscient, but we venture to assert that conditions might be caused to improve by the adoption of several changes of procedure that are herewith recommended.
1. Educate the minister musically during his general and professional training, causing him not only to acquire a certain amount of technical musical ability, but attempting also to cultivate in him that intangible somethingwhich we call musical taste. A few seminaries—notably the Hartford Theological Seminary and the Boston University Department of Religious Education—are doing pioneer work along this line, but they are the exception rather than the rule, and the thing must be done by all if the desired result is to obtain in the future.2. Encourage the organization of chorus choirs composed largely of those who belong to or attend the church and are therefore vitally interested in its work.3. Select more churchly music,i.e., a type of music which when appropriately rendered will tend to bring about a mood of worship. This will often mean a simpler style of music; it may mean morea cappellasinging; and it undoubtedly implies music that is fundamentallysincere. That many of our modern sacred solos and anthems fail in this latter respect must be evident to any one who has given the matter any thought whatever.4. Let the church make an attempt to secure as its musical director one who possesses a type of seriousness and high-mindedness that will make him sympathetic with what the church is trying to do, thus enabling him to minister to the people through music even as the priest or preacher does through words of consolation or inspiration. We admit that this sort of a man (who is at the same time unimpeachable in his musical authority) is often hard to find; but that the two elements are incompatible, and that such a type of choir director cannot be trained, we absolutely refuse to believe. If the church sufficiently recognizes the failure of music as now frequently administered, and makes a strong enough demand for leaders of a different type, they are bound to be forthcoming.
1. Educate the minister musically during his general and professional training, causing him not only to acquire a certain amount of technical musical ability, but attempting also to cultivate in him that intangible somethingwhich we call musical taste. A few seminaries—notably the Hartford Theological Seminary and the Boston University Department of Religious Education—are doing pioneer work along this line, but they are the exception rather than the rule, and the thing must be done by all if the desired result is to obtain in the future.
2. Encourage the organization of chorus choirs composed largely of those who belong to or attend the church and are therefore vitally interested in its work.
3. Select more churchly music,i.e., a type of music which when appropriately rendered will tend to bring about a mood of worship. This will often mean a simpler style of music; it may mean morea cappellasinging; and it undoubtedly implies music that is fundamentallysincere. That many of our modern sacred solos and anthems fail in this latter respect must be evident to any one who has given the matter any thought whatever.
4. Let the church make an attempt to secure as its musical director one who possesses a type of seriousness and high-mindedness that will make him sympathetic with what the church is trying to do, thus enabling him to minister to the people through music even as the priest or preacher does through words of consolation or inspiration. We admit that this sort of a man (who is at the same time unimpeachable in his musical authority) is often hard to find; but that the two elements are incompatible, and that such a type of choir director cannot be trained, we absolutely refuse to believe. If the church sufficiently recognizes the failure of music as now frequently administered, and makes a strong enough demand for leaders of a different type, they are bound to be forthcoming.
CORRELATING THE MUSIC WITH THE REST OF THE SERVICE
Having trained our minister from a musical standpoint, organized a chorus choir, selected appropriate music, and secured the right type of choir leader, let us now make a strenuous attempt to correlate the musical with the non-musical parts of the service; and if we succeed in our effort at this point also, our task will be at least in sight of completion. This desirable correlation will only result if both minister and musician are willing to work together amicably, each recognizing the rights of the other, and both willing to give in upon occasion in order to make the service as a whole work out more smoothly. Many humorous stories are told, the point of which is based upon the absolute incongruity of the various parts of the church service. The writerremembers most vividly an incident that occurred during the first year of the Great War, in the church in which he was at that time the choirmaster. The choir had just finished singing an anthem written by an English composer as a prayer for peace,[31]the concluding strains being sung to the words "Give peace, O God, give peace again! Amen." As the choir sat down, after an effective rendition of the anthem, there was a hush in the congregation, showing that the message of the music had gone home to the hearers. But a moment later the spell was rudely broken, as the minister rose, and in a stentorian voice proclaimed the text of the day—"For I come not to bring peace into the world, but a sword."
The responsibility in this case rested as much upon the shoulders of the choir director as upon those of the preacher, for he should at least have taken the trouble to acquaint his coworker with the nature of the anthem, so that some reference might have been made to the subject in either the prayer or scripture reading or in some of the hymns, if not in the sermon itself. It is perhaps not always feasible to have sermon and anthem agree absolutely in subject, but it is entirely possible to avoid such occurrences as that cited above, if even a small amount of thought is given to the matter of correlation each week. Surely the choir leader could at least provide the minister with the titles of the anthems and solos to be rendered.
DIFFICULTIES INVOLVED IN THE CHORUS CHOIR
In advocating a return to the volunteer chorus choir instead of the salaried solo quartet, we are well aware of the disadvantages that are likely to accompany any attempt along this line. We know that the chorus choir composed of volunteers is often poorly balanced, usually contains for the most part indifferent voices and often unskilful readers, and frequently consists largely ofgiddy young girls, whose main object in singing in the choir is obviously not based upon their interest in the spiritual advancement of the community! But we believe that under the right type of leadership most of these bad conditions will in time disappear, and that, through the chorus choir, music may well become a vitalizing force in the life of many a church in which a revitalizing process is badly needed.
In order to make ourselves perfectly clear, let us summarize at this point the qualifications especially needed by the conductor of a volunteer church chorus.