"Whether you do believe that singing Psalms, Hymns, and Spirituall Songs is an external part of Divine Worship, to be observed in and by the assembly of God's people on the Lord's Days, as well as on other occasional meetings of the Saints for the worshipping of God. [317]
"Whether you do believe that singing in the worship of God ought to be done skilfully?
"Whether you do believe that skilfulness in singing may ordinarily be gained in the use of outward means by the blessing of God.
"Is it possible for Fathers of forty years old and upward to learn to sing by rule; and ought they to attempt at this age to learn?
"Do you believe that it is Lawful and Laudable for us to change the customary way of singing the psalms?
"Whether they who purposely sing a tune different from that which is appointed by the pastor or elder to be sung are not guilty of acting disorderly, and of taking God's name in vain also, by disturbing the order of the sanctuary."
Rev. Thomas Symmes, of Bradford, Mass., also issued a tract in which he contended for rule-singing. On this point he says:--
"The total neglect of singing psalms by many serious Christians for want of skill in singing psalm-tunes. There are many who never employ their tongues in singing God's praises, because they have no skill. It is with great difficulty that this part of worship is performed, and with great indecency in some congregations for want of skill; it is to be feared singing must be wholly omitted in some places for want of skill if this art is not revived. I was present in a congregation where singing was for a whole Sabbath omitted for want of a man able to lead the assembly in singing.
"The declining from and getting beside the rule was gradual and insensible. Singing-schools and singing-books being laid aside, there was no way to learn, but only by hearing of tunes sung or by taking [318] the run of the tunes, as it is phrased. The rules of singing not being taught or learnt, every one sang as best pleased himself; and every leading-singer would take the liberty to raise any note of the tune, or lower it, as best pleased his ear, and add such notes and flourishes as were grateful to him; and this was done so gradually as that but few if any took notice of it. One Clerk or Chorister would alter the tunes a little in his day, the next a little in his, and so one after another, till in fifty or sixty years it caused a considerable alteration."
John Eliot, who was having famous success with the Indians, particularly in teaching them psalm-singing,--for Dr. Mather says "their singing was most ravishing,"--made a long contribution to the general discussion, which contains the following "Lamentation:"--
"That musick, which in itself is concord, harmony, melody, sweetness, charming even to irrational creatures, cheers the spirits of men, and tends to raise them in devotion, and in the praises of God, and was instituted by God as a means of divine worship, which is a terrour to evil spirits, the delight of the holy Angels, and will be everlasting imployment of those Seraphim and the glorified Saints, should be an occasion of strife, debate, discord, contention, quarelling, and all manner of disorder. That men, the only creatures in the lower creation that are accomplished with reason and apt organs to praise God with, should improve them so to dishonour him; and that instead of an angelick temper in man, which they are capable of, and is required of them, and especially in this matter, [319] there should be rather a cynick disposition and an improvement of such noble Organ to bark, snarl at, and bite one another; that instead of one heart and one voice in the praises of our Glorious Creator and most bountiful Benefactor, there should be only jangle, discord, and sluring and reviling one another, etc., this is, and shall be, for a lamentation."
The essay closes with the following exhortation:
"Whatever our thoughts are as to the mode or vocal part, whether the old or the new way (as it is called) be most pleasing to us, it would be our wisdom and a manifestation of our Christianity to deny ourselves and our own obstinate wills, which are apparently the chief cause of our contention in these things, and condescend (at least) so far one to the other as to keep time, i.e. to begin and end the lines all together, which if we did, there would not in most of the tunes commonly sung be so wide a difference as is by some imagined, many of the lines being near alike; if we all sincerely endeavour to exercise grace in Singing, and to perform the vocal part in the best manner we could, our service would be accepted of God. And I doubt not but regular singing would have a better relish with the most of our people and be comply'd with, and so our differences would end in a good and lasting union, and our jars and discords in a sweet and delightful concord and harmony. So let it be: Amen."
At last harmony was restored, and a serious effort was made to introduce better singing, in which the college at Cambridge took a leading part. In 1712, Rev. John Tufts, of Newbury, issued a book of [320] twenty-eight tunes, so arranged by appending letters to the notes, as F for Fa, S for Sol, etc., "that the learner may attain the skill of singing them with the greatest ease and speed imaginable." These tunes were reprinted in three parts from Playford's "Book of Psalms." In 1721, Rev. Thomas Walter, of Roxbury, Mass., issued a new book, also compiled from Playford, which was highly commended by the clergy. The English singing-books by Tansur and Williams were reprinted by Thomas Bailey, at Newburyport, Mass., and had a large circulation. In 1761, James Lyon, of Philadelphia, published a very ambitious work, called "Urania, or a choice collection of Psalm Tunes, Anthems, and Hymns," which was compiled from the English books. The edition, however, was a small one, and was issued in such an expensive manner that it ruined the unfortunate author. In 1764 appeared another collection, made by Josiah Flagg, who was a composer himself as well as band-master. Its title reads: "A Collection of the best Psalm Tunes in two, three, and four parts, from the most approved authors, fitted to all measures and approved by the best masters in Boston, New England; the greater part of them never before printed in America. Engraved by Paul Revere, printed and sold by him and Jos. Flagg." About the same time Daniel Bailey, of Newburyport, Mass., published "A new and complete Introduction to the Grounds and Rules of Music, in two Books;" and in 1769, "the American Harmony," reprinted from English collections.
Up to this period, or, more strictly, to the year 1770, no American composers had contributed to New England psalmody. Though numerous singing-books had appeared, they were compiled from the English collections and reprinted. The first composer of church music in America was William Billings, born at Boston, Oct. 7, 1747. He was the son of poor parents, and followed tanning for an occupation. Gould, in his "History of Church Music," says of him:--
"Billings was somewhat deformed in person, blind in one eye, one leg shorter than the other, one arm somewhat withered, with a mind as eccentric as his person was deformed. To say nothing of the deformity of his habits, suffice it, he had a propensity for taking snuff that may seem almost incredible, when in these days those who use it are not very much inclined to expose the article. He used to carry it in his coat-pocket, which was made of leather; and every few minutes, instead of taking it in the usual manner, with thumb and finger, would take out a handful and snuff it from between his thumb and clenched hand. We might infer from this circumstance that his voice could not have been very pleasant and delicate."