Regarding playing musical instruments on Shabbat, the Sages decreed that no instruments can be played on Shabbat and Yom Tov out of concern that in search of spiritual enlightenment, or while in the throes of religious rhapsody, a person might come to build or repair an instrument on Shabbat which is a Torah transgression.
Interesting, but I wonder if they're referring to the act of playing instruments on Shabbat in general or if they're talking about their use in the actual worship service???
I continued to poke around Wikipedia and found this under the heading "synagogue"; it comes right after the section on Orthodox Judaism in the section on Reformed Judaism:
The first Reform synagogue, which opened in Hamburg in 1811, introduced changes that made the synagogue look more like a church. These included: the installation of an organ to accompany the prayers (even on Shabbat, when musical instruments are proscribed by halakha[citation needed]), a choir to accompany the Hazzan, and vestments for the synagogue rabbi to wear [2].
Seems to show that one of the differences between an Orthodox synagogue and a Reformed synagogue may be it's use of instruments in the worship service...
Anyway, I also found a number of other resources that I will list. I realize that when we provide this amount of content, it can certainly be overwhelming, but I figure it will serve as a helpful resource for those who appreciate this sort of stuff
From the Jewish Encyclopedia:
1. The modern organ in Reform Synagogues as an accessory of worship was first introduced by Israel Jacobson at Berlin in the new house of prayer which he opened for the Shabu'ot festival, June 14, 1815. It aroused great indignation and opposition on the part of the rest of the community, a successful appeal being made to Emperor Frederic William III. to close the place, on the plea that the Reform schism was detrimental to the established rights of the Jewish Church, and was especially disturbing to the Jewish congregation of Berlin. The house was closed December 6, 1815. The members of the Reform party succeeded in building and dedicating their first temple on October 18, 1818, at Hamburg, where they set up a fine organ, but employed a non-Jewish organist. * * * The objectors based their prohibition of the organ in the synagogue on the following grounds: (1) Playing on musical instruments is prohibited on Sabbaths and holy days, and even to engage a non-Jew to play for Jews on Sabbath is considered a "shebut" or disturbance of the Sabbath rest; (2) music, except at marriage ceremonies, is generally prohibited, in token of mourning for the destruction of Jerusalem; (3) Jewish divine services must not be made to imitate the customs of the Christian Church.--Jewish Encyclopedia, Vol. IX., p. 432.
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2. Among the Reform congregations in the United States the organ was first introduced in 1840 in Temple Beth Elohim at Charleston, S. C., under Rabbi Gustav Posnanski, by a vote of 46 against 40 of the older members, who objected to the innovation and who in 1844 carried the matter into the courts. The decision was against the minority, who appealed the case; and the higher court affirmed the decision in 1846. In the opinion, written by Judge Butler, the court held that, being unable to decide the merits of this religious controversy, it must rely upon the judgment of the majority of the congregation (text of decision in Ezra's Collection, "The Jews of South Carolina," article VIII., "The Organ in the Synagogue"). The minority finally withdrew and organized a separate congregation.--Ibid. pp. 432, 433.
3. Instrumental music is quite a modern feature in synagogal worship. Owing to the rabbinical "fence" which prohibited the use of an instrument on Sabbath and festivals because of the probability that it would require tuning or other preparation, it is still avoided by conservative congregations on those days. Much controversy has raged about this point in Jewish as in other communities. The earlier hesitation of the church to adopt the organ because it was "a Jewish instrument" has been reproduced in the assumption of many Jews that it was specifically a Christian one. It is still banned by rigid adherents to old ways; but in ordinary conservative congregations it is unhesitatingly employed at weddings and other services on week days.--Ibid. p. 134.
The following quotes come from the following source:
M. C. Kurfees, Instrumental Music in the Worship: Index
II. Encyclopedists.
Under this head, we present the testimony of scholars whose business it is to make an impartial record of facts concerning the great variety and multiplicity of subjects embraced within their scope. Considering their ability and eminence, what they say is certainly [152] significant; and we will now hear from them in the following order:
1. The American Cyclopedia:
Pope Vitalian is related to have first introduced organs into some of the churches of western Europe, about 670; but the earliest trustworthy account is that of the one sent as a present by the Greek emperor Constantine Copronymus to Pepin, king of the Franks, in 755.--Vol. 12, p. 688.
2. Schaff-Herzog Encyclopedia:
In the Greek Church the organ never came into use. But after the eighth century it became more and more common in the Latin Church; not, however, without opposition from the side of the monks. Its misuse, however raised so great an opposition to it, that, but for the Emperor Ferdinand, it would probably have been abolished by the Council of Trent. The Reformed Church discarded it; and though the Church of Basel very early reintroduced it, it was in other places admitted only sparingly, and after long hesitation.--Vol. 2, p. 1702.
3. The New International Encyclopedia:
The organ is said to have been first employed in the church during the time of Pope Vitalian I. (c. 666 A.D.). Pepin placed the Constantine organ in the church of St. Corneille at Compiègne, and Charlemagne had one made at Aix-la-Chapelle, a model of the one at Compiègne--Vol. XIII., p. 446.
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4. McClintock and Strong's Cyclopedia:
The Greek word ψαλλω is applied among the Greeks of modern times exclusively to sacred music, which in the Eastern Church has never been any other than vocal, instrumental music being unknown in that Church, as it was in the primitive Church. Sir John Hawkins, following the Romish writers in his erudite work on the History of Music, makes pope Vitalian, in A.D. 660, the first who introduced organs into churches. But students of ecclesiastical archaeology are generally agreed that instrumental music was not used in churches till a much later date; for Thomas Aquinas, A.D. 1250, has these remarkable words: "Our Church does not use musical instruments, as harps and psalteries, to praise God withal, that she may not seem to Judaize." From this passage we are surely warranted in concluding that there was no ecclesiastical use of organs in the time of Aquinas. It is alleged that Marinus Sanutus, who lived about A.D. 1290, was the first that brought the use of wind organs into churches, and hence he received the name of Torcellus. In the East, the organ was in use in the emperor's courts, probably from the time of Julian, but never has either the organ or any other instrument been employed in public worship in Eastern churches; nor is mention of instrumental music found in all their liturgies, ancient or modern.--Vol. VIII., p. 739.
5. Chambers' Encyclopedia:
The organ is said to have been first introduced into church music by Pope Vitalian I. in 666. In 757, a great organ was sent as a present to Pepin by the [154] Byzantine emperor, Constantine Copronymus, and placed in the church of St. Corneille at Compiègne.--Vol. VII., p. 112.
6. A Concise Cyclopedia of Religious Knowledge:
Instrumental accompaniments date back from the days of St. Ambrose, and some also accredit him with the introduction of antiphonal singing, while others give it to St. Hilary, of Poitiers, who borrowed it from the practice of the Eastern Church.--Page 649.
Then, under the article "organ," on page 683, the same work further says:
The organ has never been used among the Greeks. From the time of Charlemagne organs seem to have come more and more into use in the West, though protests were made against them, and the monks were very averse to their use. At the Reformation they were discarded, being considered "the vilest remnants of Popery;" but they were reintroduced at the Council of Basel.
7. Johnson's Universal Cyclopedia:
The organ is said to have been introduced into the church by Pope Vitalian in the seventh century, but its employment in church services probably dates from a much earlier period. Organs were certainly used in churches very commonly in the time of the Carlovingians. We read of organs being sent to King Pepin and Charlemagne as presents by the Byzantine emperors.--Vol. VI., p. 335.
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8. Encyclopedia Britannica:
Though the church from time to time appropriated the secular art forms from their rise to their maturity, its chief authorities were always jealous of these advances, and issued edicts against them. So in 1322 Pope John XXII. denounced the encroachments of counterpoint, alleging that the voluptuous harmony of 3ds and 6ths was fit but for profane uses.--Vol. 17, p. 84, Art. Music.
9. Fessenden's Encyclopedia:
1. Vocal music. This species, which is the most natural, may be considered to have existed before any other. It was continued by the Jews and it is the only kind that is permitted in the Greek and Scotch churches or with few exceptions, in dissenting congregations in England. The Christian rule requires its use both for personal and social edification, Eph. v., Col. iii. The vocal music of the imperial choristers in St. Petersburg incomparably surpasses in sweetness and effect the sounds produced by the combined power of the most exquisite musical mistruments. 2. Instrumental music is also of very ancient date, its invention being ascribed to Tubal, the sixth descendant from Cain. That instrumental music was not practiced by the primitive Christians, but was an aid to devotion of later times, is evident from church history.--P. 852, Art. Music.
10. London Encyclopedia:
Pope Vitalianus in 658 introduced the organ into the Roman Churches to accompany the singers. Leo II. in 682 reformed the singing of the psalms and [156] hymns, accommodating the intonation of them to the manner in which they are sung or performed at the present day.--Vol. 15, p. 280, Art. Music.
11. Biblical Encyclopedia, on Eph. 5: 19 and Col. 3: 16:
Psalms, either the psalms of the Old Testament, or a sacred song similar to them in character. Hymns, Christian songs of praise. And songs, perhaps songs of a more personal character, like Simeon's Nunc dimittis, or Paul's swan song (2 Tim. 4: 6-8). Singing and making melody with your heart to the Lord, the heart moving devoutly with the voice. * * * The design of public worship may be learned from the word worship itself. 1. There is in the constitution of our nature a necessity for the expression of emotion. 2. Audible worship is enjoined. 3. We have divine example--Jesus prayed audibly--and sang with His disciples at the last Supper. 4. There is apostolic example. 5. We have the example of the early church, and of the universal church to this day. 6. Without audible prayer and praise there can be no social worship. * * * Teaching and admonishing one another. The spiritual importance of Christian hymnody comes out impressively here. It is no mere luxury of devotion, certainly no mere musical pleasure; it is an ordained vehicle of instruction and warning. * * * On one of the days when President Garfield lay dying at the seaside, he was a little better, and was permitted to sit by the window, while Mrs. Garfield was in the adjoining room. Love, hope, and gratitude filled her heart as she sang the hymn commencing, "Guide me, O Thou great Jehovah!" As the soft and plaintive [157] notes floated into the sick chamber, the President turned his eyes up to Dr. Bliss, and asked, "Is that Crete?" "Yes," replied the Doctor; "it is Mrs. Garfield." "Quick, open the door a little," anxiously responded the sick man. Dr. Bliss opened the, door, and after listening a few moments Mr. Garfield exclaimed, as the large tears coursed down his sunken cheeks, "Glorious, Bliss, isn't it?"--Vol. V. pp. 283, 332.
12. The Catholic Encyclopedia:
To praise God in public worship through songs or hymns in the widest meaning of the word (see hymns) is a custom which the primitive Christians brought with them from the synagogue. For that reason the ecclesiastical songs of the Christians and the Jews in the first centuries after Christ are essentially similar. They consisted mainly of the psalms and the canticles of the Old and New Testaments.--Vol. VII., p. 597.
It is a remarkable fact, particularly noted, as we have seen, by a number of the foregoing encyclopedias, that the Greek Church, which has continued to speak the Greek language to the present day, has always rejected pouring and sprinkling for baptism, and the use of instrumental music in the worship; and they do this, being perfectly familiar with the words baptizo (βαπτιζω) and psallo (ψαλλω) as used both in the New Testament and in Modern Greek in which these words are still current. This fact is certainly a significant comment on the meaning of these words. Modern Greek is the language still [158] spoken by native Greeks, many of whom have come, in recent years, to the United States, especially to the larger cities. A number of them have located in Louisville, Ky., and they still use these words as meaning, respectively, to dip and to sing.[14]
III. Historians.
We next introduce that large and interesting class of witnesses--ecclesiastical or church Historians, whose province it is to furnish a faithful record of facts connected with religious affairs as they have transpired since the establishment of the church.
1. Eusebius. This author, who lived during the latter part of the third and first part of the fourth century, is styled, by way of preëminence, the father of ecclesiastical historians. He makes a number of references to the simplicity which characterized the lives and worship of the early Christians. Referring to the famous letter of Pliny the Second to the emperor Trajan informing him about the Christians, he says:
At the same time he informed him that as far as he had ascertained, they did nothing wicked or contrary [159] to the laws; except that they rose with the morning sun, and sang a hymn to Christ as to a God.--Eccles. Hist., Book III., Chap. 33.
2. Neander:
Church psalmody, also, passed over from the synagogue into the Christian Church. The Apostle Paul exhorts the primitive churches to sing spiritual songs. For this purpose were used the psalms of the Old Testament, and partly hymns composed expressly for this object, especially hymns of praise and of thanks to God and to Christ, such having been known to Pliny, as in customary use among the Christians of his time.--General Church History, Vol. I., p. 414.
3. Mosheim:
The Christian worship consisted in hymns, prayers, the reading of the Scriptures, a discourse addressed to the people, and concluded with the celebration of the Lord's Supper.-Eccl. Hist., Vol. I., p. 303.
Referring to the changes that took place even before the close of the fourth century, the same authority says:
The public prayers had now lost much of that solemn and majestic simplicity, that characterized them in the primitive times, and which were, at present, degenerating into a vain and swelling bombast.--Vol. I., p. 304.
4. Henry Hart Milman:
Like the rest of the service, the music of the church no doubt grew up from a rude and simple, to a more [160] splendid and artificial form. The practice of singing hymns is coeval with Christianity; the hearers of the apostles sang the praises of God; and the first sound which reached the Pagan ear from the secluded sanctuaries of Christianity was the hymn to Christ as God. * * * The first change in the manner of singing was the substitution of singers, who became a separate order in the church, for the mingled voices of all ranks, ages, and sexes, which was compared by the great reformer of church music to the glad sound of many waters.--Hist. of Christianity, Vol. iii., pp. 406, 409.
5. J. E. Riddle:
In the first ages of the Christian Church the psalms were always chanted or sung. In the Apostolical Constitutions (Book ii 57), we find it laid down as a rule that one of the officiating ministers should chant or sing (ψαλλετω) the psalms ('υμνους) of David, and that the people should join by repeating the ends of the verses. And this regulation is repeated and explained by other writers.--Christian Antiquities, p. 384.
In the same work, writing on "organs," the same author says:
These instruments of music were introduced into the Christian church about the ninth century. They were unknown alike to the early church, and to all the ancients. * * * The large wind organ was known, however, long before it was introduced into the churches of the west. It appears, from the testimony of Augustine and others, that it was known in Africa and Spain, as early as the fifth and sixth [161] centuries. The first organ used in a church was one which was received by Charlemagne as a present from the emperor Constantine Michael. * * * In the east, organs were never approved as instruments of sacred music, nor did the use of them continue without opposition in the west.--Ibid. pp. 734-736.
6. Johann Joseph Ignatius Döllinger, who, during his life, held the chairs of Theology and Church History, respectively, in the Royal University of Munich and the University of Bonn, and who is said to have been the greatest Catholic writer of the nineteenth century, says:
The mass of the catechumens began with the singing of psalms: in the Latin Church, and in the liturgy of the Constitutions, it commenced with the lecture from the sacred Scriptures, between the parts of which, verses of the psalms were sung, which were thence called responsaries. Pope Celestine I. first introduced into the west, probably after the example of St. Ambrose, the custom of reciting a psalm at the beginning of the mass. In the first ages the psalms were sung by the whole assembly standing; after the fourth century the practice introduced by St. Ambrose from the east was adopted in the west, by which the psalms were sung in alternate chant by the congregation, divided into two choirs. The melodies in which they were sung were simple, almost recitative; but at the end of the fourth century, a more artificial song was introduced into some churches as in that of Milan.--History of the Church, Vol. II., pp. 307, 308.
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7. Heinrich Ernst Ferdinand Guericke, once Professor in the University of Halle and author of "A Manual of Church History and "Antiquities of the Church," says:
The example of Christ and His Apostles (Matt. 26: 30, and Acts 16: 25), and also their precepts (Jas. 5: 13; Eph. 5: 19; Col. 3: 16), justify us in considering the custom of singing hymns to be very ancient indeed in the Christian Church. The practice of singing such spiritual songs is said to have been fostered and promoted by so early an authority as Ignatius of Antioch; and it was practiced not only for private edification, but also for the purposes of public worship (Plinii. Epist. ad Traj. X. 96), who mentions not only the practice, but also the subject-matter of the hymns.--Antiq. of the Church, pp. 202, 203.
8. Lyman Coleman, an eminent Presbyterian author and noted for vast learning and accurate scholarship, says:
The organ constituted no part of the furniture of the ancient churches. The first instance on record of its use in the church, occurred in the time of Charlemagne, who received one as a present from Constantine Michael, which was set up in the church at Aix-la-Chapelle. The musicians of this city, and of Mentz, learned to play on the organ in Italy, from. which it appears that they were already known in that country.--Antiquities of the Christian Church, p. 192.
9. Alzog, the eminent Catholic Scholar and Church Historian of the University of Freiburg, though favoring [163] the use of instrumental music in worship, nevertheless bears testimony which shows its corruption of the original practice. He says:
St. Ambrose and St. Gregory rendered great service to church music by the introduction of what are known as the Ambrosian and Gregorian chants. The latter, composed of notes of equal duration (cantus firmus, Romanus), is, in many respects, very similar to our present choral chant. The Ambrosian chant, with notes of unequal duration, has more the character of a recitative. The Gregorian chant, so dignified and solemn, was taught and brought to perfection in a school founded by the excellent Pope from whom it derives its name, whence it gradually spread through the whole church. Ecclesiastical chant, departing in some instances from the simple majesty of its original character, became more artistic, and, on this account, less heavenly and more profane; and the Fathers of the Church were not slow to censure this corruption of the old and honored church song. Finally, the organ, which seemed an earthly echo of the angelic choirs in heaven, added its full, rich, and inspiring notes to the beautiful simplicity of the Gregorian chant.--Universal Church History, Vol. I., pp. 696, 697.
10. George Park Fisher, Professor of Ecclesiastical History in Yale University, in his "History of the Christian Church," says:
Church music, which at the outset consisted mainly of the singing of the psalms, flourished especially in Syria and at Alexandria. The music was very simple in its character. There was some sort of alternate [164] singing in the worship of Christians, as it is described by Pliny. The introduction of antiphonal singing at Antioch is ascribed by tradition to Ignatius. * * * The primitive Church music was choral and congregational. Hilary, and in the early part of the period, Gregory the Great, were influential in improving church music. The Arians and other heretics embodied their doctrines in verses to be sung. It was to counteract this influence that Chrysostom caused antiphonies and doxologies to be sung in processions. In the West, Ambrose, in his contest with the Arians, taught his congregation to sing antiphonal hymns. The most famous composers were Ephraëm Syrus, Hilary of Poictiers, and Ambrose. There was some opposition to the use of such hymns, on the ground that they were not taken from the Scriptures; and this could only be overcome by age and usage.--pp. 65, 121.
11. Thomas Stackhouse, eminent historian of the Church of England and author of a "New History of the Holy Bible," gives in this work the following testimony:
In all the books of the Old Testament, there is not the least hint given us of any musical instruments employed in funerals. We read indeed of a good deal of mourning for the dead, of mourners hired on purpose, and of the dismal ditties which these people sung, to excite sorrow in others: but the use of music was reckoned an incongruous thing, and nowise comporting with the solemnity of this sad season. Among heathen authors there is frequent mention made of it, as a thing long in use both with the Greeks and Romans; and therefore we may presume, [165] that from these nations it was that the Jews borrowed, and adopted it into their funeral ceremonies.--Vol. 5, pp. 426, 427.
12. Dr. Karl August Hase, Professor of Theology at the University of Jena and a voluminous author, though in favor of the instrument in worship, testifies to the constant opposition to all instrumental music of every kind as follows:
The outward forms of religion became gradually more and more imposing. From the ancient temples the incense and many ancient customs of heathenism were transferred to the churches. By the use of tapers and perpetual lamps, the solemnity of nocturnal festivals was combined with the light of day. * * * Soon after, in face of continual opposition to all instrumental music, the organ (οργανον), worthy of being the invention of a saint who had listened to the minstrelsy of angels, was brought to Italy from Greece.--History of the Christian Church, p. 153.
13. Johann Karl Ludwig Gieseler, eminent as a Professor at the Universities of Bonn and Göttingen and celebrated as a church historian, describing the simplicity of the service in the primitive church, says:
They assembled for worship in private houses; in cities the churches were often divided into several societies each having its particular place of meeting. In the assemblies the exercises consisted in reading the Scriptures of the Old Testament, explanation of what had been read, exhortation, singing, and prayer [166] (Col. 3: 16; 1 Tim. 4: 13). The letters of Paul, too, were read and sent from one church to another (Col. 4: 16; 1 Thess. 5: 27). The communion was with them an actual evening meal (αγαπη) vid. 1 Cor. 11: 20.--Ecelesiastical History, Vol. I. pp. 58, 59.
14. Charles John Vaughan, of the Church of England, member of the New Testament Revision Committee and the author of a work entitled "The Church of the First Days," describing the simple and impressive service of song among the primitive Christians in times of persecution, says:
The well-known words, And at midnight Paul and Silas in their dungeon prayed and sang praises unto God, have a sweet music in them for anxious and troubled souls. The thought of those songs in the night; verses, perhaps, from our own sacred Book of Psalms, so full of appropriate words for the prisoner and the captive; of those prayers in the jail at Philippi, which have been the example and model of so many Christian confessors and martyrs in all times in their long hours of patient suffering for the truth's sake; may well both encourage and shame us; encourage us by its testimony to the living grace of Christ, and yet shame us by the comparison of our luxurious softness with their noble endurance and their bold confession. The prisoners heard them. The original language says, were listening to them. Strange unwonted sounds must those have been, those prayers and hymns, in a heathen prison: well might they listen!--Vol. II., pp. 308, 309.
15. John Fletcher Hurst, in his "History of the Christian Church," says:
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The singing was simple, and modeled after the Jewish psalmody. The lower clergy were almost universally the precentors, for the singing of the congregation was regarded as such an integral part of the divine service that only clerical officers should direct it. The music was at no time, and in no place, regarded as the prerogative of the singers. That only was held to be sacred music which the congregation could participate in, either responsively or continuously. The two churches most noted for sacred music in the early period were Antioch in Syria, and the Italian Church of Milan, where Ambrose created the later psalmody of the Western Church. The music of the church was at first simple, but to the old melodies were now added new words, which in many instances found their way into the public services, and had a tendency to displace the older psalmody. * * * The churches soon adopted an elaborate ceremonial. The hymns of Ephraim the Syrian, of Hilary of Pictavium, and of Sedulius, showed traces of the artificiality which now disturbed every factor in the service of the church. The bombastic rhetoric which had ruled in the Roman world since the death of Cicero was now introduced into the Christian pulpit, and the congregation burst forth in applause extravagant enough for a welcome to a chief returning from the conquest of a new province. The assertion of the secular spirit was prompt and thorough.--Vol. I., p. 357.
16. John Kurtz, a German Lutheran scholar and a great church historian, says:
At first church music was simple, artless, recitative. But the rivalry of heretics forced the orthodox [168] church to pay greater attention to the requirements of art. Chrysostom had to declaim against the secularization of church music. More lasting was the opposition of the church to the introduction of instrumental accompaniment.--Church History, Vol. I., p. 376.
The same author, commenting on the great revolution in church music that had taken place by the opening of the nineteenth century, says:
Church music, too, now reached its lowest ebb. The old chorales were altered into modern forms. A multitude of new, unpopular melodies, difficult of comprehension, with a bold school tone were introduced; the last trace of the old rhythm disappeared, and a weary monotony began to prevail, in which all force and freshness were lost. As a substitute, secular preludes, interludes, and concluding pieces were brought in. The people often entered the churches during the playing of operatic overtures, and were dismissed amid the noise of a march or waltz.--Vol. III., p. 153.
17. Edmond de Pressense, pronounced by competent judges an able scholar and a brilliant historian, says:
The church does not remain satisfied, as at first, with singing the psalms. Christian feeling finds expression in its own spiritual song. This utterance, like prayer and the work of edification, proceeds in the first instance from individual inspiration. "If any man hath a psalm," says the apostle, "let him speak," Eph. 5: 19; Col. 3: 16; 1 Cor. 14: 26. Here [169] the reference is evidently to a new song given by inspiration of the Spirit of God to one in the assembly.--The Early Years of Christianity, p. 372.
18. Philip Schaff, the distinguished President of the American Company of New Testament Revisers, and one of the greatest scholars of the nineteenth century, in his "History of the Christian Church," says:
The use of organs in churches is ascribed to Pope Vitalian (657-672). Constantine Copronymos sent an organ with other presents to King Pepin of France in 767. Charlemagne received one as a present from the Caliph Haroun al Rashid, and had it put up in the cathedral of Aix-la-Chapelle. * * * The attitude of the churches toward the organ varies. It shared to some extent the fate of images except that it never was an object of worship. * * * The Greek Church disapproves the use of organs. The Latin Church introduced it pretty generally, but not without the protest of eminent men, so that even in the Council of Trent a motion was made, though not carried, to prohibit the organ at least in the mass.--Vol. IV., p. 439.
19. Joseph Bingham, the well-known author of "Antiquities of the Christian Church," and said to be one of the greatest scholars the Church of England has ever produced, says:
Music in churches is as ancient as the apostles, but instrumental music not so.
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Then, after noting the use of organs in the churches of the thirteenth century, he says:
The use of the instrument, indeed, is much ancienter, but not in church service. * * * In the Western parts, the instrument was not so much as known till the eighth century; for the first organ that was ever seen in France was one sent as a present to King Pepin by Constantinus Copronymus, the Greek emperor (an. 766). * * * But, now, it was only used in princes' courts, and not yet brought into churches; nor was it ever received into the Greek churches, there being no mention of an organ in all their Liturgies, ancient or modern.--Works, Vol. 2, pp. 482-484, London Ed.
20. James Craigie Robertson, Professor of Church History in King's College, London, testifies concerning early church music as a means of instruction, as follows:
Psalmody formed a large portion of the early Christian worship. It consisted partly of the Old Testament psalms, and partly of hymns composed on Christian themes; and both in the church and among heretical sects it was found a very effective means of impressing doctrines on the minds of the less educated members.--History of the Christian Church, Vol. I., p. 166.
21. William Jones, the Church Historian, noting the fact that the primitive Christians received from the apostles all the acts of worship, says:
They received from the apostles the various ordinances of public worship, the apostles' doctrine, the [171] fellowship, the breaking of bread, and the ordinances of prayer and praise; and in these they continued steadfastly.--History of the Christian Church to the Eighteenth Century, p. 49.
22. George H. Dryer:
The order of worship seems to have been prayer, reading the Scriptures, prayer, teaching, prophecy, speaking with tongues, singing. Teaching was probably an exposition of the passage read with practical applications, the result of reflection and the attainment of knowledge or gnosis. * * * In time, teaching and prophecy came together and formed the sermon and exhortation. Speaking with tongues passed into the songs and hymns of the Church.--History of the Christian Church, Vol. I., p. 243.
23. Philip Smith:
A large part of the service consisted in singing the psalms of the Old Testament, the few but cherished canticles of the New, and the hymns, which were coniposed not only as the utterance of praise, but as the means of impressing doctrine in a more vivid form on the minds of the worshipers.--History of the Christian Church During the First Ten Centuries, Vol. I., p. 1.95.
24. George Waddington. Commenting on the letter of Pliny the Younger to the emperor Trajan, this historian of the Church of England, says:
This being justly considerd as the most important document remaining to us in early Christian history, [172] we shall here transcribe some portion of it, the more willingly as we shall have occasion hereafter to refer to it. After mentioning the difficulty of his own situation, and his perplexity in what manner to proceed against men charged with no other crime than the name of Christian, the writer proceeds as follows: "Others were named by an informer, who at first confessed themselves Christians, and afterwards denied it. * * * They affirmed that the whole of their fault or error lay in this--that they were wont to meet together on a stated day before it was light, and sing among themselves alternately a hymn to Christ, as to God, and bind themselves by an oath, not to the commission of any wickedness, but not to be guilty of theft, or robbery, or adultery, never to falsify their word, nor to deny a pledge committed to them when called upon to return it," etc.
After quoting still further from Pliny's letter, Waddington adds his own testimony to its great value as a historic document, as follows:
So few and uncertain are the records left to guide our inquiries through the obscure period which immediately followed the conclusion of the labors of the Apostles, that the above testimony to the numbers and virtues of our forefathers in faith becomes indeed valuable. No history of our Church can be perfect without it; and its clear and unsuspected voice will be listened to by every candid inquirer in every age of truth and history.--Waddington's History of the Church, p. 10.
25. William Hetherington:
In the beginning of the year 1562, a meeting of the Convocation was held, in which the subject of further [173] reformation was vigorously discussed on both sides. * * * When it was proposed that there should be some alterations in the Prayer book, a very warm debate ensued. Six alterations were proposed, * * * [one of which was] that the use of organs be laid aside. * * * When the vote came to be taken on these propositions, forty-three voted for them, and thirty-five against; but when the proxies were counted, the balance was turned; the final state of the vote being fifty-eight for, and fifty-nine against. Thus it was determined, by the majority of a single vote, and that the proxy of an absent person who did not hear the reasoning, that the Prayer book should remain unimproved, that there should be no further reformation, that there should be no relief granted to those whose consciences felt aggrieved by the admixture of human inventions in the worship of God.--History Westminster Assembly of Divines, p. 30.
26. Socrates, surnamed "Scholasticusi" was the Greek Church historian who has the distinction of continuing the subject of ecclesiastical history from the point where Eusebius closed his history--that is, from early in the fourth century to near the middle of the fifth century. So great is the influence that mere singing has in impressing doctrine and forming sentiment and character that, as we learn from Socrates and some others, the different religious sects, which arose during the course of eenturies, invariably resorted to it as a means of spreading their principles. He says--
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The Arians, as we have said, held their meetings without the city. As often therefore as the festal days occurred, that is to say, the Sabbath and Lord's day[15] of each week, on which assemblies are usually held in the churches, they congregated within the city gates about the public piazzas, and sang responsive verses adapted to the Arian heresy. This they did during the greater part of the night; and again in the morning, chanting the same responsive compositions, they paraded through the midst of the city, and so passed out of the gates to go to their places of assembly.--Ecclesiastical History, Book VI., Chap. VIII., p. 314.
27. Sozomen, another Greek writer of ecclesiastical history and a cotemporary of Socrates, wrote a history of the Church covering the period between the years 323 and 439. Writing on the power of song and the use made of it, he says:
About this time, Apollinarius openly devised a heresy, to which his name has since been given. He induced many persons to secede from the church, and formed separate assemblies. Vitalius, a Presbyter of Antioch, concurred with him in the promulgation of his peculiar opinions. In other respects, Vitalius was blameless in life and conduct, and was zealous in watching over those committed to his pastoral superintendence; hence he was greatly revered by the people. He seceded from communion with Meletius and joined Apollinarius, and presided over those at Antioch who had embraced the same opinions; by the sanctity of his life he attracted a great number [175] of followers, who are still called Vitalians by the citizens of Antioch. * * * They sang the psalms composed by Apollinarius; for, besides his great attainments in other branches of literature, he was a poet, and by the beauty of his verses he induced many to adopt his sentiments. He composed verses to be sung by men at convivial meetings and at their daily labor, and. by women while engaged at the loom. But, whether his songs were adapted for holidays, festivals, or other occasions, they were all alike to the praise and glory of God.--Ecclesiastical History, Book VI., Chap. XXV., p. 280.
28. James Pierce. Although this learned Presbyterian scholar of the eighteenth century, and some others to be presented in this connection, were not Church Historians in the strict sense, yet some of their works are practically of this nature, and it is not improper to hear from them under this head. Writing in the interest of the "Dissenters," this eminent Non-Conformist says:
I come now to say somewhat of the antiquity of musical instruments. But that these were not used in the Christian Church in the primitive times is attested by all the ancient writers with one consent. Hence, they figuratively explain all the places of the Old Testament which speak of musical instruments, as I might easily show by a thousand testimonies out of Clement of Alexandria, Basil, Ambrose, Jerome, Augustine, Chrysostom, and many others. * * * From what has been said, it appears no musical instruments were used in the pure times of the church.--A Vindication of the Dissenters, cited by Girardeau, pp. 157, 158.
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29. Thomas Aquinas, sometimes called the Angelic Doctor, one of the most learned Roman Catholic scholars of the thirteenth century, and a voluminous writer, says:
Our Church does not use musical instruments, as harps and psalteries, to praise God withal, that she may not seem to Judaize.[16]--Bingham's Antiquities, Vol. II., p. 483, London Edition.
30. Cajetan, a Roman Catholic Cardinal and theologian of the sixteenth century, says:
It is to be observed the church did not use organs in Thomas' time; whence, even to this day, the Church of Rome does not use them in the Pope's presence. And truly it will appear that musical instruments are not to be suffered in the ecclesiastical offices we meet together to perform for the sake of receiving internal instruction from God; and so much the rather are they to be excluded, because God's internal discipline exceeds all human disciplines, which rejected this kind of instruments.--Cited by Girardeau, pp. 161, 162.
31. Johann Jahn. This eminent Oriental scholar and Biblical archaeologist of the eighteenth century, after mentioning singing, reading the Scriptures, exhortation, prayer, and a contribution for the poor, as the items of worship in the ancient Jewish synagogue, then states that the items of Christian worship, [177] as established by Christ and the apostles, were the same, with the exception that the Lord's Supper was added. His words are:
§399. Mode of Worship Practiced by the Apostles. It was by ministering in synagogues, that the apostles gathered the first Christians. They retained also essentially the same mode of worship with that of the Synagogues, excepting that the Lord's Supper was made an additional institution, agreeably to the example of Christ, Acts 2: 42; 20: 7-11, 1 Cor. 11: 17-34.--Jahn's Biblical Archaeology, pp. 503, 504.
32. Professor John Girardeau. In his work on "Music in the Church," written while he was "Professor in Columbia Theological Seminary, South Carolina," this Presbyterian scholar says:
It has thus been proved, by an appeal to historical facts, that the church, although lapsing more and more into defection from the truth and into a corruption of apostolic practice, had no instrumental music for twelve hundred years;[17] and that the Calvinistic Reformed Church ejected it from its services as an element of Popery, even the Church of England having come very nigh to its extrusion from her worship. The historical argument, therefore, combines with the Scriptural and the confessional to raise a solemn and powerful protest against its employment [178] by the Presbyterian Church. It is heresy in the sphere of worship.--Instrumental Music in Public Worship, p. 179.
(Sorry... that one was too easy)
