CHURCH MUSIC.

Waiapu Church Gazette, Volume 25, Issue 9, 1 September 1935, Page 3

CHURCH MUSIC.

From the interesting paper m the Gazette on Church Music, many articles could be written on the different portions of the Church service, viz.: — "Choral or plain" singing, or more correctly speaking, "chanting oil the Psalms," "hymnody," "organist and vicar," "boy choristers," "congregational singing." But I will content myself with the most vexed question of chanting the Psalms. There are several points one must remember. Firstly, that there are several different barrings by eminent compilers who are competent authorities m their idea of pointing; for i!i we take a given sentence, "The choir sang well," it is plain that each word can be emphasised lanjd so render a different meaning to that sentence. So m the editions more or less m dominion use we get the following pointings or barrings: — (a) The Cathedral. Psalter, 1878, edited by Sir John Stainer, etc. (b) The A. and M. Psalter, 1878, edited by Dr. Monk. (c) The New Cathedral Psalter Superimposed Notes, 1909, eclited by Archbishop of Canterbury, Dr. Martin, etc. (d) The Parish Psalter, 1928.. edited by Dr. Nicholson. (c) St. Paul's Cathedral Psalter, 1934, edited by Dr. Marchaht, etc. Take Psalm XC, verse 1, 2nd half.

(a) From one generation | ation | to an | other. (b) From one generation | to another. | ther. (c) From one generation | ation | to an | other. (d) From one generation | ation |to an | other. (c) From | one generation | ation to an | other. Now take Psalm CIV, verse 4, 2nd half (a) and his minis | ters a j flaming | fire. (b) and his | ministers a | flaming | fire. (c) and his minis | ters a | flaming | fire. (d) and his | ministers a | flaming | fire. (c) and | ministers a | flaming | fire. We notice m these comparisons that the modern Psalters do not have the accent, neither has Dr. Monk's edition, 1878. Therefore it is evident that from the foregoing examples all are not agreed as to where the bars should be placed. And yet we must recognise that there is a decided attempt to make the chanting of the Psalms more m keeping to the meaning of the words. If eminent authorities cannot agree as to the correct placing of bars, choristers, whether they belong to Cathedral or country parish, must of necessity have something to guide them, and if choristers must have this guide it points out clearly that the members of the congregation must have a guide as well. Perhaps this is where the error of pausing on the accented syllable has crept m, by endeavouring to give the congregation an indication where the change of the note of the chant is about to take place. This dwelling upon the accented syllable is not necessary, nor is it desirable, and more often than not distorts the sentence. ■ For instance, m "Nunc Dimittis" the 2nd half of the Ist verse "ac" m "according" is generally unduly lengthened; m fact, m one edition "ac" is definitely given twice the note value of either of the two other syllables. Again m "Te Duem" second half of verse two, "The Father," "the" is given twice the length of either of the syllables of "Father." Another example is "Venite," verse 4, where the first

syllable of "corners" is given a note three times the length of the other syllable. • . . We have only to read many of the verses and then listen to the singing of the psalm to realise how words are very often unduly emphasised. But by careful practice and co-operation these errors can be remedied. But there is one thing certain, and that is if the congregation is to join m the psalms some indication must be given m their books where the note is to change. Choirmasters have taught their choirs to dwell upon the accepted syllable, and choirs by their use of this have taught the congregation, and naturally where this has been done for years it is going to be a very difficult problem to overcome. We cannot ask the congregations not to join m the psalms, but, on the other hand, should encourage them to join m as much of the service as possible. Tlien the question comes, how can we help the congregation m chanting and improve the rendering of the psalms? Firstly, by studying each psalm carefully, verse by verse (it is well worth it) at choir practice — not merely run through the psalms. Secondly, by chanting them with the same accentuation as we would use if we read them, and that would mean that we would get away from the long used method of singing each note its full value, which makes a chant more like a metrical hymn tune. No note of the chant should have a definite length; the words should decide the length of the sound. Let us take a few examples, and for these we take them from the Cathedral Psalter, 1878. Psalm XIX., verse 3: There is neither | speech nor ' language; But their | voices are | heard; among | mong them. Would it not be clearer if we stressed slightly the words "speech" and "voices," and that no stop be made till the change of note on the word "speech," also "nor" should be a shorter sound. Psalm XX., verse 1: The Lord hear thee m the | day of | trouble; The name of the | God of | Jacob de | fend thee. Would not a slight stress on the

words "Lord hear thee" and the words "m the" slightly quicker, and m the second half the words "God of Jacob" brought out with a slight lengthening of the last syllable of "Jacob" and shortening the first syllable of "defend," improve the rendering? Again, no break should be made m the sentence. Psalm 48, verse 8: We wait for thy loving | kindness O | God; m the | midst of | thy | temple. Would it not be clearer to take this as one sentence, not to stop m the middle of the verse? There are many examples like these, bearing this always m mind, all commas, etc., to be used as m good reading. Thirdly, by avoiding the dwelling on the first syllables of such words as "worship," "mighty," ' "boastest," "trembling," "enemies," "tabernacle," "magnify," etc., etc. Fourthly, the accent should not be used except as a warning sign that the change of note is about to take place. I find it an excellent method to underline the first syllable after the first -bar line m each half of the verse. This 1 helps choristers who have been m the habit of watching for the accent, and when reaching it are rather loath to leave it. Another great help I find is to make the boys and the younger members of the choir understand the meaning of the words they are to sing. I often spend the whole of one of the boys' practices on one or two psalms, and I am sure if any of the clergy or choirmasters were to take one psalm and catechise the boys on the words m it he would get a most interesting experience. Again, m conclusion, the congregation should be urged to purchase small psalters so as to enable them to join m these delightful portions of Scripture. HERBERT WEBB. Taurange, August Bth, 1935.