IV. Thus music, in those remote ages, was divided between the temple
and the theatre, and was applied promiscuously, to worship at the
altar, and to the corruption of manners. But although this was a
lamentable falling-off, it was not the greatest abuse which has been
practised on this noble art, the accomplishment of its perversion
being reserved for our times. When the alteration in the application
of music, which was employed heretofore only in divine worship, took
place, the Greeks made a very judicious division and distribution of
it; reserving to the temple, that which was proper for the temple; and
giving to the theatre, that which was suitable to the theatre; but
what has been done in these latter times? Not content with keeping
theatrical music for the use of the theatre, they have translated it to
the church.
V. The church chants of these times, with respect to their form and
manner, sound like the songs of a jovial company sitting round a
table. They are all composed of minuets, recitatives, light airs, and
allegros; at the end of which, they substitute something which is
called grave; but this is done very sparingly, lest it should seem
tiresome and disgusting. What can this mean? Should not all the music
in a church be grave? Ought not the whole composition to be calculated
to impress gravity, devotion, and decency? The instrumental music is
the same; but what effect can these Canary-birds airs, so predominant
in the taste of the moderns, produce in the soul? This music, so
replete with jigs, that you can scarce find a piece without one, can
raise no other emotions in the imagination, than those of frolic and
levity. He who hears on the organ, the same minuet which he heard at
the ball, what effect will it have on him? No other, than reminding him
of the lady with whom he danced the preceding night. Thus the music,
which ought to translate the spirit of him who listens to it, from the
terrestrial to the celestial temple, conveys it from the church to the
banquet; and the ideas raised in the imagination of the person who
hears this, if either from constitution, or vicious habits, he is ill
disposed, will not forsake him at the church door.
VI. O good God! is this the sort of music, which expressed from the
breast of the great Austin, while he was still wavering between God and
the world, sighs of compunction, and tears of piety? _Oh how I wept_,
said the saint, addressing himself to God in his confessions, _moved
and excited, by the salutary hymns and canticles of thy church! Those
words and sounds, made a lively impression on my ears, and through
them, thy truths penetrated my mind. My heart burned with affection,
and my eyes melted in tears._ This was the effect of the church music
of those times; which, like the lyre of David, expelled the evil
spirit, that had not quite forsaken the possession of St. Austin, and
invoked the good one; the music of these times expels the good one,
if such resides, and invites the evil one. The ecclesiastical chant
of those days, was like the sound of the trumpets of Joshua, which
threw down the walls of Jericho, that is, the passions which fortify
the strong town of Vice. The chant of the present times, resembles the
songs of the Syrens, which lead navigators on rocks and shoals.