This article was originally published in the May 1, 1994 issue of Friends Journal.
In the earliest reference to music in his Journal (Rufus Jones edition, p. 72), George Fox stated he could not sing. On the other hand, in a dramatic encounter with jailers (p. 191), Fox related he was moved in the Lord’s power to sing. The context of the earlier statement removes the contradiction: “Psalms I was not in a state to sing; I could not sing [in the Spirit].”
Did the Spirit inspire 17th century Friends to sing in “God’s worship”? Yes. Near the end of a long and eloquent defense and description of silent worship in Robert Barclay’s Apology (Proposition XI), he concluded, “We make not silence to be the sole matter of our worship.” Barclay proceeded to defend the Quaker forms of preaching, praying, and singing in unprogrammed worship. In the case of singing, he began, “We confess this to be a part of worship, and very sweet and refreshing, when it proceeds from a true sense of God’s love in the heart….”
What did they sing? He continued, “and arises from the divine influence of the Spirit which leads souls to breathe forth either a sweet harmony [without words], or words suitable to the present condition; whether they be words formerly used by the saints and recorded in scripture, such as the Psalms of David, or other words: as were the hymns and songs of Zacharias, Simeon, and the blessed Virgin Mary.” Unless Friends memorized the suitable metrical psalms, I assume they could sing from Psalters in their meetings.
Barclay clarified Fox’s statement about singing psalms. The Apology quoted two unsuitable psalms and said there were more. It implied that many psalms could be sung in worship provided “the words were suitable to the condition.” Only vocal music was acceptable. Barclay explained, “We have neither example nor precept for artificial music in the New Testament, either by organs or other instruments.”
When early Friends sang without words, was their singing “sweet harmony” (Barclay) or “making melody in their hearts” (Fox) or something else? Either type of improvised singing would be difficult. Examples of something else could include droning, humming, groaning, and emoting with joy. Leah Felton and I attended a meeting for worship in Cardiff, Wales, when someone broke the silence by inviting the gathered meeting to unite with him in droning “as early Friends did.” Are there any records ofhow Friends sang without words?
The 17th century was not a favorable time for church music in England. Civil war led to the abolition of music in church except for singing Psalms, the removal or destruction of pipe organs, and the departure of many composers and musicians to the Continent. Puritans objected to string orchestras playing in church because fiddles were played in barrooms. Celebration of Christmas was abolished by the Puritan Parliament in 1647, and traditional Christmas carols went underground until the 19th century.
During the Puritan Commonwealth period, Fox’s Journal noted two occasions when Fox made a public witness against some form of music. In 1648, while attending fairs and markets, he cried out against all sorts of music and against montebanks. During his first visit to Swarthmoor Hall, Fox was moved by the Lord to attend priest Lampitt’s church in Ulverston: “When I came, Lampitt was singing with his people, but his spirit was so foul and the matter they sang was so unsuitable to their states, that after they had done singing, I was moved of the Lord to speak to him and the people.”
In the tragicomic account of Fox’s singing in prison, he was beaten by a jailer without provocation. Fox began to sing, the jailer’s rage increased, and a fiddler was summoned. When the fiddler began to play, expecting to vex Fox, the Lord moved Fox to sing again (louder). His ”voice drowned the noise of the fiddle, struck and confounded them, and made them give over fiddling.” I wonder what psalm(s) he sang!
I have found a puzzling time interval between references to singing in the Journal and references to singing in Fox’s epistles (or pastoral letters). All five Journal passages occurred between the early 1640s and 1653 whereas the ten epistle passages were written from 1658 to 1686.
During the formative years of Fox’s ministry (1648-1649), he defined his concept of Friends’ fellowship, praying, and singing:
And I was to bring them off from all the world’s fellowships and prayings and singings, which stood in forms without power, that their fellowships should be in the Holy Ghost and in the eternal Spirit of God, that they might pray in the Holy Ghost and sing in the Spirit and with the Grace that comes by Jesus, making melody in their hearts to the Lord who hath sent his beloved Son to be their Saviour. (Journal, p. 104)
The phrase “singing in the Spirit” is stated in epistles 167, 171, 222,230, and 312; and “making melody in their heart” occurs in epistles 167 and 312.
In epistle 222, Fox wrote, “singing in the Spirit is public.” What did he mean by ”public”? His explanation was given in epistle 171. He regarded singing in any of the world’s churches as particular or private; and singing in the Spirit as public or universal. The epistle began, “Friends … we need no Mass to teach us, for the Spirit that gave forth the Scriptures teaches us how to pray, sing, fast, etc.”
Epistle 312 contains my favorite writing about singing in the Spirit: “they that do sing in the Spirit do reach the Spirit in others, [who thereby] have a sense that it proceeds from the Spirit. … To all that receive it in integrity and sincerity, they cannot but rejoice at the sound of the Power.”
Five other Epistles speak of “singing with joy”: namely 227, 230, 265, 320, and 410.
The practice of unprogrammed worship without singing began, I believe, in the 18th century. However, the tradition of”serious sighing, sensible groaning and reverent singing” continued in some places through the 18th century. Sighing and groaning (the spirit sings but the mind is barren) could not satisfY gathered meetings forever. Suitable psalms did not speak to all conditions; and the Spirit did not move Friends to learn new hymns being written by evangelicals and dissenters including John Newton (the Olney Hymnal) and Charles Wesley. Possibly the available tunes, which have not survived the test of time, did not inspire Friends.
The 19th century provided translated and new hymns speaking to a wide variety of conditions of individuals and groups. Several Anglican vicars translated volumes of ancient Christian hymns from the Greek and Latin languages, including “0 Come, 0 Come, Enimanuel.” Several English women volunteered to translate the great hymns of the Lutheran Reformation, including ”Now Thank We All our God.” Other languages of the Protestant
Protestant Reformation were also translated into English. English and U.S. ministers and poets, both women and men, wrote new hymns concerned with personal salvation, social justice, peace, the natural world, science, and the arts. Over 75 centos of John Greenleaf Whittier’s poems were set to liymn tunes by hymnal editors. Programmed meetings of Friends used 19th century hymnals and gospel songbooks in their worship. Unprogrammed meetings continued to show no interest in hymns.
Friends have been offered in the 20th century a unique opportunity to sing. A significant change in the cultural composition of unprogrammed meetings was the first opening. The descendants of longtime Friends have learned to sing and play musical instruments. A large influx of convinced Friends brought musical talents and a knowledge ofhymns. The membership of the Society now includes composers, concert singers, and performers, members of at least two major symphony orchestras, music teachers, at least one operatic singer, etc.
Second, the organization of Friends General Conference led to the beginnings of summer Gatherings at Cape May, N.J., and the provision of music for singing on the pier. Two editions of A Hymnal for Friends (1942 and 1955) and publication of Songs of the Spirit (1978) have been used in First-day schools, Friends schools, summer camps, retirement homes, etc. Since 1986 a major project is proceeding to create a new Friends Hymnal/ Songbook. In addition to the universal Christian hymns, the new book will represent the creativity of many Friends for the first time and will attempt to represent our faith and practice explicitly.
Singing in unprogrammed worship is not totally absent today. During my 50 years as a convinced Friend I can recall at least six times when someone sang a familiar hymn and was joined by others. Solo singing is heard more often than group singing in our meeting for worship. If hymnals were available, as they are in some meetinghouses, Friends might sing together when one Friend is moved by the Spirit.
In the 17th century, George Fox encouraged spontaneous singing in the Spirit. In the 20th century Friends have been restrained by an assumption that it was traditional not to sing in meeting for worship. Also, most Friends cannot recall suitable words to sing ”when it proceeds from a true sense of God’s love in the heart.”
