CHAPTER XXII

THE ORGANIST AND HIS DUTIES
THE adoption of instrumental music is on the increase; hence the office of Organist has become much less of a sinecure than it used tobe. Itis not a regular office; the Organist being one of those whom the Worshipful Master ‘may’ appoint. His duties are set forth in the following optional address, which may be delivered to him when he is invested with the jewel of his Office, as follows: |
‘Bro. ...., I appoint you Organist of the | Lodge, and I now invest you with the Jewel | of your Office. The Lyre is the emblem of Music; one of the seven liberal Arts and Sciences, the study of which is inculcated in the Fellow-Crafts’ Degree The records of © Ancient History, both sacred and secular, testify that from the earliest times Music has borne a more or less important part in the celebration of religious rites and cere-
314
The Organist and his Duties
monies; that Pagans and Monotheists, the Ancient Hebrews, and the more compara- tively modern Christians, have in all Ages made full and free use of music, as an aid to devotion, and in the expression of praise and thanksgiving in the services of their several systems of religion. In like manner Free- masonry, from the earliest period of its history, has availed itself of the aid of music in the performance of its rites and ceremonies; and we must all feel how much of impressiveness and solemnity is derived from the judicious introduction of instru- mental music into those ceremonies. Music has been defined as “‘ the concord of sweet sounds.’’ In this aspect it typifies the con- _ cord and harmony which have always been among the foremost characteristics of our Order. Your Jewel, therefore, the emblem of Concord, should stimulate us to promote and to maintain concord, goodwill, and affec- tion, not only among the members of our own Lodge, but with all Brethren of the P @ratt.’ 2 * * *
A few words must, however, be added upon the subject of the musical services in the three degrees.
315
Freemasonry and its Etiquette
Any Brother who visits other Lodges is able to mark the contrast between a Ceremony performed with accompanying instrumental music, and one without that accompaniment, and in which the voice of the Worshipful Master alone is heard from the beginning to the end, with only the slight break here and there of the little which the Wardens have to say. The impression made upon the mind of the Candidate by the musical addition to the Ceremony is far deeper, and consequently is calculated to be far more enduring than that formed by a Ceremony unrelieved by the effect of the Divine Art of Music.
Great care must be taken to exercise this art within the boundaries of the Constitu- tions.
At one time there was a tendency to in- troduce the singing of hymns and anthems during the ceremonies, the perambulations, and at certain noticeable points.
This was dangerous. Masonry is universal, and finds adherents among the followers of . many creeds, demanding from them only the common acknowledgment of a supreme Governor of the Universe.
Hymns and anthems, therefore, which
316
The Organist and his Duties
would seem innocuous to some might con-
tain words and references which, if vocalized, would offend others; and thus friction might
arise. .
It was in these circumstances that on April 20, 1875, the Board of General Pur- poses passed a resolution that: ‘ Hymns form no part of the Masonic Ritual; and the singing of hymns in a Lodge is an innovation to which the Board of General Purposes strongly objects.’
On June 17, 1902, there was a Resolution of the Board of General Purposes reaffirming above; and on September 3, 1902, a similar Resolution was reported by the Board of General Purposes to Grand Lodge, and adopted.
There is no objection to singing the Masonic Opening Ode before the Lodge is opened; and none to singing the Masonic Closing Ode after the Lodge is closed.
There is no objection to chanting ‘So ‘mote it be’ at the conclusion of the Prayers because that is part of the Ritual.
What is objected to is the interpolation of words not found in the Ritual. Thus, while there is no objection to the Organist playing a kyrie eleison at the conclusion of the Obn.,
317
Freemasonry and its Etiquette
there is objection to the Brethren singing: the words, although free from dogma.
The plain rule to be deduced is therefore that no words other than those used in the Ritual may be sung in any part of the ceremonies.
There are many points in the ceremony when the introduction of suitable instru- mental music is very useful; but it should always be unobtrusive, furnishing a gentle accompaniment to a solemn occasion; in fact, when it becomes noticeable it is a nuisance.
* * * *
Besides the musical portions of the cere- monies within the Lodge, it often becomes the pleasurable duty of the Organist to arrange and supervise the musical enter- tainment during and following the Banquet.
On important occasions, such as Installa- tion, professional artistes are usually en- gaged by the W. M.; but on ordinary occa- sions it is possible to construct an enjoyable programme by the aid of the talent of the members. (See p. 382.)
This scheme of pleasure is not restricted to musical performance. Many greatly vary- ing items may be included—e.g., Anecdotes,
318
The Organist and his Duties
Glees, Part Songs, Recitations, Sleight-of- hand, Records of Travel, Masonic Facts, and even Masonic Fictions.
It is respectfully submitted that so-called “comic songs’ should be rigidly avoided, and that no ‘smoking-room stories’ of ques- tionable colour should be permitted.