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114 similar frivolities, hinder in any way the development of a spirit of reverent devotion on the part of the congregation.

Another type of undesirable individualism is to be found in the case of the church solo singer. We have no quarrel with the sacred solo when sung in such a way as to move the hearts of the congregation to a more sincere attitude of devotion; and we are entirely willing to grant that the sacred solo has the inherent possibility of becoming as pregnant with religious fervor as the sermon itself, and may indeed, because of its esthetic and emotional appeal, convey a message of comfort or of inspiration to many a heart that might remain untouched by the appeal of a merely intellectual sermon. But it has been our observation that the usual church solo very seldom functions in this way; that the singer usually considers it only as an opportunity to show how well he can perform; that he seldom thinks very much about the words; that the selections are usually not chosen because they are appropriate to the remainder of the service but because they are "effective" or perhaps because they are well adapted to the voice or the style of the singer; and that our congregations have grown so accustomed to this sort of thing that the performance of a sacred solo is now usually listened to, commented upon, and criticized in exactly the same way in the church service as would be the case at a concert performance.

Instead of thinking, "I am delivering a message," the singer is only too palpably saying to us, "I am singing a solo, don't you think I am doing it well?"

The remedy for this condition of affairs is the same as that which we have been recommending for church music in general, and before church solo singing can be commended in very glowing terms as a method of