Log College Press is the Place to Find American Presbyterian Psalters and Hymnals

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Have you visited our Compilations page lately? It is the home for many interesting works by denominations or groups of authors, but today we are highlighting the assembled psalters and hymnals which represent the sacred song utilized in the praise of God by American Presbyterians. This project is ongoing, but we invite you to check out what is currently available.

Psalters

• The Psalms of David in Meeter [Kirk of Scotland] (1650)

• The Book of Psalms [UPCNA] (1871)

• The Book of Psalms: The Scottish Version Revised, and the New Versions Adopted by the United Presbyterian Church of North America [UPCNA] (1871)

• The Psalter of the United Presbyterian Church of North America [UPCNA] (1887)

• The Psalms: A Revision of the Scottish Metrical Version With Additional Versions [RPCNA] (1888)

• The Psalter: With Music [RPCNA] (1890)

• The Psalter, or, Book of Psalms: A Revision of the Metrical Version of the Bible Psalms, With Additional Versions [RPCNA] (1893)

• The Psalter With Music [UPCNA] (1900)

• The Psalms in Meter [Joint Committee] (1905)

• The Psalter, or, Book of Psalms: A Revision of the Metrical Version of the Bible Psalms, With Additional Versions [RPCNA] (1907)

• The New Metrical Version of the Psalms [Joint Committee] (1909)

• The Psalter With Responsive Readings [UPCNA] (1912)

• Psalter Hymns: For Use in Families, Sabbath Schools and Bible Classes, Young People's Societies, Prayer Meetings, and Union Services [UPCNA] (1912)

• The Book of Psalms: Rendered in Metre and Set to Music [RPCNA] (1912)

• The Book of Psalms: Rendered in Metre and Set to Music [RPCNA] (1920)

Note that the first Psalter employed by the RPCNA (besides the 1650 Scottish Metrical Psalter which it inherited - which is true for all branches of American Presbyterianism as well) was produced by William Wallace Keys in 1863, and is known to history as the Keys Psalter.

Hymnals (including Psalter-Hymnals)

• [Isaac Watts] Psalms, Carefully Suited to the Christian Worship in the United States of America: Being an Improvement of the Old Versions of the Psalms of David; Allowed, by the Reverend Synod of New York and Philadelphia, to be Used in Churches and Private Families [PCUSA] (1787)

• [Isaac Watts] Psalms, Carefully Suited to the Christian Worship in the United States of America: Being an Improvement of the Old Versions of the Psalms of David; Allowed, by the Reverend Synod of New York and Philadelphia, to be Used in Churches and Private Families [PCUSA] (1787, 1794)

• Psalms and Hymns Adapted to Public Worship, and Approved by the General Assembly of the Presbyterian Church in the United States of America [PCUSA] (1830)

• [George Fleming] Psalms and Hymns, Adapted to Public Worship, and Approved by the General Assembly of the Presbyterian Church in the United States of America [PCUSA] (1834, 1835)

• Sacred Harmony: A Selection of Plain Tunes Adapted to the Use of the Psalms of David [Associate Reformed Synod of New-York] (1834)

• Devotional Hymns Adapted to Social, Private and Public Worship [Old School PCUSA] (1842)

• Church Psalmist, or, Psalms and Hymns: For the Public, Social, and Private Use of Evangelical Christians [New School PCUSA] (1843)

• Parish Psalmody: A Collection of Psalms and Hymns For Public Worship (1844)

• The Presbyterian Psalmodist: A Collection of Tunes Adapted to the Psalms and Hymns of the Presbyterian Church in the United States of America [PCUSA] (1852)

• Hymnal of the Presbyterian Church [PCUSA] (1867)

• Psalms and Hymns For the Worship of God: Approved by the General Assembly of the Presbyterian Church in the United States, at Its Meeting in Memphis, Tennessee, November, 1866 [PCUS] (1867)

• The Sacrifice of Praise: Psalms, Hymns, and Spiritual Songs Designed For Public Worship and Private Devotion, With Notes on the Origin of Hymns (1869)

• The Presbyterian Hymnal [PCUSA, music and words] (1874)

• The Presbyterian Hymnal [PCUSA, words only] (1874)

• The New Psalms and Hymns [PCUS] (1901)

• Bible Songs: A Collection of Psalms Set to Music For Use in Church and Evangelistic Services, Prayer Meetings, Sabbath Schools, Young People’s Societies, and Family Worship [UPCNA] (1901)

• The Book of Common Worship [PCUSA] (1906)

• The Psalter Hymnal: The Psalms and Selected Hymns [UPCNA] (1927)

Note that other hymnals are available on individual pages, such as Archibald Alexander, A Selection of Hymns, Adapted to the Devotions of the Closet, the Family, and the Social Circle (1831); Leonard Woolsey Bacon, Congregational Church-Music; With 150 Psalms and Hymns (1854); Nathan Sidney Smith Beman, Sacred Lyrics: or, Select Hymns, Particularly Adapted to Revivals of Religion, and Intended as a Supplement to Watts (1832) and Sacred Lyrics, or Psalms and Hymns Adapted to Public Worship (1841); Louis FitzGerald Benson, The Hymnal (1895) and The Chapel Hymnal (1898, 1910), as well as others; Henry Augustus Boardman, A Selection of Hymns: Designed as a Supplement to the “Psalms and Hymns” of the Presbyterian Church (1861) and Hymns of Praise (1867); George Buist, A Collection of Hymns for Public and Private Worship, Approved by the Presbytery of Charleston (1796); Thomas Cleland, Evangelical Hymns, For Private, Family, Social, and Public Worship (1831); Henry Sloane Coffin, Hymns of the Kingdom of God: With Tunes (1910); William Coombs Dana, A Collection of Hymns: Supplementary to the Psalms and Hymns of Dr. Watts (1859); James Gallaher, New Select Hymns, Designed to Accompany Watts’ Psalms & Hymns (1835); Edwin Francis Hatfield, Freedom's Lyre: or, Psalms, Hymns, and Sacred Songs, For the Slave and His Friends (1840), The Church Hymn Book, With Tunes; For the Worship of God (1872), and The Chapel Hymn Book, With Tunes; For the Worship of God (1873); Robert Pollok Kerr, Hymns of the Ages For Public and Social Worship (1891); Willis Lord, Hymns of Worship: Designed For Use Especially in the Lecture-Room, the Prayer-Meeting and the Family (1858); James Lyon, Urania: A Collection of Psalm-Tunes, Anthems and Hymns (1761); Lowell Mason, Church Psalmody: A Collection of Psalms and Hymns, Adapted to Public Worship (1831), and more; James Ormsbee Murray, The Sacrifice of Praise: Psalms, Hymns, and Spiritual Songs Designed For Public Worship and Private Devotion, With Notes on the Origin of Hymns (1869); Samson Occom, Hymns (1773 and A Choice Collection of Hymns and Spiritual Songs (1774, 1785); Charles Seymour Robinson, Songs of the Church: or, Hymns and Tunes For Christian Worship (1862, 1864), Songs For the Sanctuary: or, Hymns and Tunes For Christian Worship (1865, 1867), Psalms and Hymns, and Spiritual Songs: A Manual of Worship For the Church of Christ (1875); Philip Schaff, Hymns and Songs of Praise For Public and Social Worship (1874); Gardiner Spring, The Brick Church Hymns, Designed For the Use of Social Prayer Meetings and Families, Selected From the Most Approved Authors and Recommended by Gardiner Spring, D.D., Pastor of Said Church (1823); Nathan Strong, The Hartford Selection of Hymns From the Most Approved Authors (1799); Thomas DeWitt Talmage, Many Voices; or, Carmina Sanctorum (1891); Robert Ellis Thompson, The National Hymn-Book of the American Churches (1893); Henry Jackson Van Dyke, Jr., The Church Psalter: One Hundred and Four Psalms Arranged Under Subjects For Responsive Reading (1891); James Patriot Wilson, Sr., Hymns For Social Worship, Collected From Various Authors (1817); and Samuel Ramsey Wilson, Hymns of the Church, Ancient and Modern, For the Use of All Who Love to Sing the Praises of God in Christ, in the Family, the School, or the Church; With a Discourse on Music as a Divine Ordinance of Worship (1872); among many others.

There is much matter here for those who wish to explore how early American Presbyterians offered “the sacrifice of praise, the fruit of lips” (Heb. 13:15) in the sanctuary. The questions raised by the regulative principle of worship about the content of song to be used (inspired psalms or uninspired hymns), as well as the propriety and practicality of instrumental accompaniment, are dealt with in a whole other body of literature to which we have alluded in the past. This collection on the pages of Log College Press is drawn to a great extent from the Louis FitzGerald Benson Collection of Hymnals and Hymnody at the library of Princeton Theological Seminary, as well as from a variety of other sources. We continue to add more literature related to psalmody and hymnody often so be sure to check back here periodically as our collection grows.

A Plea From the Psalter Itself: W.J. Robinson

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In his introduction to Joseph W. Clokey’s David’s Harp in Song and Story (1896), William J. Robinson, who served as Moderator of the United Presbyterian Church of North America in 1899, puts forth a plea as if from the very Psalter itself.

The context had to do with a request on behalf of the UPCNA and the Reformed Presbyterian Church of North America (RPCNA) to the General Assembly of the Presbyterian Church in the United States of America (PCUSA) to work jointly at developing a Psalter that all Presbyterians could employ in their praise of God.

Hear the plea from the Psalter itself as Robinson put it.

To this united committee from these three leading bodies of Christians this little work goes with its silent plea. It is sent to you that the Psalms may tell their own story. They come in no spirit of dispute; they do not propose to take issue with you on any of the questions of your Psalmody over which you conscientiously differ. At present they only plead for greater prominence in the praises of Zion. We are part of God's Inspired Word, they say to you, sent down from Heaven through the movings of the Holy Spirit that we may be sung in the praises of God's people. For more than twenty-five centuries we have been in the worship of the church, and what we have done in all these long ages, in comforting and inspiring the people of God, we are still capable of doing for the ages to come. Are you, and are your difficulties and dangers, and experiences, so different from your fathers who loved us, that you can afford to consign us to an obscure corner in your Books of Song! We claim a high place in your material of praise. Read our story and consider our plea.

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Psalm Tunes by J.K. Robb

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O come, let us sing unto the LORD: let us make a joyful noise to the rock of our salvation (Ps. 95:1).

Some of the tunes in the 1929, 1950, 1973 and 2009 editions of the psalters authorized by the Reformed Presbyterian Church of North America (RPCNA) were composed or arranged by Rev. John Knox Robb (1868-1960).

Dr. Paul D. McCracken paid the following tribute to Robb:

Dr. Robb was a man of many talents. He was an experienced carpenter, an able preacher, a wise counselor, a faithful shepherd, and a warm friend. He will long be remembered for his rare musical ability. With his mellow voice, his "absolute pitch," and his keen sense of harmony and beauty, he served the Church on Psalter Revision Committees in 1929 and again in 1950, and our present Psalter contains originals and 4 arrangements that bear his name.

The tune Syracuse by Robb is perhaps his most famous. In the two most recent psalters, Robb is credited thus:

• The Book of Psalms For Singing (1973) - Psalm 4A (Wallace); 31G (Saints’ Praise); 46B (Hetherton); 86A (Conwell); 104B (Emsworth); 104D (Bradford); 115B (Scott); 126B (Rutherford); and 127A (Syracuse)

• The Book of Psalms For Worship (2009) - 4A (Wallace); 86A (Conwell); 104B (Emsworth); 107H (Conwell); 112A (Hetherton); 115B (Scott); 118D (Hetherton); and 127A (Syracuse).

One may listen to these tunes here.

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The Keys Psalter

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Until the 1860’s, the Reformed Presbyterian Church of North America (RPCNA) employed the 1650 Scottish Metrical Psalter (SMP) in its worship. But it was felt at that time that there was a need for a revised psalter.

In 1863, the RPCNA Synod minutes show that a communication was received from William W. Keys proposing the publication of a new edition of the Psalter with music settings appropriate to each Psalm. The Psalter project had apparently been initiated in 1860 (as the Preface tells us). The proposal was referred to a committee initially made up of T.P. Stevenson, A.C. Todd, N.R. Johnston and D.H. Coulter. The Psalter — known as the Keys Psalter — was published that year, and the following year Synod minutes show that Psalter had earned the endorsement of the special committee.

So in 1864, Synod recommended the Keys Psalter, which combined words and music on the same page and modernized some of the Scottish Psalter’s words (William J. Edgar, History of the Reformed Presbyterian Church of North America, 1871-1920, p. 23).

The Committee gave its report as follows (which was adopted):

Feeling the need and importance of earnest effort for the improvement of the service of song-in our church, and the desirableness of greater uniformity in the service among our congregations; appreciating, also, from our own examination, and on the testimony of competent judges, the manifold excellencies of this work, especially its retention of time honored-melodies and generally judicious adaptations of music to the sentiments of the Psalms; and believing that the employment of this book will prove a strong support in the advocacy of Scriptural Psalmody, and also a means of extending the use of the songs of inspiration throughout the churches; therefore,

Resolved, That we recommend the use of this book in all our congregations, as well adapted for the attainment of the specified ends.

We would further recommend, in this connection, that all our sessions be urged to take measures for the improvement of the service of praise in their respective congregations, and that to this end, they encourage the formation of singing classes, and attendance upon them. D. M'Allister, Chairman.

The Keys Psalter had help from some notable names, including

• French-American composer Leopold Meignen (1793-1873) - who served as a bandmaster in Napoleon’s army before coming to the United States, and who contributed several tunes to the Keys Psalter; and

• James M. Willson, Keys’ pastor until 1862, when Willson left First RPC in Philadelphia to fill the chair of Theology at RPTS, who helped divide Psalms into smaller sections with assigned tunes.

The tune “Keys,” composed by Dr. Leopold Meignen, is assigned to Psalms 33 and 98.

Keys in his Preface spoke to what he saw as the prime benefit of this new edition of The Psalms of David.

The superiority of this book over any other Psalm-Book heretofore published consists in the music being printed along with each Psalm, or portion of Psalm, throughout the entire book.

The advantage of this is two-fold: 1st. The precentor is not compelled to hurriedly select a tune at the same time that he is searching for the Psalm which has been announced. He knows that having found the Psalm, suitable music to be sung to it is there also, and all he has to think of is to have the tune properly pitched. 2d. There is no doubt or hesitation on the part of the congregation in commencing to sing, as all know precisely what tune is to be sung, and are prepared to commence as soon as the first note is given.

In a Preface to the second edition (published a month after the first), Keys quotes an endorsement from William Blackwood:

Every congregation in the country in which the 'Old Psalms' are used, will thank the author and publisher for this beautiful and admirably designed volume. * * * The airs are selected with taste and judgment. The harmony is delightful; and the general circulation of this book in churches would unquestionably promote in a very powerful manner the extension of congregational singing of a very high order. Every Psalm, and, in many of the longer ones, the portions of them suitable for a service, are provided with a proper air; and thus the book may be used in the pew, the lecture-room, or in the family, as well as by a precentor or leader.

The Keys Psalter is one of a series of editions approved by the RPCNA besides the old 1650 SMP, and it was followed by an 1889 split-leaf edition, and further editions in 1911, 1919, 1929, 1950, 1973 and 2009. Many of those later revisions took into account the work by Keys. For example, the tune Arlington, paired with Psalm 1, is also associated with Psalm 1 in the 1950 and 1973 editions (the former mentions the Keys Psalter in the Preface).

The Keys Psalter is an important step along the trajectory of psalmody in the RPCNA. Many editions were published in its heyday (at least 15 by 1874). Editions published in 1864 and 1865 are now available to peruse on Log College Press. We have little biographical information as of yet regarding William Wallace Keys, but we have learned when he lived (1832-1892), and where (primarily Philadelphia, although he died in Connecticut), and we take note of his arrangement of the tunes Kilmarnock and Wilson, as well as his driving passion to bring together words and music for the improvement of psalmody in the church. This was his motto, as shown on the cover of the Keys Psalter: “'I will sing with the spirit, and I will sing with the understanding also" — 1 Cor. 14:15.

I trust my efforts have been well directed and that the book may tend to the honour and glory of God, and to the delight of his people, by causing all who use it to "sing with the spirit and the understanding," and "with a loud noise skilfully." If so, then my design will be accomplished. — W.W. Keys

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Psalms for special occasions as selected by John Craig

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Howard McKnight Wilson describes what regular Presbyterian worship looked like in the mid-18th century in the Shenandoah Valley of Virginia in his enduring and valuable study of a noteworthy historic congregation. The congregation is Tinkling Spring Presbyterian Church in Fishersville, Virginia, and the pastor to whom he refers is John Craig.

The singing of Psalms was a regular part of their worship. The book from which they sang was, of course, the same as the pastor’s copy preserved by a descendant. His Psalter might have been the only copy possessed by the gathered congregation, since the clerk lined out each verse before it was sung. His book is The Scottish Psalter about 3/4 inch thick, measuring 2 X 3 1/2 inches. It is bound in leather and has the Scottish form of his initials “I.C.” stamped in gold on both front and back. It contains the 150 Psalms of the Old Testament “IN Metre.”

Shown here is a 1763 edition of the 1650 Scottish Metrical Psalter. John Craig owned a 1729 edition published in Belfast.

Wilson continues with a note of interest that gives us an insight into the piety of this frontier Presbyterian minister.

Some of these Psalms were favorites of Mr. Craig’s and therefore may have been chosen more frequently. In his handwriting on the flyleaf of his Psalter, Mr. Craig records the following:

Ps’ms to be sung upon particular times & occasions as in ye morning Pms 3: 5: 16: 22: 144
in ye evening 4: 121: 141
for mercy after a sin Committed 51, 102
in Sickness or heaviness 1, 13, 88, 90, 91, 137, 146
when recovered 30, 32,
on ye Sabbath day 19, 9, 95
in time of joy 80, 98, 107, 145, 136
before Sermon 1, 12, 119 — 1 & 5 part
at ye communion 22, 23, 103, 111, 116, 45, 72
for spiritual solace 15, 19, 25, 46, 67, 112, 146
after wrong & disgrace received 42, 69, 70, 140, 144

Source: Howard McKnight Wilson, The Tinkling Spring, Headwater of Freedom: A Study of the Church and Her People, 1732-1952, pp. 102-103

The 4th century Church Father Athanasius once wrote:

It is possible for us, therefore, to find in the Psalter not only the reflection of our own soul's state, together with precept and example for all possible conditions, but also a fit form of words wherewith to please the Lord on each of life's occasions. (Letter to Marcellinus on the Interpretation of the Psalms)

John Craig found this to be true, and so may every Christian today in the singing of God’s Word. There is a Psalm for every condition and occasion in human life, because it is, as John Calvin says, “an anatomy of the soul,” which is, if we may say so, part of the genius of the Psalter.

The First Book Published in Kentucky was by a Presbyterian Minister - Adam Rankin

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The first book printed in the State of Kentucky (which became a state in 1792) was published on January 1, 1793 by a Pennsylvania-born (March 24, 1755) Presbyterian minister, Adam Rankin. It is titled, A Process of the Transilvania Presbytery, which refers to the presbytery covering the territory of Kentucky within the Presbyterian Church of the United States of America, established in 1786. Adam Rankin had been charged with several offenses which involved worship and doctrinal differences between him and others. This book is his account of the matter.

In this interesting work, Rankin fired the first literary salvo in his controversy with the Presbyterian Church in the United States of America (PCUSA), specifically, the Transilvania (Transylvania) Presbytery of Kentucky, of which he was a member. The controversy led to the further publishing of 1) A Narrative of Mr. Adam Rankin's Trial by the Transylvania Presbytery (1793); and 2) Adam Rankin’s A Reply to a Narrative of Mr. Adam Rankin's Trial (1794). Here, in A Process, he lays out the particular charges that were leveled against him, along with his defense. Additional sections of the book set forth his reasons for separating from the PCUSA (he later joined the Associate Reformed Church); a digest of his positions on matters of controversy at that time between the PCUSA and the ARC, including the free offer of the gospel, terms of communion, national covenanting, marriage licenses and more; followed by “A Appendix on a late performance of the Rev. Mr. John Black of Marsh Creek, Pennsylvania,” in which Rankin sets forth satirically a “Modern Creed” which lays out the arguments of the opposition, largely regarding the place of the Psalms in worship.

One of the major issues between Rankin and the Transylvania Presbytery was his conviction that the Psalms of David alone were to be sung in public worship, to the exclusion of Isaac Watts’ imitations. A Process, in fact, constitutes one of the earliest published American defenses of exclusive psalmody. Following the January 1, 1793 publication of A Process, we have at Log College Press also a February 7, 1793 letter of encouragement from ARC minister Robert Annan to Rankin touching on this very issue.

Rankin is famous in church history for possessing difficult temperament. Here is an opportunity to read his own words in the heat of controversy to see for yourself how he expressed himself. Also available at LCP is his Dialogues, Pleasant and Interesting, Upon the All-Important Question in Church Government, What are the Legitimate Terms of Admission to Visible Church Communion? (1819). John Wilson Townsend, Kentucky in American Letters, 1784-1912, Vol. 1, p. 18 (1913), says: “His Dialogues …, is really his most important publication, but it has been greatly overlooked in the recent rush among Kentucky historical writers to list A Process as the first book published in Kentucky.”

Controversy followed Rankin even in the ARC in the form of a dispute with Robert Hamilton Bishop, which resulted in church discipline for both men. Eventually, Rankin left the ARC too, bidding his Lexington, Kentucky congregation farewell with plans to travel to Jerusalem. He died on the way in Philadelphia, Pennsylvania on November 25, 1827. James Brown Scouller, A Manual of the United Presbyterian Church of North America, 1751-1881, pp. 493-494, writes:

There can be no question that Mr. Rankin was “encompassed with infirmities,” that he was sensitive, a little jealous, impulsive and strong of will, so that he soon put himself on the defensive, and always with his face to the foe, and he had the misfortune of living at a time when ecclesiastical things did not always run smoothly. On the other hand it is just as certain that he was loyal to the truth and valorous in its defence, however faulty his methods. He was of unquestioned piety, and commanded the full confidence of those among whom he lived. He possessed unusual eloquence and power in the pulpit, and often moved a whole congregation to tears.

Songs From the Soul: Geerhardus Vos

In 1994, when Banner of Truth republished Geerhardus Vos’ 1922 collection of sermons titled Grace and Glory, which originally contained six sermons, they added 10 more to the reprint. Sinclair Ferguson explains:

In possessing a copy of Grace and Glory the reader has in his or her hands a book of sermons which are almost as rare as they are remarkable. Not only so, but in addition to the six sermons which originally constituted the volume Grace and Glory the present edition includes a further nine sermons which Vos preached in the Chapel of Princeton Theological Seminary between 1896 and 1913, as well as an undated exposition of Ephesians 2:4-5 translated from Dutch. This additional material has been provided to the publishers by James T. Dennison, the Librarian of Westminster Theological Seminary in California and the editor of the journal Kerux, in which the bulk of has already been published. Mr. Dennison originally uncovered Vos’s personal sermon book in 1971 in the Heritage Hall Archive of Calvin Theological Seminary and transcribed the material. As heirs of his labours the publishers are also indebted to the Heritage Hall Archive of Calvin Seminary for the privilege of reproducing the material in this more permanent form.

One of those additional sermons is titled “Songs From the Soul,” based on Psalm 25:14: “The secret of the LORD is with them that fear him; and he will shew them his covenant.” In this sermon, Vos speaks to the experimental piety of the Psalter in eloquent terms (pp. 169-171).

The Psalter is of all books of the Bible that book which gives expression to the experimental side of religion. In the law and the prophetic writings, it is God who speaks to his people; but in the Psalter we listen to the saints speaking to God. Hence the Psalter has been at all times that part of Scripture to which believers have most readily turned and upon which they have chiefly depended for the nourishment of the inner religious life of the heart. I say that part of Scripture and not merely that part of the Old Testament, for even taking the Old and New Testament together the common experience of the people of God affirms that there is nothing in Holy Writ which in our most spiritual moments — when we feel ourselves nearest to God — so faithfully and naturally expresses what we think and feel in our hearts as these songs of the pious Israelites. Our Lord himself, who had a perfect religious experience and lived and walked with God in absolute adjustment of his thoughts and desires to the Father's mind and will, our Lord himself found his inner life portrayed in the Psalter and in some of the highest moments of his ministry borrowed from it the language in which his soul spoke to God, thus recognizing that a more perfect language for communion with God cannot be framed.

Undoubtedly it is in the Psalter that the specific work of inspiration which the Holy Ghost performs in inditing the Scriptures and the more general task which he carries out in sustaining, directing, stimulating and guiding the religious thoughts and aspirations of believers are most closely united. Inspiration for the disclosure of truth is not always accompanied by the subjective appropriation of the truth in a saintly experience (a Balaam and a Caiaphas were among the prophets); but nevertheless it remains the more natural and ordinary procedure of God that the instrument through which his truth is brought to man should be a mind in intimate touch with his own; a mind responsive to that personal revelation of God himself which lives and throbs in the truth. And consequently we see that the great prophets (like a Moses, an Isaiah or Jeremiah) appear at the same time as the outstanding examples of a wonderfully rich and tender religious intercourse with God. But in the Psalms we can more clearly than anywhere else observe the interaction of these two things: supernatural reception of the truth and spiritual nearness to God. Possibly the fact that in David's case the prophetic disclosures of truth that he received were so vitally connected with his own life and destiny may have something to do with the presence of this feature in the Psalms, whereas the other prophets sometimes stood more or less apart from the development of things to which their words applied. And then the prophets, of course, in many instances spoke to and for the nation collectively, whereas in the Psalter it is the individual soul which comes face to face with God.

Hence the lessons and encouragements which we obtain from other parts of the Old Testament are frequently drawn indirectly by a process of inference, for which we are not always in the right frame of mind and the proper spiritual mood. But the in Psalms, whatever our mood, whether we are exultant or downcast, vigorous or weary, penitent or believing, we can always find our hearts mirrored there. It needs no process of reasoning to make their sentiments our own. Here the language of the Bible comes to meet the very thoughts of our hearts before these can even clothe themselves in language and we recognize that we could not have expressed them better than the Spirit has here expressed them for us. At first sight, this may easily seem strange to us when we remember that the the psalmists lived under the conditions of a typical and preparatory dispensation; that on many points they saw through a glass darkly, whereas we, who live in the full light of the complete gospel, see face to face. But for the very reason that the Psalms reflect that experimental religion of the heart, which is unvarying at all times and under all circumstances, we need not greatly wonder at this. The influx of the divine light, whether more or less strong, must always produce the identical effect of joy, hope and peace in every soul to which it comes. The well at which we drink may flow more abundantly than that at which the psalmists drank, but the experience of thirst, of drinking and of satisfaction must still be the same as it was in the time of David.

David's Harp in Song and Story

The Joseph Clokey family associated with the United Presbyterian Church of North America has a long pedigree that is interwoven to various degrees with the Psalms of David. According to the Rev. Joseph Waddell Clokey, Sr. (1839-1919), his parents, the Rev. Joseph D. Clokey (1801-1884) (who served as moderator of the 1860 General Assembly of the UPCNA and was himself the son of another Joseph Clokey) and his wife Eliza (1808-1889), sang only the Psalms in public, family and private worship. Joseph Waddell Clokey, Jr. (1890-1960) would go on to become a noted composer of both sacred and secular music, as well as a professor of music. His [Jr.'s] adopted son, Art Clokey (1921-2010), was a pioneer in the field of claymation, whose characters include Gumby, and Davey and Goliath (Google honored him with a logo doodle on Oct. 12, 2011). (Art's son, Joseph Clokey, who also very involved in his father's work on Gumby, and Davey and Goliath, himself passed away on March 2, 2018.)

Joseph Waddell Clokey, Sr., meanwhile, authored a fascinating little book called David's Harp in Song and Story, which relates the value and history of the Psalms. Beginning with a series of encomiums on the Book of Psalms, Clokey goes on to trace their usage and appreciation through the centuries - among the Hebrews; within the early Christian Church; during the Dark Ages; within the Reformations of Germany, Switzerland, France, England, Scotland and the Netherlands; and among the American colonies, the New England Puritans, and the American Presbyterians.

Clokey, a UPCNA minister writing in 1896, after describing in fascinating detail the introduction and rise of Watts' hymnody within the American Presbyterian churches (he notes the first official recognition of this took place in a report by William Tennent and Aaron Burr, Sr. in 1753 and, although the Directory of Public Worship was amended in 1788 to allow for hymns, Clokey asserts that it was in 1802 that the PCUSA officially embraced Watts' hymns, and offers a heart-felt appeal to return to Biblical Psalmody in Presbyterian churches, albeit, in his preference, revised in more modern language than the 1650 Scottish Psalter: 

"The author of this work—a pastor of more than twenty years in the Presbyterian Church, has witnessed with pain the 'Passing' of the Bible Psalms. Since the beginning of her 'Hymnal' era our Church has been at sea in the matter of her Psalmody. Her authorization of Hymn-Books means nothing to her congregations. For the first time in her history her authority over her Book of Praise is gone, and the people buy their hymn-books where they please.

The Hymnal of 1874 is already worn out, and the Assembly has sent forth a new one, doubtless to meet the fate of the former one.

The people of the Presbyterian Church, who love what is solid and majestic in their sacred songs, miss something in their modern Hymnals. As an old Psalm-singer, the writer would suggest it is the Bible Psalter we miss. Give us back the old Psalms, dressed in the attractive forms of these modern days, as they can be dressed; and winnow away several hundred of the hymns of our present collection, and the Presbyterian Church will do more to settle her churches in the matter of their Psalmody than will all the decrees of her courts.

It may not be out of place here for the author to suggest to the ministry of his own Church that, whilst they are endeavoring so zealously to maintain that form of doctrine which is given in the Old Confession of Faith, their efforts will prove worthless unless they see that the Psalmody of the Church breathes the same evangelical principles.

Few people read the Confession of Faith, but every week the thoughts and doctrines of our Hymns are sung into our ears and hearts; and the faith which will be held in the future will not be that of your Confession and Creed, but of your Hymnology.

At present, when the hymn-writers and hymn-collectors are so thoroughly imbued with the true doctrines of the Bible, nothing but good can result to the members of the Church. But a wave of decadence may sweep over the future Church, as it has often done in the past, when we may bitterly regret that we have lost control over the material of our Psalmody."