The author in his eloquent conclusion anticipates that some will meet his arguments with sneers rather than serious discussion, which he proposes to endure with Christian composure. It is a reproach to our church, which fills us with grief, to find the prediction fulfilled in some quarters. Surely persons calling themselves Presbyterians should remember that the truths they profess to hold sacred have usually been in small minorities sneered at by the arrogant majorities. So it was in the days of the Reformers, of Athanasius, of the Apostles, and of Jesus himself.

The resort to this species of reply appears the more ill-considered, when we remember that Dr. Girardeau is supporting the identical position held by all the early fathers, by all the Presbyterian reformers, by a Chalmers, a Mason, a Breckinridge, a Thornwell, and by a Spurgeon. Why is not the position as respectable in our author as in all this noble galaxy of true Presbyterians? Will the innovators claim that all these great men are so inferior to themselves? The idea seems to be that the opposition of all these great men to organs arose simply out of their ignorant old-fogyism and lack of culture; while our advocacy of the change is the result of our superior intelligence, learning and refinement. The ignorance of this overweening conceit makes it simply vulgar. These great men surpassed all who have succeeded them in elegant classical scholarship, in logical ability, and in theological learning. Their depreciators should know that they surpassed them just as far in all elegant culture. The era of the Reformation was the Augustan age of church art in architecture, painting and music. These reformed divines were graduates of the first Universities, most of them gentlemen by birth, many of them noblemen, denizens of courts, of elegant accomplishments and manners, not a few of them exquisite poets and musicians. But they unanimously rejected the Popish Church music; not because they were fusty old pedants without taste, but because a refined taste concurred with their learning and logic to condemn it.

Dr. Girardeau has defended the old usage of our church with a moral courage, loyalty to truth, clearness of reasoning and wealth of learning which should make every true Presbyterian proud of him, whether he adopts his conclusions or not. The framework of his argument is this: it begins with that vital truth which no Presbyterian can discard without a square desertion of our principles. The man who contests this first premise had better set out at once for Rome: God is to be worshipped only in the ways appointed in his word. Every act of public cultus not positively enjoined by him is thereby forbidden. Christ and his apostles ordained the musical worship of the New Dispensation without any sort of musical instrument, enjoining only the singing with the voice of psalms, hymns, and spiritual songs.* Hence such instruments are excluded from Christian worship. Such has been the creed of all churches, and in all ages, except of the Popish communion after it had reached the nadir of its corruption at the end of the thirteenth century, and of its prelatic imitators.

But the pretext is raised that instrumental music was authorized by Scripture in the Old Testament. This evasion Dr. Girardeau ruins by showing that God set up in the Hebrew Church two distinct forms of worship; the one moral, didactic, spiritual and universal, and therefore perpetual in all places and ages—that of the synagogues; the other peculiar, local, typical, foreshadowing in outward forms the more spiritual dispensation, and therefore destined to be utterly abrogate by Christ’s coming. Now we find instrumental music, like human priests and their vestments, show-bread, incense, and bloody sacrifice, absolutely limited to this local and temporary worship. But the Christian churches were modelled upon the synagogues and inherited their form of government and worship because it was permanently didactic, moral and spiritual, and included nothing typical. This reply is impregnably fortified by the word of God himself: that when the Antitype has come the types must be abolished. For as the temple-priests and animal sacrifices typified Christ and his sacrifice on Calvary, so the musical instruments of David in the temple-service only typified the joy of the Holy Ghost in his pentecostal effusions.

Hence when the advocates of innovation quote such words as those of the Psalmist, "Praise the Lord with the harp," &c., these shallow reasoners are reminded that the same sort of plea would draw back human priest and bloody sacrifices into our Christian churches. For these Psalms exclaim, with the same emphasis, "Bind our sacrifice with cords, even unto the horns of the altar." Why do not our Christian aesthetics feel equally authorized and bound to build altars in front of their pulpits, and to drag the struggling lambs up their nicely carpeted aisles, and have their throats cut there for the edification of the refined audience? "Oh, the sacrifices, being types and peculiar to the temple service, were necessarily abolished by the coming of the Antitype." Very good. So were the horns, cymbals, harps and organs only peculiar to the temple-service, a part of its types, and so necessarily abolished when the temple was removed.

- From A Review Of Girardeau's Instrumental Music in the Public Worship of the Church, by R.L. Dabney

Dabney's Review of Girardeau's Instrumental Music in Public Worship (1889), By Robert Lewis Dabney, Digital Download (Enhanced SWRB PDF)

* Regarding "psalms and hymns and spiritual songs" (Eph 5:19 and Col. 3:16): When these words were written in Scripture only Biblical Psalms were sung in public worship and this practice of exclusive Psalmody continued to be the case for a long time after in church history. Thus, there is no way these words could be referring to uninspired man-made hymns that did not even exist when these words, in the Bible, where written and, on top of that, uninspired man-made hymns did not exist for some time well into the future (see below for more on this point, as well as The Puritans On Exclusive Psalmody (Free MP3s, Videos, Books, etc. - The first video, of only one minute and 38 seconds, at this link, states that the first uninspired man-made hymn did not appear until 221 years, or eight generations, after the death of the last apostle, and it was composed in 321AD by Arius, a major early church heretic.).

Psalm Singing in Scripture & History, by Dr. Reg Barrow
Discusses Reformed worship-song in the context of the regulative principle of worship [Sola Scriptura in Worship]. Defends exclusive Psalmody from Scripture and the writings and testimony of the most prominent Reformers.

Worship: The Regulative Principle of Worship in History, by Dr. Reg Barrow
Discusses the very foundation of all faithful public worship. Dovetails splendidly with John Calvin's Necessity of Reforming the Church.