From the time of the introduction of Isaac Watts’ psalm paraphrases into the American Presbyterian church in the mid-18th century (see Julius Melton, Presbyterian Worship in America: Changing Patterns Since 1787 [1967, 2001], pp. 11-12), the content of praise in public worship has been a matter of controversy. Though challenged by New School views on worship, the streams of Presbyterianism found among the Reformed Presbyterian (Covenanter), Associate Reformed Presbyterian, and United Presbyterian branches throughout the 19th century were all marked by a consistent desire to sing the Psalms of David in worship. A sampling of their literature on the subject is as follows:
2) Thomas Clark (c. 1720-1792), Plain Reasons, Why Neither Dr. Watts' Imitation of the Psalms, nor His Other Poems, Nor Any Other Human Composition, Ought to be Used in the Praises of the Great God our Saviour (1783, 1828);
3) John Anderson (1748-1830), Vindiciae Cantus Dominici: 1. A Discourse on the Duty of Singing the Book of Psalms in Solemn Worship. 2. A Vindication of the Doctrine Taught in the Preceding Discourse (1800);
6) William Sommerville (1800-1876), The Psalms of David Designed for Standing Use in the Church (1835), republished later as The Exclusive Claims of David's Psalms (1855);
We hope in the future to add to the Log College Press website, Alexander Blaikie (1804-1885), Catechism on Praise (1849, reprinted in 1997 and 2003 by the James Begg Society); as well as John Thomas Chalmers (1860-1902), Ten Reasons Why the Associate Reformed Presbyterian Church Adheres to the Exclusive Use of the Inspired Psalter in the Worship of God (1900).