Erasmus censures the musical practice of the medieval Church from ethical and rhetorical perspectives on music, and highlights decorum in delivery at the liturgical performance. His criticism of instrumental music echoes the patristic views of music, which are essentially logocentric and opposed to the use of musical instruments within the Church. The Erasmian ideal of church musicians lies in the classical model of the sacred-musical orator, with great emphasis on musicians’ moral status and intellectual ability. In relation to music (especially the Psalms) in the context of Christian worship, Erasmus regards music as a ‘spiritual sacrifice’ in which leading godly lives is combined with singing hymns and praises.