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 Mediaeval musician historical sketch.!)' 
 
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MEDIAEVAL MUSIC 
 
MEDIEVAL MUSIC 
 
 an "Historical Sftetcb. 
 
 BY 
 
 ROBERT CHARLES HOPE, F.S.A., F.R.S.L., 
 
 Peterkouse, Cambridge ; Lincoln's Inn; 
 Member of the Council of the East Riding of Yorkshire A ntiguarian Society; 
 
 EDITOR OF BARNABIE GOOGE's ( POPISH KINGDOME.' 
 
 AUTHOR OF 
 
 *A GLOSSARY OF DIALECTAL PLACE-NOMENCLATURE,' ' AN INVENTORY OF 
 
 THE CHURCH PLATE IN RUTLAND,' ' THE LEPER IN ENGLAND,' 
 
 'ENGLISH GOLDSMITHS,' 'THE HOLY WELLS OF ENGLAND,' 
 
 ETC, ETC. 
 
 LONDON : 
 ELLIOT STOCK, 62, PATERNOSTER ROW, E.C. 
 
 1894. 
 
 s 
 
PREFACE. 
 
 IN compiling this elementary treatise on 
 ' Mediaeval Music ' many and great diffi- 
 culties have had to be coped with ; to solve them 
 the best authorities have been appealed to, and, 
 where such failed to supply the particular infor- 
 mation sought for, that opinion which on mature 
 consideration appeared most feasible has been 
 given. 
 
 The difficulties in the treatment of the subject 
 have been largely increased by the amount of 
 prejudice and ignorance displayed by many — 
 especially papistical — writers on musical subjects, 
 who have never troubled themselves independently 
 either to trace out or follow up the history of 
 the very interesting subject of ' Mediaeval Music' 
 
 The short chapter on Harmonic or Monodic 
 Music has been inserted with the object of 
 showing in as clear and concise a manner as 
 
vi Preface 
 
 possible the development the science of harmony 
 had attained by the end of the sixteenth and 
 beginning of the seventeenth centuries^, 
 
 Any attempt to elucidate a complex and neg- 
 lected subject like the present one, must of 
 necessity call forth criticism both from those 
 who are capable, and from those whose blind 
 prejudice renders them incapable of expressing an 
 opinion on the subject. 
 
 That this elementary work is perfect is not for 
 one moment claimed, the writer being painfully 
 aware of the inadequacy of his efforts to attain 
 to such a desired result ; the kind indulgence 
 of the press and of the music-loving public for 
 all shortcomings on his part, with a sincere 
 desire to have made a contribution as accurate 
 as possible on a little known subject,, is the desire 
 of. the writer, who, in conclusion, tenders his 
 grateful thanks to Mr. T. L. Southgate and to 
 Dr. Wickham Legg, F.S.A., for looking over 
 certain proof sheets, and to the former, for supply- 
 ing valuable motes on the Music of Egypt' and of 
 the East.' generally, and to the latter for . much 
 learned information and advice .on Liturgical 
 matte'rs generally. 
 
CONTENTS. 
 
 CHAPTER FACE 
 
 PREFACE - - v 
 
 INTRODUCTION ... I 
 
 I. MUSIC OF THE EARLY GREEKS - 14 
 II. THE MUSIC OF ANCIENT EGYPT, AND OF THE 
 
 EAST GENERALLY- - - 20 
 
 III. PYTHAGOREAN SYSTEMS - 25 
 
 IV. THE CHRISTIAN ERA.— PTOLEMY'S IMPROVE- 
 
 MENTS.— SECOND CENTURY 36 
 
 V. THE CHRISTIAN ERA.— CLAUDIUS PTOLEMY TO 
 ST. GREGORY THE GREAT, BISHOP OF ROME 
 590-604 - 42 
 
 VI. ST. GREGORY THE GREAT. — HIS INDIFFERENCE 
 
 TO MUSIC - - 48 
 
 VII. INTRODUCTION OF THE ORGAN. — ITS EFFECT 
 
 ON MEDIAEVAL MUSIC. — A.D. 1 50-1350 - 59 
 
 VIII. MEDIAEVAL ' SYSTEM OF MUSIC, EIGHTH TO 
 
 TENTH CENTURIES - - 74 
 
Vlll 
 
 Contents 
 
 CHAPTER PAGE 
 
 IX. USES OF THE ROMAN, MILANESE AND MOZA- 
 RABIC LITURGIES, EIGHTH TO ELEVENTH 
 CENTURIES - - 92 
 X. TETRACHORDAL AND HEXACHORDAL SYSTEMS 
 OF HUCBALD AND GUIDO ARETINO— TENTH 
 TO THIRTEENTH CENTURIES - - 99 
 XI. MEASURABLE MUSIC. — ELEVENTH TO SIX- 
 TEENTH CENTURIES - - - 114 
 XII. POLYPHONIC MUSIC. — ORGANUM, FABURDON, 
 
 AND COUNTERPOINT - - 1 27 
 
 XIII. MONODIC OR HARMONIC MUSIC - - -137 
 
 NOTES - - - 158 
 
 A. INDEX RERUM - - 166 
 
 B. „ NOMINUM -' - 173 
 
 C. „ LOCORUM - - 177 
 
 D. „ BIBLIOGRAPHICAL - - - 178 
 
Mediaeval Music 
 
 INTRODUCTION. 
 
 ' *" I "HE Romans had no musical system of their 
 J_ own ; they adopted that of Greece, but so 
 misapplied the Greek terms, that to-day they are 
 one of the chief causes of the difficulty in the way 
 of a right understanding and appreciation of the 
 Greek system. Greek music, therefore, cannot be 
 effectually learnt from Roman writers.' One who, 
 perhaps more than any other, has made ' con- 
 fusion worse confounded,' is Boethius, born in 
 Rome 470, died 526 a.d. His tract on music con- 
 tains nothing but matters of mere speculation and 
 theory, translated, often erroneously, or at best 
 not fully, from Greek writers of high antiquity ; 
 his account of the musical systems of Greece is 
 mere chaos, and, to use the words of the late Sir F. 
 
 1 
 
Mediaeval Music 
 
 A. Gore Ouseley, Bart., Mus. Doc, Professor of 
 Music in the University of Oxford, is 'no more 
 useful to a modern musician than Newton's 
 " Principia"to a dancer.' Rockstro, in his ' History 
 of Music ' says of Boethius' treatise : ' Unfortun- 
 ately, this work, though once regarded as an 
 indispensable text-book, is too abstruse and un- 
 practical to render any real assistance to the 
 modern student' (p. 13). He is now fortunately 
 accounted as one whose writings are not to be 
 relied on, and yet, until within a few years ago, 
 his tract of mis- readings on music was a text- 
 book at our Universities for obtaining musical 
 degrees. 
 
 Of the musical histories of Sir John Hawkins 
 and Dr. Burney, from which the padding of so 
 many similar works has been drawn, the late 
 W. Chappell remarked, alluding especially to 
 their accounts of Greek music : ' Sir John had 
 found that he could not understand Greek music ; 
 and my impression is, that he had not learnt the 
 Greek language, which would sufficiently account 
 for it. He therefore contented himself with 
 giving ' an impartial state of the several opinions, 
 that at different times have prevailed among the 
 moderns. He wrote quite unintelligibly for 
 general readers.' Of Burney he said : ' Dr. 
 Burney's system of writing upon ancient Greek 
 music was identical with that of Sir John 
 
Introduction 
 
 Hawkins, so far as reliance upon the moderns to 
 have done all that was possible towards under- 
 standing it.' 
 
 Of Boethius he said : ' The treatise on music 
 by Boethius, upon which Dr. Burney relied, has 
 proved a most unfortunate inheritance for modern 
 Europe. . . . No one scholar ever did, or could, 
 learn anything from it; he was unable to teach 
 that which he did not himself understand ; he 
 took up music simply as a branch of arithmetic. 
 He had no practical knowledge of music ; he could 
 not even tell whether a Greek scale began at the 
 top or the bottom ! the words nete and hypate — 
 " lowest " and " highest " — bewildered him,' which 
 was ' inexcusable because he quotes from the 
 treatise on music by Nicomachus, who fully 
 explains these two words.' Having dispensed 
 with the only sound grammars of Greek music, 
 by rejecting the Greek treatises, Burney's diffi- 
 culties soon began. At p. 17 of his first volume 
 he says : ' The perplexity concerning the scale, is 
 a subject that required more time and meditation 
 than I was able to bestow upon it ' (!). ' He had 
 proved in his first volume that old English print- 
 ing was too much for him to decipher, and what 
 could he do among manuscripts ? The reader 
 who desires to know more of the deficiencies of 
 these, until quite recently considered the two 
 standard historians, should consult the introduc- 
 
Medieval Music 
 
 tion to the very able and exhaustive ' History of 
 Music,' by the late William Chappell, F.S.A., only 
 one volume of which he was spared to complete, 
 and from which the above is quoted. 
 
 A writer in the Sacristy (vol. i., p. 129) states 
 that ' Greek music is an almost insoluble prob- 
 lem. It was complicated to a degree.' He 
 does not, however, make any attempt to solve 
 the problem, maybe for similar reasons to Dr. 
 Burney's. 
 
 So much darkness instead of light having been 
 poured on the subject of Greek music, there is 
 little wonder it should not be understood. With 
 regard to the so-called ' Gregorian ' music the 
 greatest ignorance prevails. Histories after 
 histories of music merely retail to us, without 
 any original research, the old tale of St. Ambrose 
 and St. Gregory's wonderful improvements in the 
 music of the Church. This seems to be the 
 common starting-point of most modern historians, 
 of nearly all newspaper articles, pamphlets, lec- 
 tures, etc., authorities for such statements never 
 being given. 
 
 It would seem a waste of time to attempt any 
 argument with that section of the Modern High 
 Church School who can see nothing ' correct ' 
 unless it is a copy of the Italian Church, whether 
 in music or ritual. 
 
 The English Church — of which we have every 
 
Introduction 5 
 
 reason to be proud — has as fine a music and a more 
 suitable ritual than any the Italian Church can 
 produce. Why, then, should Englishmen be asked 
 to discard that which is national for an importa- 
 tion of a foreign mission ? 
 
 By no possible reasoning can the crude, rude 
 music — adopted at a period when in a state of 
 apparent chaos, from causes explained within 
 these covers — be shown to be the sacred property 
 of the Church. Is it claimed that the state of 
 any art, be it music, painting, sculpture or 
 architecture at any particular period, because 
 made use of by the Church at such time, is the 
 sacred and peculiar property of the Church ? 
 This would infer that any advance which might 
 afterwards be made in one or all of these arts 
 was not so. It would thus divide the arts, not 
 only into two kinds, but into two periods, sacred 
 and secular, ancient and modern, and to make 
 use of one — the sacred property of the Church — 
 for secular purposes, would at least be an act 
 of irreverence, while, on the other hand, to in- 
 troduce into the Church the profane would be 
 desecration ! 
 
 The Church, as is well known, has done more 
 than any power to foster the arts ; she has in- 
 corporated into her buildings and services the 
 most advanced and perfected of everything 
 that the arts can produce. With music every 
 
Mediaeval Music 
 
 advance towards the perfection attained at the 
 present day has been furthered by her ; each new 
 discovery was immediately adopted by her with 
 greediness. The organ was at a very early period 
 introduced into the Church, and mighty efforts 
 were made, often by her own saints, to bring the 
 instrument to perfection, to enable the vocal 
 music of the Church to be accompanied by it. 
 We find the early organ-builders endeavouring to 
 keep pace with the gradual advances made — and 
 incorporated into the services of the Church — 
 from the tenth century, when the first ' accidental,' 
 B flat, was added. 
 
 The attempt to reintroduce the crude chants 
 of the Middle Ages is felt to be unsatisfactory by 
 the very persons — ignorant of their history — who 
 would urge their universal adoption to the exclu- 
 sion of what we may be justly proud of, our 
 National Chant, known as the Anglican Chant ; for 
 we find not only are they compelled to call in the 
 aid of a nineteenth century florid accompaniment, 
 but a host of French and other light ' endings,' and 
 what Sir John Stainer calls ' foliations.' To the 
 Continent recourse is had for the many clever 
 adulterations of ' plainsong,' for which the French 
 and Belgians are justly renowned. 
 
 Antiphons not now being used in the services of 
 the Church of England, these so-called Gregorian 
 chants rarely ever end on their final, and are 
 
Introduction 
 
 therefore incomplete. To hear Psalm lxxviii. 
 with its seventy-three verses, excluding the Gloria, 
 sung in octaves to a chant comprised of four 
 notes, or Psalm cvi. with forty-three verses, to 
 a chant of three notes only, will, it is believed, strike 
 most people as apt to become a trifle monotonous 
 and wearisome. 
 
 Then, again, the inconsistency of the advocates 
 of this music on the grounds of its antiquity, is 
 beyond question by the adoption and use of the free 
 modern accompaniment, an anachronism and a 
 gross incongruity. The late Dr. Dykes said that 
 ' ancient melodies decked out in the license of 
 modern harmonies are revolting,' and so they are. 
 It is the fanciful and erroneous idea as to the 
 origin and use of the miscalled Gregorian music, 
 only, that has secured for the chants a place in 
 the service of the Church of England by a very 
 limited section of the sentimental clergy, who 
 imagine, prejudiced with the aforesaid opinion, 
 that there is some peculiar solemnity attaching to 
 them. That this feeling of solemnity is not 
 general, may be gathered from the expressions 
 regarding them held by men whose opinions 
 are, it will be admitted on all hands, entitled to 
 respect. 
 
 There should be no antagonism between those 
 who favour the Italian and those who favour the 
 Anglican music, each being quite distinct. Anglican 
 
8 Mediaeval Music 
 
 music is music composed by Englishmen, especially 
 for Englishmen, for the services of the Church of 
 England, and has been the music adopted by the 
 Church of England only, of which there is proof 
 beyond a doubt; but as there are clergy in the 
 Church of England who prefer to adopt the ritual 
 and music of the Church of Italy, so are there those 
 whose national and patriotic instincts guide them 
 to adhere to the English ritual — not Sarum — and 
 English music. 
 
 Mendelssohn says : ' I can't help it, but I own 
 it does irritate me to hear such holy and touching 
 words sung to such dull, drawling music. They 
 say it is canto fermo, Gregorian, etc. No matter. 
 If at that period there was neither the feeling, nor 
 the capability to write in a different style, at all 
 events we have now the power to do so, and 
 certainly this mechanical monotony is not to be 
 found in the Scriptural words ; they are all truth 
 and freshness, and moreover expressed in the 
 most simple and natural manner. Why, then, 
 make them sound like a mere formula? and in 
 truth such singing as this is nothing more. Can 
 this be called sacred music ? There is certainly 
 no false expression in it, because there is none of 
 any kind ; but does not this very fact prove the 
 desecration of the words ?' (In one of his letters 
 to Lady Wallace.) 
 
 The late Canon the Rev. Sir F. A. Gore Ouseley, 
 
Introduction 
 
 Bart., M.A., Mus. Doc, Professor of Music at the 
 University of Oxford, and Precentor of Hereford 
 Cathedral, denounced the Plainsong as ' an 
 offence ' unto him. 
 
 The late Sir George Macfarren, M.A., Mus.Doc, 
 Professor of Music at the University of Cam- 
 bridge, and President of the Royal Academy of 
 Music, in his ' Lectures on Harmony,' 2nd edition, 
 p. 12 (Longmans), wrote: 'Those well-meaning 
 men who would resuscitate the standard use 
 of so-called Gregorian music in the Church of 
 England evince mistaken zeal, and false anti- 
 quarianism, illogical deductiveness, artistic blind- 
 ness and ecclesiastical error.' 
 
 The late Rev. Dr. Dykes, M.A., Mus. Doc, 
 described them as ' having had their day.' 
 
 The late Dr. Samuel Sebastian Wesley depre- 
 cated 'the plainsong being intruded into our 
 choirs.' 
 
 The late Professor John Hullah spoke of it as 
 ' strange, dull, uncouth sort of stuff.' 
 
 The following legend is gravely related by Da 
 Corte in his 'Storia di Verona,' p. 107 of the 
 Venetian edition of 1744 : — ' Gregory the Great, 
 to stimulate his devotion, used to visit the graves 
 of the departed. Whilst so engaged, he once saw 
 one of the tdmbs uplifted, and the head of a long- 
 buried man appear, with his pale tongue thrust 
 out, as if in agony. The saint, nothing daunted, 
 
io Mediasval Music 
 
 accosted the spectre, and was informed that he 
 was the Emperor Trajan, condemned to suffer 
 forever for his idolatry. Pitying so illustrious 
 a sufferer, the saint resolved to importune the 
 Divine mercy for him, and succeeded so well that 
 the Almighty at length set the Emperor free and 
 admitted him into Paradise. But, as the course 
 of Divine justice had been interrupted, He resolved 
 to inflict some bodily suffering upon the saint, who 
 had been the means of its interruption, and accord- 
 ingly ordained that Gregory should be afflicted 
 with pain in the abdomen — dolore intestinale — 
 except at such times as he should be occupied in 
 saying Mass. Gregory then bethought himself of 
 some way of avoiding his malady by prolonging 
 the service of the Mass to the utmost extent, and 
 so he instituted the chant called after him 
 Gregorian, which was at first more prolix and 
 dreary than it has since become. Some thought 
 this rather hard of the saint, because this style 
 of the chant, though it would relieve him of 
 his pains, would be very apt to give others the 
 pain in the abdomen from its length and dreari- 
 ness.' 
 
 Another story of the Gregorian chant may 
 not inaptly follow this. A certain prelate having 
 attended service at an English church where this 
 music was in use, was asked afterwards by 
 the Vicar how he had liked the music. ' Oh, very 
 
Introduction 1 1 
 
 well,' was the reply. ' But,' said the Vicar, ' what 
 did you think of the Psalms ?' ' Oh, pretty well,' 
 said the prelate. ' It is traditionally recorded,' 
 said the Vicar, ' that the tones are the original 
 ones to which David composed the Psalms.' 
 ' Really,' replied the prelate, ' you don't say so ! 
 Ah ! then I don't 1 wonder at Saul throwing his 
 javelin at him.' 
 
 Mr. Birbeck's very sensible and pertinent 
 remarks, anent these chants and their place in 
 the Church of England, in the Newbery House 
 Magazine, vol. iii., 596, etc., should be noted. 
 ' They are far from being devoid of interest, but 
 it is not on that account their use should be 
 urged to accomplish the speedy expulsion of 
 all Anglican chants from the services of the 
 Church.' 
 
 The study of the music of the Middle Ages is 
 indispensable to the would-be educated musician ; 
 a just appreciation and true understanding of 
 modern music can only thereby be attained. On 
 the other hand, the systems of ancient music 
 cannot be mastered and understood without the 
 knowledge of the principles on which modern 
 music is grounded. 
 
 ' It is impossible clearly to understand what the 
 established forms of musical structure meant, un- 
 less we knew how they had grown up : history 
 was as much a key to the true philosophy of 
 
12 Mediaeval Music 
 
 music as acoustics, and that both ought to be 
 studied together, as such a mode of study 
 would assuredly clear away many of the fal- 
 lacies by which musical theory was at present 
 encumbered.'* 
 
 Of the many valuable works on mediaeval music 
 now available to the musical and theological 
 student, the publications — which include fac- 
 similes of rare and ancient service books — of the 
 Plain Song and Mediaeval Music Society cannot 
 be too highly recommended. The address of the 
 secretary is 14, Westbourne Terrace Road, W., 
 from whom all information can be obtained. 
 
 The clergy, as a body, to whom the study and 
 knowledge of music, whether Gregorian so-called or 
 Anglican, is of such great importance, nay almost 
 an essential, considering how closely is music 
 interwoven with the services of the Church, rarely 
 ever trouble to learn anything respecting it, taking 
 for gospel any statement or assertion made by 
 members of their own profession, in pamphlets, 
 lectures, or letters in newspapers. Let them read, 
 mark, learn, and inwardly digest, the works of 
 trustworthy musical and liturgical writers, that 
 they may be enabled to see that their choirs are 
 taught to 
 
 Sing with Understanding. 
 
 * Dr. Pole, 'Trans. Mus. Ass.,' 1878-9, p. 97. 
 
Introduction 1 3 
 
 It should not be forgotten that chants, hymns, 
 and services, can be, and are still, as of old, com- 
 posed in these octave scales. It is a mistaken idea 
 that anything written on a stave of four lines in 
 square notes is an old ' Gregorian.' 
 
CHAPTER I. 
 
 MUSIC OF THE EARLY GREEKS. 
 
 MUSIC differs from her sisters of the fine 
 arts in that she is transient, and more 
 nearly connected with pure sensation. Helmholtz 
 observes : 'The sensations of tone are the materials 
 of the art, and, so far as these sensations are 
 excited in music, we do not create out of them any 
 fmages of external objects or actions, nor, apart 
 from words, actions, or association of ideas can 
 emotions be conveyed by music' 
 
 The art is purely conventional, and appeals to 
 the mind in a manner totally different from the 
 other arts. ' Music is incomparably the most 
 original of arts ; it is the pure creation of human 
 intellect. Music is the perfection of an art, for it 
 has no evil tendency ; it also has a far greater and 
 more immediate influence upon the mind than any 
 other art.'* 
 
 Music is based on a trinity — sensation, rhythm, 
 melody — which cannot be divided, else music, as 
 an art, would cease to be. 
 
 * Chappell, ' History of Music,' xlvi. 
 
Music of the Early Greeks 15 
 
 Music is either vocal or instrumental ; the former, 
 a gift inherent in man, is the most ancient, and is 
 more or less at the immediate command of all 
 mankind. Instrumental, on the contrary, is a 
 matter of cultivation, in which a certain amount 
 of technical labour is necessary to overcome 
 mechanical obstacles, before it can be made use 
 of. The three divisions of instruments are pulsa- 
 tile, wind, strings, and the three appear to have 
 been adopted in this order. The wind, it is said, 
 has never been cultivated where the drum, in some 
 form, had not been in previous use, nor the strings 
 where the pipe had not first been adopted. 
 
 The earliest form of music was homophonic, 
 that is, one single part or melody. Helmholtz 
 informs us that this kind still obtains in China, 
 India, and among the Arabs, Turks, and the 
 modern Greeks, notwithstanding the greatly de- 
 veloped systems of music possessed by spme of 
 these people. 
 
 The Pentatonic or five-note scale is the most 
 ancient. It is found not only among the Chinese, 
 but also the other branches of the Mongol race, 
 the Malays of Java and Sumatra, the inhabitants 
 of Hudson's Bay, and of New Guinea, the Fullah 
 negroes, the inhabitants of North Africa and of 
 Abyssinia, the Fijians, Hindoos, Siamese, Afghans, 
 and in Asia generally, also in Mexico, Scotland, 
 and Ireland. It is also said to be the natural 
 
1 6 Medieval Music 
 
 scale with very young children. Olympus intro- 
 duced the Asiatic flute with a scale of five notes 
 into Greece, where the scale was at one period in 
 use.* 
 
 The national instrument of Greece was the lyre 
 or phorminx. It had four strings of equal length, 
 but of varying thicknesses; in the absence of a 
 finger-board, the strings could produce, on being 
 plucked, the notes only to which they were tuned. 
 
 Instrumental solo playing was of purely Asiatic 
 origin, and in this way only was the Greek lyre 
 used ; it never accompanied the voice. Before a 
 recitation, a few notes by way of a prelude or 
 introduction were twanged on it, possibly for the 
 double purpose of arresting the attention of the 
 auditory and of giving the pitch to the reciter. 
 
 Thus was the lyre, and the method of using it, 
 to the time of Terpander, the iEolian, a native of 
 Lesbos, the then centre of Greek civilization and 
 refinement, who flourished c. 780 — 700 B.C. 
 
 Terpander not only increased the number of 
 the notes of the scale, but also the number of the 
 strings on the lyre to correspond to them ; he also 
 introduced great improvements in the manner of 
 using the instrument. 
 
 A period of his life was spent in the service of 
 the priests at Delphi; whilst here he is credited 
 with having been the composer of hymns, called 
 
 * Engel, ' Music of the Most Ancient Nations,' Chapter IV. 
 
Music of the Early Greeks 17 
 
 nomes or laws, because the words were accom- 
 panied with the lyre in a regular and systematic 
 order, a note for every syllable, for the first time.* 
 At another period he visited Sparta, the centre 
 of the Dorian civilization, by request, to reform 
 the music. The Dorian scale he found differed 
 from his own, the jEolian; it comprised the 
 notes E F G A : 
 
 whereas the ^Eolian embraced the notes A B D E : 
 
 m 
 
 — *^. 
 
 To these notes the strings of the respective lyres 
 were tuned. 
 
 It is not unlikely, therefore, that to him is the 
 credit due of joining the two scales at the common 
 note A ; the C in the jEolian portion of this octave 
 scale was omitted, being out of tune, owing to the 
 method in vogue of tuning the lyre, by which the 
 interval from A to C was greater than a major 
 third, whilst the interval from C to E was much 
 less than a minor third. This improved and 
 extended scale of seven notes Terpander applied 
 * Plutarch, ' De Mus.,' 28. 
 
 2 
 
1 8 Medieval Music 
 
 to the lyre of the Greeks by the addition of three 
 strings corresponding to the three notes B D E : 
 
 m 
 
 To Sappho, the poetess (c. 610), of Mitylene in 
 the Island of Lesbos, has been ascribed the 
 introduction into Greece of the Babylonian scale 
 BCD EFG A: 
 
 mi 
 
 formed of two tetrachords conjoined at E ; and also 
 the use of the plectrum.* 
 
 An effort was made to assimilate the symmetry 
 of this seven-note scale of Sappho's. It was 
 accomplished, possibly by Terpander, by lowering 
 B in the highest tetrachord of his seven-note scale a 
 semitone, filling up the gap between B and D, and 
 omitting the upper E :t 
 
 * Plutarch, ' De Mus.,' 16 ; Rowbotham, ' H. of M.,' ii. 136. 
 Suidas, art. ' Sappho.' 
 f Rowbotham, ii. 52. 
 
Music of the Early Greeks 19 
 
 The scale remained in this form to the time of 
 Pythagoras.* 
 
 The method of using the lyre was still further 
 improved by one Archilochus, c. 680 B.C., a poet 
 of Paros, the accredited inventor of the elegy and 
 classic Iambic, a contemporary of Terpander. 
 Part of his life was spent in the gold-fields of 
 Thasos, a small island in the iEgean Sea. Whilst 
 here he was brought into contact with traders 
 from Tyre, in Phoenicia, from whom he obtained, 
 and learnt how to use, an Iambuca, a triangular- 
 shaped instrument, very closely resembling the 
 Egyptian Sambuca. The method of using this 
 instrument differed considerably from the accepted 
 custom of the Greeks with their lyre. The 
 Greeks accompanied the songs note for note with 
 the voice, whereas the accompaniment on the 
 Iambuca was absolutely free and independent of 
 the voice, and was played above it, the melody 
 being in the bass.f 
 
 A true tetrachord with the Greeks always began 
 with a semitone, and proceeded upwards in this 
 order : semitone — tone — tone. 
 
 * Rowbotham, ii. 139. 
 
 f Plutarch, ' De Mus.,' cap. 28. 
 
CHAPTER II. 
 
 THE MUSIC OF ANCIENT EGYPT, AND OF THE 
 EAST GENERALLY. 
 
 THE ancient Egyptians, it is inferred from the 
 contemporary sculptures and representa- 
 tions found in the tombs at Gizeh and elsewhere, 
 were conversant with the diatonic system, prob- 
 ably as much so as we of the nineteenth century. 
 The tombs of the great Pyramid of the kings at 
 Gizeh are as early as the sixth year of Usertesen II., 
 taking us back to a period nearly three thousand 
 years before Christ. 
 
 Actual instruments found also in the tombs, not 
 only support, but prove unquestionably and beyond 
 all doubt this fact.* A pair of double flutes dis- 
 covered in the tomb of the Lady Maket by Mr. 
 Flinders Petrie, F.S.A., whilst excavating in the 
 Fayoum, are fully and admirably described, with 
 illustrations, in the ' Proceedings of the Musical 
 
 * Musical Times, vol. xxxi. 
 
The Music of the East 21 
 
 Association,' 1890-1891, by Mr. T. L. Southgate, 
 who also played upon them at the Royal Academy 
 of Music, to an English audience, some 4,000 years 
 after they had been made. 
 
 Mr. Southgate* proved conclusively, from these 
 and other ancient Egyptian flutes, that the scale 
 of ancient Egypt was the same as our own ; and 
 that long before the Greeks had a scale at all, the 
 Egyptians were using every note which we employ 
 in our modern music. To this wonderful and 
 mysterious people we are indebted for our scale. 
 The Greek philosophers were merely the inter- 
 mediaries in the descent of music, and were not 
 the inventors of the scale as has been commonly 
 supposed. 
 
 Fragments of these may be seen in the Louvre, 
 the British, Paris, Florence and Leyden museums, 
 and illustrations of these instruments will be 
 found in the three volumes on the ' Manners 
 and Customs of Ancient Egypt,' by the late 
 Gardner Wilkinson, and notably in Rosellini's 
 splendid work. 
 
 Their scale is assumed to have been diatonic, 
 whilst for their instruments portions of the Chro- 
 matic and Enharmonic scales were employed. 
 The latter scale comprised two quarter tones in 
 the place of each of the two semitones and a major 
 
 * 'Proceedings of the Musical Association,' 1890-1891. 
 
22 Mediaeval Music 
 
 third in succession.* An account of the wonderful 
 flute found at Akhmin, giving these intervals, has 
 been described by Mr. T. L. Southgate-t 
 
 The musical systems of Babylon, Assyria, 
 Nineveh and Phoenicia, were probably very simi- 
 lar, if they were not identical with that of the 
 Egyptians. 
 
 From the diminutive size of the instruments of 
 the Assyrians, as depicted, it is a reasonable sup- 
 position that they were partial to shrill, high- 
 sounding notes, while the Egyptians, on the other 
 hand, from the ponderous size of the majority of 
 the harps depicted in the tombs, would seem to 
 have favoured deep low sounds. 
 
 The lute or guitar tribe of instruments of 
 Egypt, unlike those of early Greece, were 
 furnished with a finger-board, enabling the sound- 
 ing of two or more notes at one and the same 
 time, as is done on the modern violin and instru- 
 ments of that species in our own day. 
 
 Each separate body of vocal and instrumental 
 performers was, according to the wall pictures, 
 provided with one or more performers keeping 
 time by clapping their hands, a proof that their 
 music was rhythmical. 
 
 The orchestras show combinations of instru- 
 ments of various shapes and sizes of wind and 
 
 * Engel's ' Music of the Most Ancient Nations,' 164. 
 t ' Proceedings of the Musical Association,' 1890-1891. 
 
The Music of the East 23 
 
 string being employed together. This, with our 
 knowledge of their being able to produce different 
 notes simultaneously on their lyres, is fair pre- 
 sumption that harmony was known to and prac- 
 tised by them. 
 
 The diatonic scale of Egypt has been proved, 
 from original instruments found in the tombs, to 
 have been the same as the Babylonian one said to 
 have been introduced into Greece by Sappho* 
 (c. 610), and which was incorporated with that of 
 Greece. 
 
 Egypt, until the reign of Psammetichus I., was 
 as impenetrable to the Greeks as the interior of 
 China is to Europeans at the present day. 
 
 Psammetichus I., 666 — 600 B.C., threw Egypt 
 open to the Greeks, who were not slow to avail 
 themselves of the opportunity afforded them ; and 
 from this period is to be traced the great advances 
 in all those arts and sciences in which afterwards 
 they so signally excelled. 
 
 Can it for a moment be doubted but that the 
 Greeks, having borrowed both the lyre, the flute, 
 and the scale from Egypt, would hesitate to adopt 
 and incorporate into their musical system the 
 ' harmony ' of that people also ? That they did 
 use harmony is certain, but of course it was not 
 so fully and completely developed as is our 
 modern system ; with the finger-board added to 
 * Plutarch, 16. 
 
24 Mediaeval Music 
 
 their lyres they certainly possessed the means of 
 making or combining any notes. 
 
 The harps of Egypt, strange to say, are always 
 represented without a post to support the frame 
 bearing the great strain of the strings* — so their 
 tone could only have been feeble. 
 
 The systems of notation adopted by the Egyp- 
 tians, Assyrians, Hebrews, etc., are unknown. 
 With reference to that of Chaldsea, Sir Henry 
 Rawlinson — en passant — states in his account of 
 the clay tablets found at Nineveh, writing in 
 April, 1853 : ' On the clay tablets which we have 
 found at Nineveh, and which are now to be 
 counted by thousands, there are explanatory 
 treatises on almost every subject under the sun ; 
 the art of writing grammars and dictionaries, 
 notation, weights and measures, divisions of time, 
 etc' 
 
 The Chinese and Japanese use the same dia- 
 tonic scale as we employ, but the music of the 
 Egyptians, Persians, and portions of Turkey in 
 Asia seems to be founded on the Arab scale, which 
 itself is probably derived from the more ancient 
 and complex system of the Hindoos, a system 
 which divides its octave into twenty -two notes. 
 
 * Chappell, 'History of Music'; Gardner Wilkinson's 
 ' Manners and Customs of the Ancient Egyptians,' corrected 
 by S. Birch, 3 vols., 1878. 
 
CHAPTER III. 
 
 PYTHAGOREAN SYSTEMS. 
 
 PYTHAGORAS, the philosopher, born in 
 Samos B.C. 571, died 497, when about 
 twenty years of age went to Egypt and Chaldea, 
 where he spent some years investigating the sub- 
 ject of the immortality of the soul, and other 
 matters. To him has been ascribed a further 
 extension of the Greek scale, and the increasing 
 of the number of strings on the lyre to fifteen. 
 
 The two systems which bear his name are 
 known as (1) the lesser or conjunct, and (2) the 
 greater or disjunct systems. 
 
 The lesser or conjunct system comprised the 
 scale of Sappho, the proslambanomenos or added 
 note below, with the upper tetrachord of Terpan- 
 der's later and improved scale added or conjoined 
 above at 'a,' the tetrachords of Sappho and Ter- 
 pander overlapping and being united or conjoined 
 at E and A : hence the term conjunct : 
 
 _^Jta -g- - - 
 
 m 
 
 :sr_ 
 
 -&- 
 
 =£ 
 
26 Mediaeval Music 
 
 The tetrachords are marked off for clearness. 
 
 The greater or disjunct system consisted of 
 Sappho's scale with the proslambanomenos below, 
 and repeated at the distance of an octave above, 
 forming a complete scale of two octaves. The 
 second and third tetrachords are disjointed at ' a,' 
 hence the term ' disjunct system.' 
 
 
 tl 
 
 -e- 
 
 V 
 
 ■CT" 
 
 These scales were transposed to any pitch 
 required. 
 
 The proslambanomenos, or added note, was a 
 note placed at the bottom of the scale, which 
 although used and counted from, was not reckoned 
 as part of the scale proper, because of the Greek 
 rule, which required that each tetrachord should 
 commence with a semitone. 
 
 Modulation. 
 
 Four kinds of modulation, mutation, or change 
 were admitted :* 
 
 I. Genus, i.e., from diatonic to chromatic or 
 enharmonic. From chromatic to diatonic or en- 
 harmonic. From enharmonic to diatonic or 
 chromatic. 
 
 II. System, i.e.', from the greater to the lesser or 
 lesser to the greater systems. 
 
 * Chappell, 103. Euclid, p. 20. 
 
Pythagorean Systems 
 
 27 
 
 III. Pitch, i.e., usually from a closely allied 'key' 
 by taking the fourth above or below for the new 
 mese or key-note, which necessitated the addition 
 of but one sharp or flat more or less than required 
 by the mode or key from which the transposition 
 was made, as from Dorian to Hypo-Dorian, or 
 Mixo-Lydian modes. 
 
 IV. Melopceia, or change from gay to grave, and 
 so on. 
 
 The ' key-note ' was forbidden, under any 
 circumstances, to be approached by an interval 
 less than a tone. 
 
 ™, , Hyper- ) was used to express the ( above 
 1 ne term HypQ j interval of a fourth j be j ow 
 
 as Dorian E 
 
 Hyper-Dorian A 
 dominant. 
 
 Hypo- Dorian B = 
 nant 
 
 modern sub- 
 
 modern domi- 
 
 The names of the modes were afterwards changed 
 and were known as follows : — 
 Mixo-Lydian =the key of G minor 
 
 Lydian = 
 
 Phrygian = 
 
 Dorian or Hypo- Mixo-Lydian = 
 Hypo- Lydian = 
 
 Hypo- Phrygian = 
 
 Hypo-Dorian = 
 
 When applied to the lyre, the Lydian and Hypo- 
 
 F 
 E 
 D 
 C 
 B 
 A 
 
28 Medieval Music 
 
 Lydian modes were taken a semitone higher, F# 
 and Cjjl minor being their equivalent modes, for 
 reasons explained on page 32. 
 
 Mese. 
 
 The key-note of the Greek modes was called 
 the mese, because, instead of being the first note of 
 the mode or scale, as is customary with us, it was 
 the middle note of the octave, or rather of the scale 
 of seven notes ; the eighth was not counted, 
 being but a repetition of the first note at a higher 
 pitch. From the mese or middle note, the octave 
 was reckoned by counting four notes down, from, 
 and including it, to five notes upwards from it ; thus, 
 in the Dorian mode the mese was G, and the 
 fourth note below and the fifth above it = D, d, 
 and within the range D — d the octave of the 
 Dorian mode lay. 
 
 The mese may be likened to the key-stone in 
 the arch, it holds and binds together the two 
 tetrachords forming the octave. 
 
 But when a scale of two octaves was employed, 
 the term mese, the middle note, was also applied 
 to the note at the junction of the two octaves. 
 Thus, in the Hypo-Dorian mode of two octaves, 
 the note 'a' in the middle of the two octaves extend- 
 ing from A — a — a was called the mese. The mese, 
 therefore, had two meanings : in one case it 
 represented the key-note, i.e., the fourth note, 
 
Pythagorean Systems 29 
 
 and in the other the eighth — the fourth note, how- 
 ever, was still the mese of each of the two octaves. 
 It was, therefore, always the middle note of a scale 
 or mode, and of both single and double octaves. 
 
 'All the supposed inscrutability of the Greek 
 modes rests upon the misunderstanding of this 
 simple point — the difference between a complete 
 Greek scale of two octaves and a single octave of 
 the same. It is that difference only which made 
 them an insolvable riddle to Sir John Hawkins, as 
 well as to others both before and after his time.' 
 ' If the Greeks would but have changed the name 
 of their key-note to one less misleading, when they 
 made their lyres of eight or ten strings, it can 
 hardly be supposed that their system could have 
 remained so long a mystery to the moderns; or 
 that the thorough identity of the Greek with our 
 old minor scale should not have been perceived.'* 
 
 In either case the mese, in its original place — the 
 fourth note— can be found ; in any mode or portion 
 of a mode or octave, it is that note, which, counting 
 from and including it, has the interval of a semi- 
 tone between the second and third notes, both 
 above and below it. The mese being found, the 
 mode of which it is the key-note is always that 
 which lies within the intervals of a fourth below 
 ■and a fifth above it. When the scale includes 
 two octaves, the second octave is but a repetition 
 of the lower one, at a higher or lower pitch. 
 * Chappell's ' H. of M.,' pp. 84-5. 
 
3° 
 
 Mediaeval Music 
 
 3 
 < 
 Pi 
 o 
 < 
 
 u 
 
 
 
 
 OS 
 
 
 
 
 5 
 
 
 
 
 H 
 
 
 
 
 « 
 
 
 
 
 H 
 
 
 
 
 
 
 to 
 
 
 
 
 
 s 
 
 
 
 
 
 
 
 
 h 
 
 w 
 
 C5 
 
 
 5« 
 
 + 
 
 14 
 
 
 LO 
 
 
 « 
 
 
 (T 
 
 CM 
 
 H 
 
 
 O 
 
 en 
 
 
 «U 
 
 *■ 
 
 
 
 
 
 K 
 
 
 
 5* 
 
 w 
 
 ■< 
 
 o 
 
 If} 
 
 H 
 
 K 
 
 
 
 fa 
 O 
 
 3 
 
 
 _ 
 
 Cfi 
 
 H 
 
 
 
 
 > 
 Ph 
 
 
 T3 
 
 n,-. 
 
 < 
 
 
 
 &~ 
 
 55 
 
 
 K 
 
 « 
 
 
 UJ — 
 
 H , 
 
 X 
 
 
 id 
 
 + * 
 
 =H 
 
 
 hJ 
 
 
 a 
 
 
 
 
 
 
 *~ 
 
 is 
 
 
 
 w 
 
 < 
 o 
 en 
 
 M 
 a 
 a 
 
 O 
 
 H 
 ►J 
 
 n 
 H 
 
 Ed 
 > 
 
 ■< 
 « 
 
 CM 
 
 S 
 o 
 CJ 
 
 + 2 £ 
 
 in 
 
 L 
 
 
 » P. H 
 
 § =3 
 
 •UOuaunnauAg 
 
 "OS 
 
 £ S -a 
 a p. H 
 
 S3 
 
 a. 
 
 «o 
 
 e5 
 
 i 
 
 •o 
 
 Xt 
 
 II 
 
 (4 
 
 
 V 
 
 a 
 
 S 
 
 B 
 
 
 o 
 
 J5 
 
 CI 
 
 « 
 
 EL, 
 
 1 
 
 Pi 
 
 
 *8 18 
 
 - SI 
 
 "SI 
 
 . 0) 
 
 S ° 
 
 2 ** 
 
 .2 bO 
 O to • 
 
 a 
 
 * "2 "5 
 
 S-a 
 o " 
 
 M° 
 
 - s 
 
 "c 
 a) S 
 
 o b w q u ca «s 
 
 ■spjoqDM»3X 
 
 I 
 
 I. 
 
 •uosapi *uo5EcLtjj 
 
 O u- w D u n < 
 
 a b 
 
 o b u q u n 
 
 b U 
 
Pythagorean Systems 31 
 
 The semitones, it will be observed in Diagram A, 
 occupy the first place, that is, they occur at the 
 beginning of each scale, and of all the above 
 tetrachords forming the scale, the proslambano- 
 menos not being reckoned as a note of the scale, 
 though used. The white keys of our organs, 
 A, B, C, D, E, F, G, form the intervals of the 
 ancient Egyptian and Greek diatonic scale. 
 
 The diagrams of Alypius, of Claudius Ptolemy* 
 and others, down to that of Boethius, all alike 
 prove that one Greek scale differed from another 
 in nothing but pitch. ' The tones,' says Bryennius, 
 ' differ from one another in no other respect than 
 in their positions as to acuteness and gravity, as 
 has already been shown.' Kal yap ovSevl irepcp ol 
 tovol aKKrjXav Sievrjvo^acriv, el firj r<p re o^uripip 
 Kal /3apVTe£a> Toirto t?)s re da>vfj<; Kal rod opyavov a><? 
 iv tot? e/wrp'o? 8ev SeSei/CTai.f 
 
 Method of Tuning the Lyre. 
 
 When tuning the octave, or seven-stringed lyre, 
 the Greeks had a rule that the first string should — 
 no matter what the mode was — be constant ; it 
 never varied, somewhat after the custom we have 
 of tuning one of the strings of our violins and 
 other instruments of that class to A, from which 
 all the other strings are then regulated. 
 
 * Harmonicorum Libri tres ex Codd MSS., ed. J. Wallis, 
 Oxonii, 1682, 4to. 
 
 f Bryennius, p.48i,fol., Wallis's ed.; Chappell, i. 115-116. 
 
32 Mediaeval Music 
 
 The first or lowest string of the lyre is usually 
 taken to have been A, and the other strings were 
 tuned from it. To obviate the difficulty with the 
 Lydian and Hypo - Lydian modes which re- 
 quired the A to be flat, these modes, as before 
 mentioned, were taken a semitone higher in Fjf 
 and Cti minor respectively. 
 
 Now, it is obvious that with the first string 
 always tuned to A, one only of the modes could 
 ever be applied to the lyre in its entirety. What 
 was done, therefore, was this : that portion of each 
 mode was taken, starting from A and proceeding 
 upwards, and applied to the lyre, or rather the 
 strings of the lyre were tuned to correspond with 
 the notes of the particular mode from this point 
 upwards : the portions of each mode below A and 
 above g or a had of necessity to be omitted. 
 The diagram B, p. 34, explains this clearly. 
 The only mode which could be applied in its 
 entirety was the Hypo-Dorian. The vertical lines 
 contain the limited portion of each mode which it 
 was possible to transfer to the lyre. 
 
 The semitones in the modes never varied ; they 
 always occurred between the first and second 
 intervals, excluding the proslambanomenos, and 
 between the fourth and fifth. 
 
 In the diagram, it will be seen that in those 
 portions of the modes between the vertical lines 
 to which the lyre was tuned, the semitones occur 
 
Pythagorean Systems 3 3 
 
 in different places in each. Now, if these portions 
 are transposed to the key of A minor they appear 
 as in the diagram C. Compare these with the 
 mediaeval modes in Chapter VIII., which have 
 not, however, the same names. The names to 
 the modes under (1) are the true Greek names, 
 those under (2) are the false Greek names given 
 to the Mediaeval modes by. Glareanus, born 1488, 
 died 1563: It will be seen there is no -affinity 
 between them, except with the Hypo-Dorian mode. 
 The Dorian mode always occupied the middle 
 of the system of modes. Each transposition, 
 vvhich we term key, bore the name of some 
 Greek province. 
 
 If the method of tuning the lyre, as above de- 
 scribed, is clearly understood, it will be obvious how 
 great would be the confusion caused by taking 
 the portions of the true scales on the lyre to be the 
 complete scales themselves. A careful study of 
 the diagrams B and C should render any such 
 course an impossibility. One continuous proof 
 runs throughout all ancient treatises on Greek 
 music, that every mode or scale was tuned in 
 precisely the same way, viz., always to its own 
 mese or keynote. For that reason alone it must 
 have been identical as to intervals, just as are 
 modern scales.* 
 
 * Chappell, 115. 
 
34 
 
 Medieval Music 
 
 -rrn rrm 
 
 CI 
 
 i 
 
 < 
 
 Q r 
 
 < 5 <& 
 
 
 ^5} 
 
 =*t*t : 
 
 
 * 
 
 .A 
 id 
 
 
 ►Si 
 
 lM)1roifft^tl# 
 
 so 
 
 i 
 
 .1 
 
 * 
 
 § 
 
 
 s 
 
 I 
 
 K»A 
 
 I 
 
 i 
 
 J* 
 
 -Si a 
 ag 
 
 £■§ 
 .1.2 
 
 o 
 
 u . 
 c >> 
 
 CO 
 
 •U CD 
 
 . C - C 
 
 ■;T3 
 
 
 
 •■§ £-" 
 & a » _ 
 
 a> *^ w 
 o c g 
 
 
 
 = 33 
 
 y <U « 
 u) .CO 
 
 1" 
 
 s v 
 
Pythagorean Systems 35 
 
 DIAGRAM C. 
 
 The portions of each scale which could alone be pro- 
 duced on the Lyre. 
 
 Portion on the Lyre. 
 
 The same transposed to 
 the key of A minor. 
 
 w 
 
 te=?= 
 
 ~^P* a Z 
 
 m 
 
 i^m? 
 
 m 
 
 feZ2-" 
 
 -&- 
 
 ^s-^ar 
 
 m 
 
 ^z=U== ^=^-- 
 
 ^r 
 
 ^ 
 
 w 
 
 & 
 
 ~^z=>- 
 
 -&-&_ 
 
 221 
 
 -&■ 
 
 "22: 
 
 -zr-s^ 
 
 m 
 
 ^532 
 
 ■&lt 
 
 .H^t= 
 
 -n-e*— 
 
 ,-©• 
 
 B 
 
 &^T&-& 
 
 ^ 
 
 s>=-" e- 
 
 22-:=S=E= 
 
 :d$&\ 
 
 $ 
 
 ZSSl 
 
 ~S1 ZZZZl 
 
 -==&zr°zr 
 
 The small lines under the notes mark the semitones. 
 
CHAPTER IV. 
 
 THE CHRISTIAN ERA. — PTOLEMY'S IMPROVE- 
 MENTS. — SECOND CENTURY. 
 
 THE greatest of all improvements was made in 
 the second century of the Christian era by 
 Claudius Ptolemy, an Egyptian mathematician, 
 born at Pelusium, who flourished 139 a.d. He in- 
 sisted on a scale of not less than two octaves,* 
 and rejected, therefore, the lesser system of 
 Pythagoras,f and adopted the greater system ; and 
 here was the great improvement, which has con- 
 tinued to the present time. The tones in both 
 the octaves were all major, and consequently 
 sounded very harsh; he therefore ruled that the 
 tones between the intervals of the fourth and fifth, 
 and between the seventh and eighth, including 
 the proslambanomenos, should be minor. This 
 order of major and minor tones produced an effect 
 exactly the same as our old or true minor mode 
 does when played in tune. 
 
 * Chappell, 93. t Ibid., 92. 
 
The Christian Era 
 
 37 
 
 A — B = major tone, f 
 B — C = semitone, ££ 
 C — D = major tone, f 
 D — E = minor tone, V 
 E — F = semitone, ^| 
 F — G = major tone, £ 
 G — A = minor tone, -V 1 
 
 (3 major tones 
 2 minor tones 
 2 semitones 
 
 The seven notes 
 of the diatonic 
 scale. 
 
 These eight modes of Ptolemy's were formed 
 by a series of six perfect fourths, taken upwards, 
 or of perfect fifths downwards, starting from any 
 note of the diatonic scale, and arranged in alpha- 
 betical order from the lowest note upwards, with 
 the proslambanomenos placed a whole tone be- 
 fore this lowest note. Example : Let B equal 
 the note, then B to E, E to A, A to D, D to G, 
 G to C, C to F=B C D E F G A; place the 
 proslambanomenos a whole tone below B, and 
 the result is this scale, ABCDEF G A, or the 
 first octave of the Hypo-Dorian mode. 
 
 The diagram D, p. 39, founded upon one by 
 Zarlino, shows the perfected system of Ptolemy in 
 a clear manner. 
 
 The difference between a major tone and a 
 minor tone is |£. The upper note in a major 
 tone has nine vibrations to every eight of the lower 
 note, hence a major tone=f, while in a minor 
 tone the proportions are ^, and 1x^=1^. 
 
 The diminishing of the interval between the 
 seventh and eighth degrees of the octave, from a 
 major to a minor tone, was the first step towards 
 
38 Mediaeval Music 
 
 the ultimate substitution of a semitone for a tone 
 between the interval of the seventh and eighth, 
 which modern music for some reason deems a 
 necessity (Chappell and others). 
 
 Lines and spaces, clefs and notes, as we under- 
 stand the terms, were unknown prior to the 
 twelfth century. 
 
 The major scale does not appear to have been 
 generally adopted before the latter part of the 
 sixteenth century. 
 
 Ptolemy, to bring the octave of all the modes into 
 the middle of the voice, lowered or transposed 
 the seven scales — the eighth being but a repetition 
 of the first at a higher pitch — a fourth downwards. 
 The diagram E pp. 40-41 contains, side by side, 
 for clearness, the positions of the original and 
 transposed scales at the interval of a fourth. 
 
 This lowering of the strings necessitated the 
 use of either larger instruments or thicker strings. 
 The vertical lines mark off the portion of the 
 modes which could be accompanied on the lyre. 
 
 The proslambanomenos still appears as if it were 
 a part of the system, and consequently the semi- 
 tone in each of the two tetrachords forming the 
 two octaves, seems to occur between the second and 
 third degrees of the scale— A B C D, D E_F G. 
 
 The tendency to move the semitone upwards, 
 and the various attempts made to accomplish this, 
 form not one of the least interesting subjects for 
 observation. 
 
The Christian Era 
 
 39 
 
 Ptolemy's Perfected Greek System. 
 The Syntonus or Intense Diatonic. 
 
 {■greater semitone in the ratio of \%. 
 The diatonic tetrachord = -J a major tone ,, ,, £• 
 
 la minor tone „ ,, V- 
 
 The diapason = an octave (dia, through ; pason, all), in the ratio 
 
 off. 
 The diapente = a fifth (dia, through ; pente, five), in the ratio 
 
 of|. 
 The diatessaron = a fourth (dia, through ; tessaron, four), in the 
 ratio off. 
 
 DIAGRAM D. 
 
 H.DORjAgp 
 
 fr 
 
 B 
 A 
 
 C 
 
 B" 
 
 D 
 C 
 
 E 
 
 
 F 
 
 E" 
 
 G 
 F 
 
 LYDIAN 
 
 F» 
 
 G» 
 
 A 
 
 B 
 
 C» 
 
 D 
 
 E 
 
 PHRYGIAN 
 
 E 
 
 ?* 
 
 G 
 
 A 
 
 B 
 
 C 
 
 D 
 
 DORIAN 
 
 D 
 
 E 
 
 F 
 
 G 
 
 A 
 
 B b 
 
 C 
 
 H.L 
 
 C» 
 
 D« 
 
 E 
 
 F» 
 
 G» 
 
 A 
 
 B 
 
 H.P 
 
 B 
 
 C* 
 
 D 
 
 E 
 
 F* 
 
 G 
 
 A 
 
 H.O 
 
 A 
 
 B 
 
 C 
 
 D 
 
 E 
 
 F 
 
 G 
 
 \ 
 
 A 
 G 
 
 F» 
 E 
 D 
 C* 
 
 B 
 
DIAGRAM E. Eight j 
 
 Original Pitch. 
 
 Hypo-Dorian. 
 
 m 
 
 i 
 
 slB. 
 
 ^^^ 
 
 ZZ2Z 
 
 Mixo-Lydian. 
 
 ^ 
 
 V>*^- a . \ , 
 
 s 
 
 isi^: 
 
 =PZ 
 
 Lydian. 
 
 ^ fcziz^ ^ 
 
 I 
 
 ¥ 
 
 =§?= 
 
 5^^ 
 
 Phrygian. 
 
 <&% ~^g 
 
 i 
 
 Eij|s 
 
 Dorian. 
 
 m 
 
 ■Aw-g-Q 
 
 ^©^ 
 
 i>©-<=- 
 
 19- 
 
 £ 
 
 Hypo-Lydian. 
 
 ^gjglg g 
 
 -^%#f 
 
 ife 
 
 «BI 
 
 Hypo-Phrygian. 
 
 Si 
 
 fe-a 
 
 33^ 
 
 ^=P* 
 
 i 
 
 pip 
 
 ■^: i« sz 
 
 Hypo-Dorian. 
 
 m 
 
 i 
 
 fc=^ 
 
 714* asterisk denotes ti 
 The rule for finding the mese, and thei 
 
s of the Greek Lyre. 
 
 As transposed by Claudius Ftolemy. 
 
 d^ 
 
 ^a^^l 
 
 I 
 
 -r ^ZZ 
 
 Ifo*^ 
 
 M 
 
 * J*?^ 
 
 fc" „ rz PO & 
 
 -&- 
 
 w^^^ 
 
 dfc± 
 
 ^El 
 
 m 
 
 && 
 
 m=^ 
 
 $m 
 
 =§£= 
 
 m 
 
 #== 
 
 ^ 
 
 -4s= 
 
 I 
 
 ®fiE?E 
 
 PS 
 
 flhr^: 
 
 3feft# 
 
 gffe^jgg 
 
 teiMfe 
 
 z*» 
 
 4* 
 
 PP 
 
 1^ 
 
 fc^ 
 
 -Sfe** 
 
 tt 
 
 ' ffU^-g fc 
 
 22^ 
 
 f ^ 
 
 £EEpZ 
 
 £-^ 
 
 «-«=-" 
 
 OE 
 
 ; ; s=2z 
 
 23^ 
 
 •©- 
 
 « «• key-note of the mode. 
 
 sy, is described in Chapter III., p. 28. 
 
CHAPTER V. 
 
 THE CHRISTIAN ERA.— CLAUDIUS PTOLEMY TO ST. 
 GREGORY THE GREAT, BISHOP OF ROME 59O- 
 604. 
 
 Antiphonal Singing. 
 
 ANTIPHONAL singing was essentially anti- 
 Greek, introduced from Jewish and Syrian 
 customs ; witness the tradition which ascribes its 
 introduction to St. Ignatius of Antioch, who was 
 martyred about a.d. 107. It appears to have been 
 incorporated into the service of the Church so 
 early as no A.D. ; for Pliny the younger, who in the 
 second century had been appointed Pro-consul of 
 Bithynia, reporting to the Emperor Trajan con- 
 cerning the Christians, declared that, having 
 examined many of them, he found the chief of their 
 faults or errors was that they were ' accustomed to 
 meet before daylight on a certain day and sing 
 among themselves alternately — secum invicem — a 
 hymn to Christ as God.' 
 
 St. Irenaeus, a native of Asia Minor, and Bishop 
 of Lyons in Gaul 177, is said to have intro- 
 
The Christian Era 43 
 
 duced into his diocese a Liturgy called by some 
 the Ephesine Liturgy, but which is better known 
 as the Old Gallican Liturgy, and there is some 
 evidence that this Old Gallican Liturgy was used 
 in the British Isles before and after the coming 
 of St. Augustine in 596 ; St. Ignatius is reputed 
 to have introduced antiphonal singing into the 
 musical services of the Gallican Church in the 
 West* 
 
 Sylvester, Bishop of Rome 314-336, is supposed 
 to have been the first to found singing schools at 
 Rome, and in several towns where the Christian 
 religion had become implanted. 
 
 During the episcopacy of Leontius, the semi- 
 Arian, c. 350, who organized processions through 
 the city, crying out, ' Where are they who assert 
 that the Son is as great as the Father ?' and 
 singing, ' Glory be to the Father, in the Son, and by 
 the Holy Ghost,' there were also in Antioch two 
 laymen, of great repute for the sanctity of their 
 lives, afterwards consecrated, the one Flavian, 
 Bishop of ■ Antioch, and the other Diodorus, 
 Bishop of Tarsus. These holy men endeavoured 
 to counteract the heresy of Leontius and his 
 following, and, to further this end, organized 
 counter-processions, going about the city, after 
 the manner of the Arians, carrying lighted tapers 
 in their hands, walking in couples, and singing, 
 * Hawkins, i. 105. 
 
44 Mediaeval Music 
 
 ' Glory be to the Father, and to the Son, and to 
 the Holy Ghost,' thus giving, as the Church has 
 ever since, equal glory and praise to the three 
 Persons in the one blessed and ever undivided 
 Trinity. The method of singing was antiphonal, 
 the men singing one verse, the boys responding. 
 This antiphonal singing was exceedingly popular, 
 and became almost universal.* Its popularity is 
 said to have materially aided in drawing the people 
 from their attendance at the heretical services of 
 Leontius, the singing captivating the people. 
 
 St. Basil, Archbishop of Csesarea 371, d. 379, 
 was partly educated in Athens, where he became 
 acquainted with the antiphonal method of singing 
 known as the Alexandrian style, which was rather 
 speaking than singing, through the example of 
 St. Athanasius. He introduced the melodies of 
 the chanters of Antioch, and antiphonal singing 
 after the model of the singing in Egypt, Lydia, 
 Thebes, Palestine, and amongst the Arabians, 
 the Phoenicians, Syrians, and Mesopotamians, 
 into the 150 sees in his province on sandy Csesarea. 
 To this and other innovations some of his clergy 
 — notably Sabellus and Marcellus— in 363 ob- 
 jected, and took 'occasion to incense the Church 
 
 * Full authorities on the point of antiphonary and anti- 
 phonal singing are given p. 11, Chappell's ' H. of M.' Greek 
 antiphonal is our congregational singing ; where men sing, 
 naturally, the corresponding sounds an octave below women 
 and children. 
 
The Christian Era 45 
 
 against him, as having been the author of new 
 devices in the service of God.'* 
 
 Damasus, Bishop of Rome 367-384, introduced 
 the custom of chanting, instead of reciting the 
 Psalms, into the Western Church and ordered 
 they should terminate with the Gloria Patri, etc. 
 
 St. Ambrose, once the governor of Liguria, 
 and who began life as a Roman magistrate, 
 became the eighth day after his baptism Bishop 
 of Milan, in the north of Italy, 374, being then 
 thirty-four years of age ; he died 398. He had a 
 great admiration for St. Basil, whose music and 
 antiphonal method of singing he introduced into 
 Italy. 
 
 He is frequently quoted, without any authority 
 whatsoever, as having founded, or introduced, a 
 system of music peculiar in its use and adoption 
 by the Church, fancifully called Ambrosian music, 
 or the use of Milan. 
 
 St. Ambrose never claimed such honour ; on the 
 contrary, in a letter to his sister, St. Marcelona, 
 he wrote that he merely wished to take upon 
 himself the task of regulating the tonality, and the 
 mode of execution of the hymns, psalms, and 
 antiphons, that were sung in the church which he 
 had founded at Milan. 
 
 There is some probability that his task consisted 
 
 * Hawkins (Novello's ed.), i. 106 ; ' Vales, in Socrat.,' 
 lib. iv., cap. xxvi. 
 
4.6 Mediaeval Music 
 
 in the introduction of instrumental music as well 
 as antiphonal singing into his diocese ; he also 
 ordained that the psalms and hymns should be 
 sung after the style of the oriental churches, as St. 
 Basil had done. 
 
 St. John Chrysostom 380, died 407, was 
 ordained deacon by Meletius, and priest or pres- 
 byter by Flavian, Bishop of Antioch. He was 
 consecrated Archbishop of Constantinople 380, 
 in which place he introduced the antiphonal sing- 
 ing and ceremonial of Antioch. 
 
 The ' Te Deum,' set to music, and known as the 
 Ambrosian ' Te Deum,' was not the work of St. 
 Ambrose.* The hymn itself did not exist until 
 long after the deaths of St. Ambrose and St. 
 Augustine. 
 
 St. Celestine, Bishop of Rome 422-432, is 
 said to have ordained that the psalms should 
 be chanted through at the beginning of, or rather 
 before, Mass, in the course of the year, by taking 
 sometimes one and sometimes another ; and they 
 were called the Introits, because sung whilst the 
 priest entered, after vesting, and were sung 
 antiphonally, one side of the choir responding to 
 the other. 
 
 The early Christians, having adopted the anti- 
 phonal method of singing in use in Antioch, and 
 
 * Hawkins' ' History of Music,' vol. i., p. 107, note a ; 
 Novello's edition. 
 
The Christian Era 47 
 
 introduced it into the West, made use of also, 
 there can be little doubt, the musical system of 
 Greece as finally settled by Claudius Ptolemy. 
 
 The musical system, as arranged by Claudius 
 Ptolemy, was common to the Church, the theatre, 
 and to the laity generally, with such modifications 
 as we shall presently see. 
 
CHAPTER VI. 
 
 SAINT GREGORY THE GREAT. — HIS INDIFFERENCE 
 TO MUSIC. 
 
 TO St. Gregory I., the Great, Bishop of Rome 
 590-604, is ascribed by writer after writer, 
 musical historian after historian, none ever quoting 
 an authority in proof of their assertions or in sup- 
 port of them : 
 
 (1) The compilation of an Antjphonary. 
 
 (2) The founding of a musical school in Rome. 
 
 (3) The invention, or arrangement or re- 
 arrangement of a system of music peculiar to the 
 Church. 
 
 (4) The introduction of a system of notation by 
 means of Roman letters. 
 
 These fictions on examination vanish, like 
 smoke, into thin air. 
 
 (1) Did St. Gregory compile an Antiphonary ? 
 
 Platina,in his ' Lives of the Popes,' who en passant 
 does not mention or connect any Antiphonary with 
 St. Gregory the Great, informs us that Melchiades, 
 who was Bishop of Rome, 311-314, ordained, that 
 no Christian should keep a fast upon a Sunday or 
 
St. Gregory the Great 49 
 
 a Thursday, because those days were so observed 
 and kept by the pagans. 
 
 In the year 589 the Council of Narbonne, by 
 Canon XV. solemnly condemned the observance 
 of Thursdays by the Church in any way, because 
 that day was held sacred to Jupiter, and so kept 
 not only by the pagans, but by many of the 
 Christians also. 
 
 This prohibition remained in force until the 
 episcopacy of Gregory II., who occupied the See 
 of Rome, 716-731. This prelate enjoined the 
 celebration of the sacred rites on the Thursdays in 
 Lent only. 
 
 How remarkably this last detail is confirmed by 
 the Liturgical books, has been well pointed out 
 by Mons. Gevaert.* The Gelasian Sacramen- 
 tary, at the end of the seventh century, does not 
 provide a single Mass for any one of the Thursdays 
 in Lent, and yet in that ascribed to St. Gregory I., 
 at a time, too, when the observance of these days 
 was solemnly forbidden, we find a Mass assigned 
 to each, and the music apportioned to them is not 
 new, but is borrowed from the Sundays after 
 Trinity, or as they are termed in the Roman 
 service books, ' after Pentecost ;' they had no place 
 in the Gelasian Sacramentary, being unknown 
 until the end of the seventh or beginning of the 
 
 * ' Les origines du Chant Liturgique de l'^glise latine,' 
 1890. 
 
50 Mediaeval Music 
 
 eighth century. Trinity Sunday was not invented 
 till the eleventh or twelfth centuries. 
 
 The fact that the music was borrowed from pre- 
 existing offices for the Sundays after Pentecost, 
 and not new composed for these Thursday Masses, 
 is reasonable proof that few, if any, melodies were 
 composed under either Gregory II. or Gregory III. 
 The Masses from which those for the Thursdays 
 in Lent borrowed their music do not, as before 
 stated, appear in the Gelasian Sacramentary, and 
 therefore were not in existence before the close ot 
 the seventh century. 
 
 St. Gregory I. has left us, in addition to a large 
 number of theological tracts and homilies, a 
 voluminous correspondence, including no less 
 than 800 letters, covering the whole of the public 
 as well as private life during his thirteen years' 
 episcopacy. In these there is not a single line, 
 allusion, or hint of any kind respecting either the 
 chant of the Church or of an Antiphonary. 
 
 Of ancient writers, there is but one, and one 
 only, who attributes the compilation of an Anti- 
 phonary to St. Gregory I. — John the Deacon, who 
 flourished c. 880, that is, about 286 years after the 
 death of Gregory I., whose assertions have re- 
 mained uncorroborated to this day. 
 
 There is not an allusion in either the epitaph of 
 Gregory, nor the description of the Liber Pon- 
 tificalis, nor in any biography or eulogium of him. 
 
St. Gregory the Great 51 
 
 Isidore of Seville, Bp. 601, d. 636, his contem- 
 porary, the Venerable Bede d. 735 in the next 
 century, Paul Warnefried under the Emperor 
 Charles the Great — do not make the remotest 
 mention of or allusion to it. With regard to 
 Isidore and Bede, who were so much interested 
 and concerned with the Liturgy, both of them 
 being also musical writers, the silence is more 
 remarkable and significant. 
 
 The attribution of the Antiphonary to St. 
 Gregory I. rests then on the sole and uncorro- 
 borated statement of John the Deacon; save 
 this one, all are silent on the matter. 
 
 The first record we have of the existence of an 
 Antiphonary is that of Paul I., Bishop of Rome 
 757-767, who sent one to Pippin, father of Charles 
 the Great, in 760, in which the music for the great 
 festivals is of the same character as that for offices 
 only introduced in the time of Sergius I., Bishop of 
 Rome 687, d. 701, who was a native of Palermo, of 
 Syrian parentage, and became master of the Choir 
 School at Rome. It is to him that Mons. 
 Gevaert attributes the principal part in the com- 
 posing of these melodies, which were afterwards 
 collected and edited, he believes, by Gregory III., 
 Bishop of Rome 731-741. 
 
 The documents from which John the Deacon 
 bases his assertions do not in any particular agree 
 with the calendar of the time of Gregory I., 
 
52 Mediaeval Music 
 
 whereas they do with that of the Roman Liturgy 
 at the beginning of the period 750. In con- 
 sequence, the compilation of the Roman Anti- 
 phonary is antedated more than a century, and 
 therefore, says Gevaert, ' if the epithet " Gre- 
 gorian " has any real import, it implies that of 
 Gregory II., Bishop of Rome 715-731, or, with 
 more reason, to his successor, Gregory III., 731- 
 741.' 
 
 (2) The founding of a musical school in Rome 
 by St. Gregory I. may, in the absence of one 
 tittle of evidence other than that of the romancing 
 John the Deacon, be dismissed at once as a 
 fable. 
 
 (3) It seems hardly necessary to discuss 
 seriously the question of his having invented, im- 
 proved, or arranged any system of music, peculiar 
 or otherwise to the services of the Church, after 
 what has been stated above ; suffice it to add that, 
 in support of any such theory, of proof there is 
 none of any kind. On the contrary, St. Gregory I. 
 appears to have been very indifferent to, and to 
 have taken the very slightest interest in, Church 
 music. 
 
 In a synod of 595, he says : ' In this Holy Church 
 of Rome, which Providence has placed under my 
 direction, it has for a long time been a repre- 
 hensible custom, and worthy of note, for the 
 sacred ministry of singers, before entering into 
 
St. Gregory the Great 53 
 
 Deacon's orders, to devote their whole time to the 
 cultivation of their voices, altogether neglecting 
 their office of preaching and of the distribution of 
 alms ; and the priests, each cultivating his organ 
 to attain an edifying voice, irritating God, while 
 they please the people with their accents,' he 
 decrees ' that the Deacons shall not sing at all, 
 except in the recitation of the Gospels in the 
 Masses. As for the chants of the Liturgy, they 
 shall be executed by the Sub-Deacons, or, if 
 necessary, by the clerks of inferior degree.'* 
 
 (4) The invention of any system of notation 
 cannot be attributed to St. Gregory I. Isidore, 
 his contemporary, distinctly declares that no means 
 of recording music existed in his day, and further 
 that, ' unless sounds are retained in the memory, 
 they perish, because they cannot be written. 't 
 Amalarius Fortunatus, a principal ecclesiastic in 
 the chapel of Lewis the Debonnaire, who was sent 
 by Lewis to request of Gregory IV., Bishop of 
 Rome 827-844, a sufficient number of singers to 
 instruct , the people, tells us that ' neither were 
 there in Gaul or at Rome any books wherein it ' 
 — the chant — ' had been written.' 
 
 It is certain, therefore, that the music known 
 under the erroneous terms 'Church music,' or 
 
 * Gevaert. 
 
 t ' Nisi enim ab homine memoria teneantur, soni pereunt, 
 quia scribi non possunt.' — Bk. iii., ' Origines] or 'Etymologies.' 
 
54 Mediasval Music 
 
 ' Gregorian,' was the invention of neither St. 
 Gregory nor any other one man, but a recognised 
 system, of gradual growth and development, the 
 heritage of Church and lay folk alike. 
 
 It is quite a mistake to suppose that what is 
 called ' Gregorian music ' is of the age of St. 
 Gregory. The word means nothing more than 
 the ' use of Rome.' ' Nos Gregoriani et nos 
 Ambrosiani,' ' We who follow the use of Rome, 
 and we who follow the use of Milan.'* It is more 
 than probable, almost certain, that the system of 
 music to which St. Gregory's name has, without 
 any reason, been assigned, came into existence 
 between the eighth and tenth centuries. It was 
 unknown in the days of Hucbald or of Notker, 
 the monk and abbot of St. Gall, in the tenth 
 century. Hucbald distinctly states that his tetra- 
 chords have the same succession of intervals, 
 whether taken up or down — see Chapter IX. 
 Notker says, in his ' De Octo Tonis,' that every 
 chant of the first and second tones ends in B, of 
 the third and fourth in C, of the fifth and sixth in 
 D, and of the seventh and eighth in E, which 
 differs much from the law of later times, f 
 
 The modern ' Gregorian tones ' have been 
 changed by altering the positions of the semi- 
 
 * ' Dictionary of Musical Terms,' Stainer and Barrett, 
 ' Notation.' 
 f Ibid. 
 
St. Gregory the Great $$ 
 
 tones in the scales. The first and second of later 
 dates end on D, the third and fourth on E, the 
 fifth and sixth on F, and the seventh and eighth 
 on G. The music cannot be the same, because 
 the intervals follow in a different succession.* 
 
 At the Synod of Cloveshoo, 747, while the 
 churches of the Anglo-Saxons are instructed to 
 regulate the liturgical chants, particularly those of 
 the Mass, on the official version sent from Rome, 
 no single allusion is made to, or the slightest hint 
 given of, a book of chants bearing the name of 
 St. Gregory. 
 
 Service-Books. 
 
 Canon XIII. 
 
 Among the Canons of Elfric, a.d. 957, occurs 
 the following : ' Now it concerns Mass-priests and 
 all God's servants to keep their churches employed 
 with divine service. Let them sing therein the 
 seven tide-songs that are appointed them, as the 
 synod earnestly requires, viz., the uht-song, the 
 prime song, the undern song, the mid-day song — 
 12 o'clock, — the noon-song — the hora nona, our 
 3 o'clock, — the even-song, the seventh — or night — 
 song.' — Canon XIX. ; and again : ' The Priest shall 
 have the furniture for his ghostly work before he 
 is ordained, that is, the holy books, the psalter 
 
 * ' Dictionary of Musical Terms,' Stainer and Barrett, 
 ' Notation.' 
 
56 Mediaeval Music 
 
 and the pistol-book, gospel-book, mass-book, the 
 song-book, the hand-book, the kalendar, the 
 Pasconal, or Martyrology, the Penitential, the 
 lesson-book. It is necessary that the Mass-priest 
 have these books, as he cannot do without them, 
 if he will rightly exercise his function and, duly 
 inform the people that belongeth to him.' — Canon 
 XXI. 
 The Coucher 
 
 Journals 
 Portasses 
 Primers 
 Processionals 
 
 were abolished 3 and 4 Ed- 
 ward VI., c. 10 [1549-155°]- 
 
 Ancient Service-Books. 
 Mass Books. 
 
 The Sacramentary was the priest's book at the 
 altar ; it contained the collects, prefaces, and the 
 canon of the Mass. 
 
 The Antiphonary, gradual or graile, was the 
 choir-book of the Mass ; it contained the anthems 
 introits, graduals, alleluias, tracts, offertories, 
 communions, hymns, Sanctus, Creed, Kyrie, 
 Gloria in excelsis — in fact, all the musical 
 portions of the Mass. That erroneously attri- 
 buted to St. Gregory, of which there is an 
 imaginary transcript of the tenth century in the 
 monastery at St. Gall, contains only the following 
 portions of the service : 96 anthems, 150 introits, 
 
St. Gregory the Great $7 
 
 in graduals, 99 alleluias, 23 tracts, 102 offer- 
 tories, 147 communions, 15 responds, and 4 
 hymns. From internal evidence, other than 
 what has been pointed out by Mons. Gevaert, 
 it is quite clear the original cannot possibly be of 
 earlier date than the latter part of the eighth 
 century. The probability is that it is not a 
 transcript of so early a one, but is an original 
 compilation of the tenth century. 
 
 The Epistolarium, or Pistol-book, contained the 
 epistles, and the Evangeliarium, or Gospel-book, 
 the gospels. 
 
 The Troper, or Sequentiary, the short verses or 
 tropes after the epistle, together with tags to the 
 introits, kyries, Gloria in excelsis, Creed, Sanctus, 
 and other musical portions of the service. 
 
 About the eleventh century these are supposed 
 all to have been merged into the Missal, or Book 
 of the Mass. 
 
 The Ordinal was a directory of divine service, 
 containing the rubrics, and is by some supposed 
 to have been the same as the Pye. 
 
 The Manual, or Office-book, was the ritual book, 
 and contained the order for baptism and other 
 sacraments, blessing of holy water, order of pro- 
 cessions, etc. 
 
 Hour Services. 
 
 The Breviary, Portiforium, or Portuary, was the 
 Book of the Seven Hours. 
 
58 Mediaeval Music 
 
 The Psalter contained the psalms arranged for 
 the different Hours, and the litany as used on 
 occasions. 
 
 The Hymnarium, the hymns used at the Hours. 
 
 The Collectarium, the collects, orations, capi- 
 tula, or short lessons used at all the Hour 
 services except Mattins. 
 
 The Legenda, or Lectionary, the long lessons, 
 from whatever source taken, and read at Mattins, 
 the Nocturns on Sundays and certain other days. 
 
 The Prymer, or Primer, contained the little office 
 of our Lady, the vigils of the dead and other 
 prayers. 
 
 The Abbe" Duchesne, the latest and best 
 authority on liturgical matters, assigns the date 
 of the Gregorian Sacramentary to the eighth 
 century, and attributes it to be the work, not of 
 St. Gregory, but of Adrian I., Bishop of Rome 
 
 772-795- 
 
 As St. Gregory died in 604, the Sacramentary 
 and Antiphonary which bear his name are at 
 least a century and a half later than his time. 
 
 The earliest mention of an Antiphonary was 
 during the episcopate of Paul I. of Rome, 757- 
 767. 
 
CHAPTER VII. 
 
 INTRODUCTION OF THE ORGAN. — ITS EFFECT ON 
 MEDIEVAL MUSIC. — A.D. 150-I35O. 
 
 THE Greeks and Romans derived their organs 
 from ancient Egypt.* 
 
 The real home of organ-building in Europe was 
 Constantinople. The primitive organs were fur- 
 nished with four, six, or eight pipes. About the 
 end of the second century the number of pipes 
 had increased to fifteen, as shown, not only by 
 engravings on coins, but from the express testimony 
 of a writer to that effect. 
 
 By the time of Constantine the Great, at the 
 beginning of the fourth century, the number of 
 pipes had been increased to twenty-six. Optation, 
 c. 324, a court poet of the time, and a master of con- 
 ceits, Wrote a poem on an organ, and so arranged 
 his verse that it exactly represented the appearance 
 of the instrument itself ; that is, the first verse is 
 of so many letters, the second of one letter more 
 * Chappell, i., xvi. 
 
60 Mediaeval Music 
 
 than the first, the third one more than the second, 
 and so on. The appearance of the verses exactly 
 imitates the gradual rise of the front pipes of an 
 organ, pipe after pipe. To these are appended 
 shorter verses, all of the same length, which stand 
 for keys, and one is at the bottom of each pipe. 
 There are twenty-six verses in all, and twenty-six 
 keys to match. This shows the way organs were 
 made at this period. 
 
 The Emperor Julian, called the Apostate, who 
 died 363, is the reputed author of a Greek enig- 
 matical epigram, the solution of which is evidently 
 the pneumatic-organ. It has been literally translated 
 by the late Dr. Rimbault as follows : — ' I see a 
 species of reeds : surely from another and a brazen 
 soil have they quickly sprung — rude. Nor are 
 they agitated by our winds, but a blast rushing 
 forth from a cavern of bull's hide, makes its way 
 from below the root of reeds with many openings, 
 and a highly-gifted man, with nimble fingers, 
 handles the yielding rods of the pipes, while they, 
 softly bounding, press out a sound.' The rods 
 were flat rules of wood. These rules were soon 
 afterwards, and continued for upwards of five 
 hundred years, to be called ' tongues,' doubtless 
 from the protruding ends which stood out in front. 
 
 There is a curious representation of an organ 
 depicted among the sculpture on an obelisk at 
 Constantinople, erected by Theodosius, who died 
 
Introduction of the Organ 61 
 
 A.D. 393. An illustration is given in Grove's 
 ' Dictionary of Music and Musicians,' ii., p. 576. 
 
 The water-organ, which was a novelty in the 
 reign of Nero, who died 68, had become so common 
 and so popular by the time of Honorius, 625-638, 
 that a nobleman's house was considered incomplete 
 without one. Portable organs which could be 
 carried by slaves from house to house where 
 concerts or musical gatherings were attended by 
 their masters, were also made in great numbers. 
 
 St. Jerome, who nourished at the end of the 
 fourth and the beginning of the fifth century, 
 c. 374, died a.d. 420, describes the organ of his 
 day as being composed of fifteen pipes ; of two 
 bellows ; and of two elephants' skins united to 
 serve as a wind-bag. 
 
 Cassiodorus, Consul of Rome, in the early part 
 of the sixth century, who died a.d. 560, aged about 
 ninety, at his monastery of Viviers, says : — ' The 
 organ is like a tower, made of different pipes, 
 which, by the blowing of bellows, a most copious 
 sound is secured ; and in order that a suitable 
 modulation may regulate the sounds, it is con- 
 structed with certain tongues of wood from the 
 interior, which the fingers of the master, duly 
 pressing, elicit a full-sounding and most sweet 
 song.' 
 
 One is mentioned as existing in the most 
 ancient city of Grado, in Italy, in a church of the 
 
62 Mediaeval Music 
 
 nuns anterior to a.d. 580. It is described as being 
 about two feet long and six inches broad, furnished 
 with fifteen playing slides and thirty pipes — two 
 to each slide — probably either in unison or at the 
 distance of an octave apart. 
 
 The organ was early used in the public service 
 of the Church. Platina, in his 'Lives of the Popes,' 
 says it was first employed for religious worship by 
 Vitalian I., Bishop of Rome 657-672, but, ac- 
 cording to Julianus, a Spanish bishop, who 
 flourished a.d. 450, it was in common use in the 
 churches of Spain at least two hundred years 
 before Vitalian's time. 
 
 St. Aldhelm or Ealdhelm, 668, died 709, Abbot 
 of Malmesbury, and afterwards Bishop of Shir- 
 burn, fully describes the organ in his Laus 
 Virginitate. This was most likely the English 
 instrument. At the beginning of the eighth 
 century, he says : — 'As he listens to mighty 
 organs, each with its thousand blasts, the ear is 
 soothed by the sound heard from the wind-giving 
 bellows, while the rest shines in gilt cases.' He 
 also tells us it was the custom of the Anglo- 
 Saxons to ornament the pipes of their organs by 
 gilding them. 
 
 The Venerable Bede, c. 673, a contemporary of 
 St. Aldhelm, and who survived him twenty-six years, 
 died 735, speaks with much minuteness of the 
 appearance, method of playing, and the musical 
 
Introduction of the Organ 63 
 
 effect of the organ of his day : — ' An organum is 
 a kind of tower made with various pipes, from 
 which, by the blowing of bellows, a most copious 
 sound is issued, and that a becoming modulation 
 may accompany this, it is furnished with certain 
 wooden tongues from the interior part, which the 
 master's fingers skilfully repressing, produce a 
 grand and most sweet melody.' The organ 
 appears to have been unknown in Gaul and 
 Germany at the time of Pippin, father of Charles 
 the Great, who is credited with having introduced 
 the singing and ceremonies of the Roman branch 
 of the Catholic Church into Gaul. Being 
 urgently in need of an organ, both as an aid 
 to devotion and as a proper accompaniment and 
 support to the choir, he applied to the Byzantine 
 Emperor, Constantine, surnamed Copronymus, 
 soliciting him to forward one to Gaul. The 
 Emperor complied with the request, and in the 
 year 757 or thereabouts, sent him as a present, in 
 charge of a special embassy, headed by Stephanus, 
 a Roman bishop 752-757, a great organ with 
 leaden pipes, which was placed in the Church of 
 St. Corneille, at Compiegne.* An organ, made 
 by an Arabian named Giafar, c. 822-826, was also 
 sent to Charles the Great, in all probability the 
 one described by Walafrid Strabo, c. 842, as ex- 
 isting in a church at Aachen. The following 
 
 * Grove's 'Dictionary of Music and Musicians,' Art. ' Organ.' 
 
64 Mediasval Music 
 
 account of this latter organ is in the main from 
 Rowbotham's ' History of Music,' iii. 259, 260. 
 It was when the Greek ambassadors came to 
 Aachen on a mission from another Constantine 
 to Charles the Great, that stories began to spread 
 about the Court of the wonderful instruments they 
 had brought with them, and among others of a 
 complicated instrument made of brazen cylinders, 
 and bulls'-hide bellows, and pipes, which could 
 roar as loud as thunder, and yet could be reduced 
 to the softness of a lyre or tinkling bell. To gain 
 the knowledge of its construction, Charles the Great 
 sent artizans into the ambassadors' apartments, 
 bidding them pretend to employ themselves on 
 some other labour, but really to examine the 
 structure of the organ, so that they might make 
 another like it. The organ thus made stood in 
 the Cathedral of Aachen. 
 
 A new era in organ-building would seem to 
 have been inaugurated in the time of Lewis I., the 
 Pious, who died 840, by the arrival of one George, 
 a Venetian, a learned priest, at the court of that 
 monarch. His organs were all water-organs, 
 and were not provided with bellows, a retro- 
 gression in the art of organ-building. Most of the 
 instruments spread throughout Gaul and Ger- 
 many at this date were built, if not under his 
 direct superintendence, on his pattern. Within a 
 century after George's time, we know not where- 
 
Introduction of the Organ 65 
 
 fore, the home of organ-building had passed from 
 Italy and Gaul to Germany. 
 
 John VIII., Bishop of Rome 872, died 882, 
 writing from Rome to Bishop Anno in Germany, 
 said, ' Send me the best organ you can procure, 
 and along with it a tutor, for we have none here.' 
 England and Germany at this time appear as 
 centres of organ-building, whence the largest 
 organs are said to have come. The bellows, 
 many of which were used to keep a steady flow 
 and pressure of wind — for as one or more were 
 filling, the others were exhausting — now began to 
 be provided with feeders, instead of the old 
 hydraulic arrangement. 
 
 The great and spacious monastic and cathedral 
 churches of the Romanesque period, with their lofty 
 roofs, were now beginning to cover the land. Im- 
 mense organs, too, came in vogue, suitable to the 
 large buildings which were to hold them ; the small 
 organs were totally inadequate, and would have 
 appeared ridiculous, as well as almost useless, in 
 such vast buildings. But, although the number 
 of the pipes, and of the bellows to blow them, 
 were greatly augmented, we do not find as yet any 
 addition to the plain diatonic scale, representing 
 the white keys of our present instruments. The 
 levers, or ' keys,' were so broad, that it required 
 the use of the fists of the player or players to 
 strike them, hence the term organ-beater. 
 
 5 
 
66 Mediaeval Music 
 
 St. Dunstan 924, died 988, was a maker of organs, 
 and is reputed to have supplied many great 
 churches with them, including the Abbeys of 
 Abingdon and Glastonbury. One, which he gave 
 to the Abbey of Malmesbury, continued in good 
 playing condition after a lapse of 130 years. 
 
 In the same century Count Elwin presented an 
 organ to the Convent of Ramsey, c. 980-990, with 
 copper pipes.* 
 
 St. Ethelwold, Bishop of Winchester 963-984, 
 made organs with his own hands."!" 
 
 Mr. Wackerbath,! gives a translation from an 
 account in Latin by a monk of the name of 
 Wulstan, who died in 963, of a remarkable tenth- 
 century organ, erected in Winchester Cathedral 
 by Bishop Elphege, who died 951 : ' Such organs 
 as you have built are seen nowhere, fabricated on 
 a double ground. Twice six bellows above are 
 ranged in a row, and fourteen lie below. These, 
 by alternate blasts, supply an immense quantity of 
 wind, and are worked by seventy strong men, 
 labouring with their arms, covered with perspira- 
 tion, each inciting his companions to drive the 
 wind up with all his strength, that the full- 
 bosomed box may speak with its four hundred 
 pipes which the hand of the organist governs. 
 
 * Mon. Chron., R.S., 86. 
 
 t ' Chron. Mon. de Abyngdon,' Rolls S., ii. 
 
 J ' Music and the Anglo-Saxons,' pp. 12-15. 
 
Introduction of the Organ 67 
 
 Some when closed he opens, others when open he 
 closes, as the individual nature of the varied sound 
 requires. Two brethren — religious — of concordant 
 spirit sit at the instrument, and each manages his 
 own alphabet. There are, moreover, hidden holes 
 in the forty tongues, and each has ten — pipes — in 
 their due order. Some are conducted hither, 
 others thither, each preserving the proper point 
 (or situation) for its own note. They strike the 
 seven differences of joyous sounds, adding the 
 music of the lyric semitone. Like thunder the 
 iron tones batter the ear, so that it may receive 
 no sound but that alone. To such an amount 
 does it reverberate, echoing in every direction 
 that everyone stops with his hand his gaping 
 ears ; being in nowise able to draw near and hear 
 the sound, which so many combinations produce. 
 The music is heard throughout the town, and the 
 flying fame thereof is gone out over the whole 
 country.' Dr. E. J. Hopkins, in his admirable 
 account of the ' English Mediaeval Church Organ,' 
 pp. 17 and 18, gives an explanation and solution 
 of this enigma, which he was the first to unravel, 
 this result having also been published, with an illus- 
 tration of the instrument, a few years ago in the 
 article on the organ in Grove's Dictionary. ' The 
 musical scale,' he says, ' simply consisted of the 
 seven diatonic sounds, corresponding with the 
 sounds of the white keys of a modern pianoforte, 
 
68 Mediaeval Music 
 
 with " the music of the lyric semitone," or B flat, 
 added. No indication whatever can be traced as 
 to the ranges of the three sets of playing-slides of 
 this Winchester organ. I ventured, in the above 
 article, on the suggestion that the lower row of 
 tongues, which " the organist " governed, might 
 have consisted of a set exactly corresponding with 
 the two-octave range of Gregory's {sic) gamut of 
 sixteen notes, as follows : 
 
 'ABCDEFGa|,Hcdefgaa; 
 
 while the two remaining alphabets entrusted to 
 the two religious brethren possibly consisted each 
 of a set of notes corresponding with those of the 
 Gregorian (sic) chants — twelve — making up the 
 exact number of forty tongues in all : 
 
 'CDEFGabflcdef 
 CDEFGabHcdef 
 ABCDEFGabHcdefgaa;' 
 
 a conjecture the late Sir George Macfarren, in his 
 ' Musical History/ p. 124, accounts 'most ingenious,' 
 adding that it 'seems fully worthy of adoption.' 
 Dr. Hopkins, in the same work, in quoting from 
 an eleventh-century treatise, part of a larger work 
 on ' Divers Arts,' written by a monk and priest of 
 the name of Theophilus, states, inter alia, ' the 
 number of notes was seven or eight, and they had 
 one, two, or more pipes each. The handles of the 
 slides were still called " tongues," and each was 
 
Introduction of the Organ 69 
 
 marked with a letter, according to the rise and 
 fall of the sound, so that it could be known to 
 which tone it belonged. The lettering was an in- 
 teresting feature, as showing the means taken to 
 secure an agreement between the organ-sounds 
 and the music of the plain chant that was indi- 
 cated in the same manner.' 
 
 At the close of the tenth century many organs 
 were in existence in the churches of Germany. 
 
 The key-board appears to have been invented 
 during the eleventh century. 
 
 By the twelfth century the use of organs in our 
 English monastic and cathedral churches had be- 
 come quite common. JSlred, Abbot of Rievaulx, in 
 Yorkshire, 1147 — 1167, though not condemning 
 the use of the organ, awarded it but scant praise, 
 as he also did singing. Baldric, who was living 
 at the same period, defended it after a fashion ; he 
 says : ' We permit the use of the organ but do 
 not count it a crime if certain churches are 
 without one.'* Gervase, the Monk of Canterbury, 
 describing the burning of the great church in 
 1 174, mentions the destruction of the organ, but 
 does not refer to it as if it were an unusual thing 
 in a church. York Minster had its organ in 1190. 
 
 There seems to be little doubt but that the 
 sharps and flats, in addition to the already exist- 
 ing B fiat, — the lyric semitone — as represented by 
 * Hopkins, ' Med. Church Organ,' p. 23.] 
 
Jo Mediaeval Music 
 
 the black notes on the modern organ, were intro- 
 duced in the middle of the fourteenth century. 
 The earliest authentic account in support of this 
 assertion is given on the authority of Prsetorius. 
 
 Long before the close of the fourteenth century 
 we find our great churches and abbeys not 
 only plentifully supplied, but in many, as at 
 Croyland, St. Albans, Fountains, etc., two organs 
 were provided, one being usually placed on the 
 rood-loft, or at the west end. An organ was 
 placed at the west end in a loft or gallery 
 at Meaux, Fountains, Buildwas. My brother, 
 W. H. St. John Hope, suggests that the western 
 organs may have been for the choir of the conversi, 
 or lay brethren, who occupied the nave. The 
 cathedral of Worcester possessed three organs, 
 the cathedral of Durham five. Great organs are 
 mentioned at Ripon in 1408. 
 
 The following is a short list of early English 
 organ-makers. 
 
 John Gyse : freeman of the city of York, 143 1. 
 William Fyvell or Nyvell :* freeman of the city of 
 
 York, 1446-1453. 
 John Asshwell : freeman of the city of Norwich, 
 
 1446. 
 Arnalt Maynhamber : freeman of the city of Norwich, 
 
 1446. 
 
 * (?) William, organ-maker of Ripon organ, 1453. John 
 Couper of York was paid I2d. for mending the bellows of the 
 Ripon organ, 1399 and 1419. 
 
Introduction of the Organ 71 
 
 1451. John Roose or Ross : freeman of the city of York, 
 1463-1469. 
 
 George Gaunt : freeman of the city of York, 1470. 
 
 John Lawless : of Kilkenny, 1476. 
 
 Edward Boyce : freeman of the city of York, 1478. 
 
 William Hall : freeman of the city of York, 1478. 
 
 Robert Borton : of Stowmarket, 1482. 
 
 Maurice Biront : freeman of the city of York, 14S5, 
 d. 1510. 
 
 William Wotton : i486. 
 1485. John Hewe, or Hugh : freeman of the city of York, 
 1488. 
 
 John Chamberlyn : 1509-1514. 
 
 William Lewes : 15 14. 
 
 Thomas Smith: 15 14. 
 
 Sir William Argall : 15 17. 
 
 Anthony Duddington : 15 19. 
 
 James Demps or Dempsey : freeman of the city of 
 York, 1526-1531. 
 
 John de John : 1526. 
 
 John Howe : of the city of London, 1530. 
 
 William White : 1-531. 
 
 John Vaulks : 1533. 
 
 William Beton: 1537-1544. 
 1 537. William Treasurer : freeman of the city of York, 1 540. 
 
 John Heweson : freeman of the city of York, 1545. 
 
 Robert of : of Crewkern, 155 1. 
 
 John Chappington : of the city of London, 1596-1597. 
 The date before a name is that in which the maker has 
 been found, prior to his admission as a freeman. 
 
 Organ building flourished to a great extent in 
 Kilkenny, Ireland, in the fifteenth century. 
 
 For much new and valuable information respect- 
 ing the early organ see ' The Mediaeval Church 
 Organ,' by Dr. E. J. Hopkins, in the Archceological 
 
72 Mediaeval Music 
 
 Journal, XLV. ; ' The Organ, its History and Con- 
 struction,' by Drs. E. J. Hopkins and E. F. Rim- 
 bault, London, R. Cocks and Co., third edition. 
 
 In the celebrated triptych by Van Eyck, 1426, 
 ' The Adoration of the Lamb,' at Ghent, St. Cecilia 
 is represented with a positive organ, with the 
 chromatic division of the finger-board. 
 
 If the mediaeval system of music was not the 
 direct outcome of the necessarily restricted com- 
 pass of the primitive organ, we must fall back 
 on the only other feasible theory, viz., that the 
 portions of the Greek modes applied to the 
 octave lyres were adopted with their semitones 
 occurring in different positions in each series of 
 octaves. 
 
 Don Nicola Vicentino, a Roman musician, who 
 flourished about the year 1492 and in 1555, 
 published at Rome, in folio, a work entitled, 
 ' L'Antica Musica Ridotta alia moderna Prattica, 
 con la Dichiaratione, et con la loro spetie.' In it 
 he says, after speaking of various musical inven- 
 tions, 'And so from time to time one added one 
 thing, and another another, as happened a little 
 while ago, when in the organ to the third a la mi 
 re above g sol re ut, a fifth was formed in e la mi 
 with a round b, or as you may call it e la mi flat.'* 
 Sir John Hawkins, i. 219, from whence the above 
 is taken, remarks : ' This is a very curious anec- 
 * That is E\f. 
 
Introduction of the Organ 73 
 
 dote, for it goes near to ascertain the time when 
 many of the transposed keys could not have 
 existed. The author is however mistaken in 
 making elami b the fifth to a la mi re, for it is 
 an interval consisting of but three tones. He 
 had better have called it the fourth to b fa, which 
 it truly is.' See Diagram H, p. 106. 
 
CHAPTER VIII. 
 
 MEDIAEVAL SYSTEM OF MUSIC, EIGHTH TO 
 TENTH CENTURIES. 
 
 FOR any Christian of the times of St. 
 Ambrose and St. Gregory to have had the 
 leisure, even if he had the ability, to construct a 
 new musical system, was well-nigh, if not quite, 
 an impossibility. The very empire of mighty 
 Rome was shaken to her foundations by the 
 successive inroads and attacks of the Huns, 
 Lombards and Avars ; to add to these perils, she 
 was herself inwardly disunited, and, as was shortly 
 after proved, 'the house divided against itself 
 could not stand.' 
 
 The Church also was disturbed within by 
 heresies. Every citizen, whether Christian or 
 pagan, was deeply and vitally interested in the one 
 common object of saving and defending the empire 
 from the hordes that were almost continually pour- 
 ing in upon her. Under such circumstances, and 
 in the absence of any corroborative authority, 
 
Mediasval System of Music 75 
 
 it is incredible to believe that St. Ambrose, St. 
 Gregory, or any one man, could have accom- 
 plished the task of doing, more especially in such 
 a period, that which must have been the gradual 
 outgrowth of many centuries. 
 
 The mere suggestion that either St. Ambrose or 
 St. Gregory did so infers either that there was 
 no system, or that something was wrong with the 
 existing one, for, if otherwise, why construct a 
 new, and in the latter case a questionably better, 
 one ? Would it not have been both easier and 
 wiser to have made some attempt to improve, 
 were it possible to have done so, the system in 
 common use at the time, i.e., the later Greek 
 system, as perfected by Claudius Ptolemy in the 
 second century, and which is identical in all 
 respects with our true or old minor mode, when 
 played in tune ? 
 
 There is not a shred or shadow of evidence, or 
 even the vaguest hint given, that such an attempt 
 to improve or alter this system was ever made, if 
 we except the hexachordal one, which was never 
 generally adopted, and soon disappeared, or that 
 any new system was invented or discovered. 
 
 The introduction of the organ into the West in 
 the seventh century, or earlier, with its limitation 
 of notes, caused some modifications more apparent 
 than real. A part only of a mode could be accom- 
 panied or played upon it, and this part, or octave 
 
j6 Mediaeval Music 
 
 scale, gradually came to be looked upon as a com- 
 plete mode, instead of being but a portion of one ; 
 and the chants written in these octave scales 
 with their restricted compass, and the positions of 
 their semitones varying in each, in course of time, 
 were known as the * plain-song' chants of the 
 Church, and eventually were thought to possess 
 some sacred import, which arose, not from any 
 canonical order, but from the exigence of the 
 organ, introduced as an accompaniment to the 
 musical portions of the service of the Church in 
 its early and primitive form. 
 
 If they — St. Ambrose and St. Gregory, and the 
 early Christians in general — did not adopt the 
 musical system of their country, the one in 
 common use, from whence did they obtain one, 
 and what was it ? Hullah, speaking of the hypo- 
 thesis that the music of the primitive Church may 
 have been an altogether original creation, itself 
 the result of a new faith, says it may be dismissed 
 as inconsistent with all experience.* 
 
 We are, therefore, forced to the conclusion that 
 the system of music which obtained in the West 
 in the days of St. Ambrose and St. Gregory, as of 
 their predecessors, was also the musical system of 
 the Church. What this system was it has been 
 attempted to explain within the covers of this 
 volume. Such a view in no way detracts from 
 * ' Modern Music,' pp. 10, ir. 
 
Mediseval System of Music yj 
 
 the sanctity of the musical services of the Chris- 
 tian Church, whose almost invariable custom it 
 was, not to destroy everything pagan, but, on the 
 contrary, to re-dedicate it to the service of 
 Almighty God. If this was done with the 
 temples, why should it not have been done with 
 the music ? 
 
 That the early Christians did not destroy or set 
 aside everything that had been used in connection 
 with pagan worship we know full well ; on the 
 contrary, the heathen temples were frequently re- 
 dedicated in honour of Christian saints and 
 martyrs, thus gradually transforming or fusing 
 the old into the new — witness the Pantheon at 
 Rome, re-dedicated by the Church in honour of 
 the holy martyrs and of the mother of God, in 
 place of its former dedication in honour of the 
 great mother of the gods, Cybele ; at Constanti- 
 nople St. Sophia replaced Minerva. Lucius 
 (c. 156 a.d.) is by tradition said to have con- 
 verted heathen temples into Christian churches. 
 
 Hullah says : ' The Christians early participated 
 in many indifferent heathen customs. They 
 adopted the ram-bearing Hermes as the Good 
 Shepherd, and used Orpheus as a symbol, if not 
 a representation, of our Lord. They made sarco- 
 phagi of pagan forms, and adopted the basilica, 
 essentially a secular structure, as their first church. 
 Prudentius wrote in the language and metre of 
 
yS Mediaeval Music 
 
 Virgil. To be " poor in spirit," in the scriptural 
 sense, is not surely of necessity to be poor in 
 intelligence, or even in circumstances. Persons 
 of high rank and culture were among them, to 
 whom Greek music must have been as familiar as 
 any other art. Why should they have forgotten 
 or refused to use heathen melody only, availing 
 themselves as they did of heathen architecture, 
 sculpture and painting, and conforming to heathen 
 customs involving no matters of principle ?'* 
 
 The very same without a doubt was the case 
 with the music of the temples, and many a 
 melody which resounded in honour of Apollo or 
 Jupiter was at a later period requisitioned to extol 
 the praises of the one true God. 
 
 The earliest organs could not have provided for 
 a large number of notes. Some writers inform us 
 that the levers, which succeeded the slides, varied 
 from three to four and a half inches in width ; an 
 octave therefore would, with levers of the former 
 width, require a space of at least twenty-four 
 inches, and if of the latter thirty-six inches. So 
 cumbersome and unwieldy were they, that they 
 were brought into play by a blow of the fist ; the 
 organist was in consequence known as the organ- 
 beater. 
 
 With instruments such as these, it would have 
 been impossible to have done more than accom- 
 * ' Modern Music,' pp. 10, n. 
 
Mediaeval System of Music 79 
 
 pany the chants in unison. The decreasing of the 
 width of these levers allowed the extension of the 
 scale to fifteen notes, or two octaves. 
 
 Until the tenth century, the organs did not 
 provide for more than two octaves, that is fifteen 
 notes. These corresponded with the white keys 
 only of our present organs and pianofortes, repre- 
 senting the diatonic notes of the scale of A minor. 
 
 Transposition from key to key, as in Ptolemy's 
 time, and until the organ came into common use, 
 with provision for the sharps and flats, was of 
 course an impossibility. Hymns and chants were 
 of necessity composed in this restricted scale and 
 compass. 
 
 Flaccus Albinus-Alcuin was born in York, lived 
 c. 750, died 804. He received his education there 
 under Archbishop Egbert. Accepting an invita- 
 tion from the Emperor Charles the Great, he took 
 up his abode in Gaul as director of the educational 
 enterprises of that monarch ; it is stated* that it 
 was at his instance the University of Paris was 
 founded in 790 by Charles the Great. He is the 
 first of whom we have any record, who is credited 
 with having arranged and cast into form the 
 octave scales, which were formed upon each of 
 the notes of the diatonic normal scale of A 
 minor, and in which all music during the above 
 period presumably was written, and also with 
 * Hawkins, H. of M., i., 140. 
 
80 Mediaeval Music 
 
 having divided them into Authentic, derived from 
 avdevTueos = auctor et magister — the master tone, 
 and Plagal, from Tr\ar/io<i, obliquus seu lateralis — 
 subordinate or inferior. 
 
 The eight octave scales were placed in the 
 following order : 
 
 ist Tone . . 
 
 .. DEFGabcd 
 
 2nd „ .. 
 
 . ABCDEFGa 
 
 3rd „ .. 
 4th „ .. 
 
 . EFGabcde 
 . B C D EFGab 
 
 5th „ .. 
 6th „ .. 
 
 . FGabcdef 
 . CDEFGabc 
 
 7th „ .. 
 8th „ .. 
 
 . Gabcdefg 
 . D E~F G a7b c d 
 
 The odd numbers were called the Authentics, 
 and the even the Plagals. 
 
 If he did not arrange the scales as above, he 
 is the first to mention them.* ' He speaks 
 of there being four Authentic and four Plagal 
 modes, and of their ordination by authority, 
 that of Adrian, Bishop of Rome, contemporary 
 with Charles the Great. A " Musical Catechism " 
 by Alcuin is now in the Library at Munich.'-(- 
 
 The key to the two diagrams F and G, which 
 illustrate the same thing, is as follows : 
 
 The first column contains the mediaeval true 
 
 * Sir G. M. Macfarren, ' Six Lectures on Harmony,' 
 pp. 10, 11. Dr. Riemann's ' Catechism of Music,' 89. 
 f Private letter from Mr. Rowbotham to the writer. 
 
Mediasval System of Music 
 
 81 
 
 DIAGRAM F. 
 
 TABLE 
 
 Showing the Differences between the Mediaeval and Ancient Greek 
 Modes, with their Transpositions in the Diatonic Scale. 
 
 
 
 
 
 
 
 
 
 1. 
 
 2. 
 
 3- 
 
 4- 
 
 5- 
 
 6. 
 
 7- 
 
 8. 
 
 Medleval Modes. 
 
 
 
 c 
 
 's 
 
 a, 
 
 5 S 
 
 *" in 
 CO « 
 
 O ui 
 
 .sa 
 
 m 
 
 8j 
 c a 
 
 I" 5 
 
 Q 
 
 E S 
 
 in 
 
 O m 
 
 .5 rt 
 E = 
 
 
 
 s 
 s 
 < 
 
 TT T» • 
 
 a 
 
 b 
 
 C 
 
 d 
 
 e 
 
 f 
 
 s 
 
 a 
 
 
 Mixo-Lydian 
 
 
 S 
 
 a 
 
 »b 
 
 c 
 
 d 
 
 eb 
 
 f 
 
 S 
 
 Lydian 
 
 - 
 
 
 { 
 
 g- 
 
 *b 
 
 "b 
 
 c 
 
 <% 
 
 eb 
 
 f ' 
 
 
 - 
 
 - 
 
 
 e 
 
 <# 
 
 g 
 
 a. 
 
 b 
 
 c 
 
 d 
 
 e . 
 
 Dorian and Hypo-Mixo- Lydian 
 
 - 
 
 - 
 
 
 •0 
 
 d 
 
 e 
 
 f 
 
 S 
 
 a. 
 
 bb 
 
 c 
 
 d 
 
 Hypo-Lydian - — 
 
 ■2 
 
 - 
 
 .2 
 ■a - 
 
 jj_ 
 
 c 
 
 d 
 
 eb 
 
 f 
 
 s 
 
 *b 
 
 "b 
 
 c ■ 
 
 Hypo-Phrygian 
 
 
 
 6 
 
 - 
 
 j_ 
 
 § 
 
 b 
 
 4 
 
 d 
 
 e 
 
 «# 
 
 s 
 
 a 
 
 b . 
 
 TT T» * 
 
 - 
 
 
 -- 
 
 
 
 cL 
 
 b 
 
 c 
 
 d 
 
 e 
 
 f 
 
 g 
 
 a 
 
 
 
 . 
 
 s 
 
 
 
 
 Mixo-Lydian 
 
 
 i 
 
 re 
 
 
 O. 
 
 at 
 
 ■E, 
 
 
 
 G 
 
 a 
 
 *b 
 
 c 
 
 d 
 
 «b 
 
 f 
 
 G 
 
 Lydian 
 
 Phrygian 
 
 Dorian and Hypo- \ 
 Mixo-Lydian • / 
 
 i 
 
 •c 
 
 
 
 6 
 
 0. 
 
 | 
 
 6 
 a 
 >> 
 
 E 
 
 ii 
 
 
 0. 
 
 ffi 
 
 c 
 
 
 
 F 
 E 
 D 
 
 G 
 
 E 
 
 a b 
 
 G 
 
 F 
 
 "b 
 a 
 
 G 
 
 c 
 
 b 
 
 a 
 
 «b 
 
 c 
 
 bb 
 
 eb 
 
 d 
 
 c 
 
 F 
 D 
 
 
 5 
 
 O 
 
 Q 
 
 4 
 
 
 
 Hypo-Lydian - 
 
 W 
 
 
 
 C 
 
 D 
 
 Eb 
 
 F 
 
 G 
 
 ab 
 
 bb 
 
 C 
 
 
 
 Hypo-Phrygian - 
 
 
 " 
 
 B 
 
 4 
 
 D 
 
 E 
 
 *t 
 
 G 
 
 it 
 
 B 
 
 
 
 Hypo-Dorian 
 
 """ 
 
 A 
 
 B 
 
 C 
 
 
 
 F 
 
 G 
 
 A 
 
 
 D | " 
 
 
 k 
 
 I. 
 
 i 
 '§ 
 a 
 
 6 
 
 a 
 
 2. 
 
 3* 
 
 4- 
 
 5- 
 
 6. 
 
 7- 
 
 8. 
 
 
 Semitone. 
 
 Semitone. 
 
 
 
 
 
 
 V 
 V 
 
 
 
 V 
 fa 
 
 1' 
 
 a). 
 
 2 
 
 35 
 
 § 
 
 Xi 
 
 6 
 
 * 
 
 '1 
 
 6 
 
 c 
 '§ 
 
 a 
 
 
 •3 
 
 5 
 
 B 
 ."J 
 
 "■3 
 
 3 
 
 6 
 
 X 
 
 3 
 
 .3 
 
 
 O 
 6 
 
 a, 
 
 }| 
 
 This diagram is given in 
 positions on the lines and in 
 
 True Greek and real Medueval Modes, as—* 
 duplicate — see diagram G — showing the notes in their 
 the spaces to make the subject perfectly clear. 
 * See p. 32. 
 
82 Mediaeval Music. 
 
 DIAGRAM G. 
 Hypo-Dorian. Semitone. Semitone. 
 
 $ 
 
 VII. Mixo-Lydian. 
 
 I 
 
 _£2_ 
 
 *i 
 
 -©- 
 
 ez: 
 
 js: 
 
 V. Lydian. 
 
 $ 
 
 -fce 1 
 
 _© — iaa. 
 
 £^ 
 
 III. Phrygian. 
 
 I 
 
 321 
 
 22Z 
 
 5=^=E^ 
 
 I. Dorian. VIII. Hypo-Mixo-Lydian. 
 
 $ 
 
 =te 
 
 3ZI 
 
 VI. Hypo-Lydian. 
 
 $ 
 
 b fj be 
 
 =fe 
 
 IV. Hypo-Phrygian. 
 
 I 
 
 J- 6 
 
 ^ 
 
 1^ 
 
 II. Hypo-Dorian. 
 
 $ 
 
 [This page should be read as if placed immediately over the following 
 page.] 
 
 The true Greek and real Mediasval modes read left to right. 
 
Mediaeval System of Music. 83 
 
 Semitone. 
 
 Semitone. 
 
 vxi. mixo-jjyaian. 
 
 s- 
 
 .£2. ^O- 
 
 -£2 
 
 -0- 
 
 /-iV <= ° 
 
 I (.'/ ' 
 
 V: is 
 
 
 V. Lydian. 
 
 hn 
 
 -©- I?£2- 
 
 w 
 
 .c 
 
 /„\ . ~ a vo - 
 
 i<*l . """ 
 
 \:^ 
 
 
 III. Phrygian. 
 
 
 « -e- 
 
 .£2. 
 
 -©- 
 
 /■(,);. _ - ■■ b> «'■ 
 
 
 
 
 
 *^— « *^ 
 
 
 I. Dorian. VIII. Hypo-Mixo-Lydian. 
 
 ■&- 
 
 a. 
 
 
 O 
 
 
 
 
 f(») ■ ~ <3 G> -■ 
 
 V O ^ 
 
 
 VI. Hypo-Lydian. 
 
 /■A ' k 1 
 
 
 — S3 ks>— 
 
 \>n 
 
 -&- 
 
 (^r-^ ©— ^5- 
 
 
 
 
 
 
 IV. Hypo-Phrygian. 
 
 
 '© ° 
 
 — s>— 
 
 
 
 ^- .^ g ~ 
 
 c 
 
 h" 
 
 
 
 II. Hypo-Dorian. 
 
 
 — » 0- 
 
 e. 
 
 — ©— 
 
 *-!-„ s "- 
 
 
 
 
 
 >•! 
 
 The true Greek and real Mediaeval modes read left to right. 
 
 6—2 
 
84 Mediasval Music 
 
 Hypo-Dorian mode in its normal position. Each 
 of the octave scales or miscalled Gregorian modes 
 starts from the note on the line immediately 
 opposite to its name or number in the first 
 column, and on reading upwards from this to its 
 octave contains the scale in order of tones and 
 semitones ; the latter differ in each one. 
 
 Transposition is effected by taking any note to 
 the right on the same line in which the name or 
 number of the octave scale occurs, and reading up 
 that column to the octave as before. 
 
 The key to which any octave scale strictly 
 belongs — whether transposed or not — will be found 
 to be (1) that of the note at either extreme end of 
 the column, in diagram F, containing the note from 
 which the original or transposition starts, and (2) 
 in the bottom stave, p. 83, of the diagram G. 
 
 Supposing it is required to transpose the seventh 
 or Mixo-Lydian mode a fourth higher, that is from 
 G to C, on examining either diagram, and reading 
 upwards from C, it will be seen to require B flat, 
 to keep the semitones in their proper positions, 
 and the extreme ends of the fourth column, 
 diagram E, or the fourth note to the right on the 
 lowest stave (p. 83), show that by this transposi- 
 tion the mode has been moved from the key of 
 A minor into that of D minor, that is, from the 
 true Hypo-Dorian into the true Dorian mode. 
 
 The true or real scales, out of which the mis- 
 
Mediaeval System of Music 85 
 
 called modes or octave scales are formed, that is the 
 scale of A minor transposed into keys or different 
 pitches, with the proper number of sharps and 
 flats required, will be found on taking the note 
 opposite the names of the modes as above, and 
 reading across from left to right, or from the same 
 note in the bottom line, and reading upwards ; in 
 either case, the key-note will appear at each end of 
 the line or column, according to which way it is 
 read in diagrams F and G. 
 
 The positions of the semitones are marked by 
 brackets; those placed on the right of the 
 diagrams denote where they fall when reading 
 upwards, those at the top or bottom, when reading 
 across from left to right. 
 
 The rule given on page 28 for finding the mese, 
 or middle note of any true scale, and thence the key, 
 applies with equal force to the mediaeval modes ; 
 and it will be found that the note which has a 
 semitone between the second and third intervals 
 on both sides of it is the mese, and the true 
 mode or key to which the portion of the mode 
 really belongs — that is, from which it is formed — 
 is the fourth note below such note. 
 
 The Greek names applied to the false or mediaeval 
 modes are very misleading, they were only intro- 
 duced by Glareanus in the sixteenth century (com- 
 pare 1 and 2, p. 35) ; in the true Greek modes they 
 were used to represent the different pitches or 
 
86 Mediaeval Music 
 
 transpositions of the Hypo-Dorian mode, or key 
 of A as we now call it. Instead of saying key of D 
 or E and so on, the Greeks said Dorian and 
 Phrygian mode, etc. 
 
 The 'Plainsong' chants to which the psalms 
 are occasionally sung are frequently irregular, not 
 ending as required on the final. The reason of 
 this is that the antiphon, which followed as a sort 
 of continuation, and always ended on the final, 
 has been almost entirely suppressed. 
 
 In the modern grammars of Plainsong a melody 
 is fancifully termed (i) perfect ; (2) imperfect ; (3) 
 superfluous ; or (4) mixed. 
 
 (1) When the melody includes the full octave of 
 a mode, it is said to be perfect. 
 
 (2) When the melody does not range the full 
 octave, imperfect. 
 
 (3) When the melody exceeds the octave, 
 superfluous. 
 
 (4) When the melody includes or overlaps both 
 the authentic and the plagal, it is known as mixed. 
 
 Should the melody include the tonic of the 
 plagal as well as the authentic ; or 
 
 Should the melody embrace a plagal with its 
 octave above its final, it was known as communis 
 perfidis. 
 
 It has been said that the authentics progress 
 smoothly by intervals, whilst the plagals move by 
 skips. 
 
DIAGRAM J. 
 
 TABLE OF HEXACHORDS. 
 
 Hard. 
 
 Natural. 
 
 E I.A 
 
 D sor. 
 
 C FA 
 
 B MI 
 
 A RE 
 
 r UT 
 
 a la 
 
 g; sol 
 
 F FA 
 
 E MI 
 
 D RE 
 
 C UT 
 
 Soft. 
 
 d LA 
 
 b|j FA 
 
 a mi 
 
 e re 
 
 F UT 
 
 Hard. 
 
 e la 
 
 d SOL 
 
 C FA 
 
 b mi 
 
 a re 
 
 g; ut 
 
 Natural. 
 
 a la 
 g: sol 
 
 f FA 
 
 e mi 
 
 d RE 
 
 C UT 
 
 6. 
 Soft. 
 
 d la 
 
 C SOL 
 b[> FA 
 
 a mi 
 
 g RE 
 f UT 
 
 7- 
 
 Hard. 
 
 e e la 
 
 d sol 
 c fa 
 h mi 
 
 The Gamut Complete. 
 
 d la sol - 
 
 C SOL FA 
 
 b FA MI 
 
 b[j FA 
 
 a LA MI RE - 
 g SOL RE UT- 
 f FA UT 
 
 e LA MI 
 
 d LA SOL RE - 
 C SOL FA UT - 
 
 b FA MI 
 
 *>b fa — 
 
 im 
 
 <p- 
 
 a LA MI RE - 
 g- SOL RE UT 
 
 F FA UT 
 
 E LA MI 
 
 D SOL RE 
 
 C FA UT 
 
 B MI 
 
 A RE 
 
 r UT 
 
 (D- 
 
 Example. 
 
 To face page 87. 
 
 D, la, sol, re = 
 
 D, sol, re = \?£-e- and so on. 
 
Mediaeval System of Music 87 
 
 Before the eleventh century it is certain the 
 number of modes was limited to eight. Glareanus, 
 1488-1563, in his Dodecachordon, treats of twelve. 
 
 The plagals, in a manner, corresponded to our 
 so-called relative minor keys; they commenced 
 a fourth below and ended on the tonic of the 
 authentic mode. In the East the plagals are 
 counted a fifth below their authentics. 
 
 The division into the so-called authentics and 
 plagals was made by taking those four modes 
 supposed to comprise a perfect fifth and a 
 perfect fourth, — these were called the authentics ; 
 those four which were composed of a perfect 
 fourth and a perfect fifth, — the plagals. The 
 former were also known as the Harmonic division, 
 and the latter as the Arithmetical. This 
 division, as will be seen, is a purely fanciful 
 one, for any one of the plagal modes, excepting 
 the fourth, — Hypo-Phrygian — has a perfect fifth 
 in each mode followed by a perfect fourth; and 
 the same with the authentics, with the exception 
 of the fifth — the Lydian mode, — all have a perfect 
 fourth followed by a perfect fifth. The division, 
 therefore, it is clear, is imaginary only. 
 
 In the Hypo-Phrygian mode only in mediaeval 
 music is the final approached by the interval of a 
 semitone, and that always by descent and never 
 by ascent. 
 
 The term dominant, in Mediaeval music, was 
 
88 Medieval Music 
 
 used merely to describe the note which in the 
 chants and hymns predominated, and had no 
 other significance. In the so-called authentic 
 modes, it was always the fifth note unless that 
 note was B, when the sixth, C, was taken ; in the 
 plagal modes, it was always the third note below 
 that of the corresponding authentic. 
 
 The supposed differences between the authentics 
 and plagals were : 
 
 Authentics. 
 Formation of the octave by 
 
 5+4- 
 Final always the last note. 
 
 Plagals. 
 Formation of the octave by 
 
 4+5- 
 Final always the fourth note. 
 
 The first note of each octave of the authentics 
 was the final of the plagals as well as of the 
 authentics, but the last note also was the final in 
 the authentics only. 
 
 An Irregular or Confinal mode was one that 
 did not end on its final. 
 
 During the eighth and ninth centuries all 
 intellectual development appears to have been 
 stagnant ; with the exception of a few rules on 
 descant, in the works of Aurelianus and a few 
 other writers at the end of the ninth century, little 
 progress, if any, in the art of music was made, 
 none is recorded. Early in the tenth century 
 learning began to flourish all over Europe, espe- 
 cially in the arts and sciences ; the study and con- 
 sequent improvements made in music were soon 
 manifested. 
 
Mediasval System of Music 89 
 
 Although secular as well as sacred melodies 
 were alike written in these octave scales or modes, 
 it is not asserted that all secular music was re- 
 stricted entirely to the limited compass and order 
 of these modes. 
 
 The interval of the tritone, that is of the three 
 whole tones in succession, which in the scale or 
 mode of A minor occurs between the second and 
 the sixth, that is F and B, was forbidden to be 
 used, being too harsh for the ears of our fore- 
 fathers; to obviate its occurrence, one of the 
 extreme intervals forming the tritone was required 
 to be raised or lowered a semitone, either by 
 raising the F to F sharp, or by depressing B a 
 semitone to B flat. This want does not appear 
 to have been supplied until the tenth century, 
 when, for the first time, the ' lyric semitone ' B flat 
 occurs, as has been previously noted in the account 
 of the organ at Winchester, and no doubt was 
 to be found on others of this and following 
 centuries. 
 
 Hucbald, in the tenth century, in his system of 
 tetrachords, which may or may not have been 
 generally adopted in the tenth and eleventh 
 centuries, has both the B flat and F sharp, but 
 the writer is not aware of any composition of this 
 period in which the latter was made use of. 
 
 Guido Aretino, in the eleventh century, intro- 
 duces B flat in the third and sixth hexachords of 
 
90 Mediaeval Music 
 
 the system used by him. The systems of both 
 Hucbald and Guido will be found explained in 
 Chapter X. 
 
 The class of music which is now known as 
 ' Plainsong,' can scarcely be of earlier date than 
 the latter end of the eighth century, assuming in 
 the absence of any other theory that it came into 
 existence with the introduction of the organ, the 
 common and general use of which may be taken 
 to date from this early period, although used here 
 and there, in isolated instances, some centuries 
 before. The earliest compilation of ' Plainsong ' 
 of which there is any record is of the latter half of 
 the eighth century, and to this period also is 
 assigned the first mention of the scales in the 
 form in which the ' Plainsong ' is written ; and 
 further, that it was at this time the modes were 
 cast into that form in which we know them. 
 
 There is not a tittle of evidence, nor a shred 
 of information of any kind which even suggests 
 that any alteration was intentionally made in the 
 form or arrangement of the scale as finally settled 
 by Ptolemy in the second century. The use of 
 the organ as an accompaniment to the singing 
 in its primitive form must have compelled the 
 arranging of the vocal music in such a manner 
 that it should conform to the exigences of the 
 instrument, and we find that at the time the sharps 
 and flats were added to the organ, then do they 
 
Mediaeval System of Music 91 
 
 also appear in the chants and hymn-tunes, or vice 
 versa, for the first time, which affords very strong 
 corroborative evidence of the influence of the 
 organ on the form and use of the mediaeval octave 
 scales. 
 
 It is also a significant fact, worthy of note in 
 support of the above, that the Mediaeval Regals 
 or Portatives,* so called on account of the ease 
 with which they could be carried about, were 
 furnished with six, seven, or eight notes only, and 
 it will be found on examination that within the 
 compass of these limited diatonic scales nearly all, 
 if not the whole of, the early chants and hymn- 
 tunes were written. 
 
 The Positive was a small stationary organ. 
 
 * A Regal had reed pipes, a Portative had flue pipes. 
 
CHAPTER IX. 
 
 USES OF THE ROMAN, MILANESE AND MOZARABIC 
 LITURGIES, EIGHTH TO ELEVENTH CENTURIES. 
 
 THE use of Milan, there can be little doubt, 
 differed somewhat from the use of Rome, 
 not in the musical system — there being but one — 
 but in the method or style of singing. The 
 difference at the present day is striking. At 
 Milan the ancient Greek rule of a note to a 
 syllable appears to have been the custom, whilst 
 at Rome, on the contrary, a string of notes was 
 sung to a syllable, toying with it as long as the 
 unfortunate singer's breath would hold out. 
 
 The adherents of the Roman use, if the writers 
 quoted are to be believed, entertained the bitterest 
 ill-feeling and rancorous animosity against those 
 who upheld the use of Milan. 
 
 From the life of St. Eugenius, c. 775, we read* 
 that till his time the use of Milan was more used 
 by the Church than the use of Rome. Adrian I., 
 Bishop of Rome, summoned a council for the 
 
 * Durandus,' Rationale Divinorum Officiorum,' Lugd., 1574, 
 lib. II., cap. ii., numb. 5. 'Div. Pin. Hist. Eccles.,' iii. 6. 
 
Uses of Rome and Milan 93 
 
 purpose of decreeing the universal observance, 
 of the use of Rome. Eugenius arrived three 
 days after the dissolution of the council; he, 
 however, persuaded the bishop to recall the other 
 prelates who had been present. Having re- 
 assembled the council, it was the unanimous 
 opinion of all present that the Milanese and 
 Roman missals should be laid on the altar of 
 St. Peter. the Apostle, secured by the seals of 
 most of the bishops, and the doors of the church 
 shut, and that all persons should spend the night 
 in prayer that God would show by some sign 
 which of these missals He would choose to have 
 used by the Church ; and this was done in every 
 respect. Accordingly in the morning, when they 
 entered the church, they found the Roman missal 
 torn to pieces and scattered here and there, 
 but the Milanese missal opened and intact on the 
 altar. This was taken by the sapient bishops as 
 a sign of the rejection of the Milanese, which was 
 ever to remain only in that church in which it 
 was first instituted, whilst the Roman was ac- 
 cepted, the sign teaching them that as the pages 
 were torn and cast asunder, so was the missal to 
 be dispersed throughout the whole world.* 
 
 The Emperor Charles the Great, 743, died 814, 
 at the instigation of, and being commissioned by, 
 Adrian I., Bishop of Rome, and a synod of 
 * Hawkins, ' H. of M.,' i. 139. 
 
94 Medieval Music 
 
 Roman Catholic bishops — who passed a decree 
 empowering him in the name of the Church to 
 proceed through the length and breadth of Italy, 
 and to utterly uproot everything, whether in music 
 or ritual, which differed from the practice of the 
 Church of Rome — posted to Milan, and seizing 
 all the chant and hymn books containing the 
 Milanese song, made bonfires of them in the 
 middle of the city. He also carried many with 
 him across the Alps into Gaul, where they- were 
 made away with. His agents were instructed to 
 buy up every copy that could be found, or, in 
 default of fair means, to take them by force. 
 Those of the clergy who refused to give up their 
 books were to be put to the sword, and many, 
 both of the higher and lower orders of the clergy, 
 perished in this manner. So thoroughly whole- 
 sale was the destruction, that when Eugenius 
 visited Milan shortly after these events, with the 
 express purpose of obtaining a copy of the 
 Milanese chants, he could find but one missal in 
 the whole town, and this had been secreted by a 
 priest during the persecution in a cave outside the 
 gates. The same measures were taken throughout 
 Lombardy, and in a few weeks the flourishing 
 empire of the Milanese song was reduced to deso- 
 lation, and the only fragment that escaped was, 
 according to tradition, this very missal which 
 Eugenius found. 
 
Uses of Rome and Milan 95 
 
 Charles the Great published a law, enjoining ) 
 with the severest penalties, that every clergyman 
 in his empire should be perfectly acquainted with 
 the music as sung in Rome, and be able to sing 
 therein when required. In his 1st Capitulary, 
 788 et a. 789, or Legal Code of the Empire, no 
 less than six statute laws exist, commanding the 
 exclusive use of the Roman chant. Political 
 motives, rather than any regard for art, were the 
 strong reasons which led him to insist on such 
 universal obedience ; the doctrine of ' one Church, 
 one empire ' became clearer to him as his con- 
 quests increased in number, and at last developed 
 into a great maxim of state. 
 
 The compulsion of the Roman modes upon 
 Gallican use was, we know, one of the vexations 
 resisted by the clergy of the latter nation under his 
 rule. 
 
 The purity to which the Roman chant is reputed 
 to have been restored by the zeal of Charles the 
 Great, if it ever received any real bleaching, sub- 
 sisted no longer in Gaul than to the time of Lewis 
 the Debonnaire, his son and immediate heir, who 
 succeeded to the empire of the West in 814 ; for 
 in his reign the music of the Church was corrupted 
 to that degree, that the Roman chant subsisted 
 only in the memory of certain papists, who had 
 been accustomed to the singing of it ; for neither 
 were there in Gaul, nor in Rome, any books 
 
96 Mediasval Music 
 
 wherein it had been written. This strange cir- 
 cumstance is related by Symphosius Amalarius, 
 or as he is more generally called, Amalarius 
 Fortunatus, c. 814, d. 837, a principal ecclesiastic 
 in the chapel of Lewis the Debonnaire, who him- 
 self was sent by Lewis to request of Gregory IV., 
 827-844, the then Bishop of Rome, a sufficient 
 number of singers to instruct the people.* The 
 Bishop answered, ' I have no singers of antiphons 
 whom I can send to my son and lord the Emperor ; 
 the only remaining ones that we had, were sent 
 from hence into Gaul with Walla, who was here 
 on an embassy.' Amalarius then goes on to say, 
 ' When I had been a long while affected with 
 anxiety on account of the difference among the 
 singers of antiphons in our province, and did not 
 know what should be rejected and what retained, 
 it pleased Him who is bountiful to all, to ease me 
 of my scruples ; for there having been found in 
 the monastery of Corbie, in Picardy, four books, 
 three whereof contained the nocturnal, and the 
 other the diurnal office, by means of these books 
 I discovered a great difference between the anti- 
 phons of our singers and those formerly in use. 
 The books contained a multitude of responsaria 
 and antiphons which they could not sing : among 
 them I found one of those which were ordained 
 by the apostolic Adrian. I knew that these books 
 a Hawkins, i. 141, 142. 
 
Uses of Rome and Milan 97 
 
 were older than that which remained in the 
 Roman city, and though in some respects better 
 instituted, yet they stood in need of some cor- 
 rections, which by the assistance of the Roman 
 book might be made of them. I therefore took 
 the middle way, and corrected one by the other.' 
 
 Notwithstanding this labour of Amalarius to re- 
 form the Roman chant, Nivers, 1683, asserts that 
 the corruptions of music were then so great that it 
 was very difficult to say where the Roman chant 
 lay ; and after all, the corrections of Amalarius 
 Fortunatus were very ill received. 
 
 A similar episode to that recorded on pp. 92, 93, 
 occurred in the year 1080, this time with the 
 Mozarabic Church; the scene was in Spain. 
 Gregory VII., Bishop of Rome 1073-1085, ex- 
 horted, threatened, admonished, and entreated 
 Sancius and Alphonso, the kings of Aragon and 
 Castile, until, fatigued with the importunity of 
 this restless pontiff, they consented to abolish the 
 Gothic service in their churches, and to introduce 
 that of Rome in its place. Sancius was the first 
 to submit to this innovation, and in the year 1080 
 his example was followed by Alphonso. The 
 methods which the nobles of Castile employed to 
 decide the matter were very extraordinary. First 
 they chose two champions, who were to deter- 
 mine the controversy by single combat, the one 
 fighting for the Rome Liturgy, and the other for 
 
 7 
 
98 Mediasval Music 
 
 the Gothic service. The champion for the Gothic 
 service proved the victor. 
 
 The fiery ordeal was next made use of to ter- 
 minate the dispute. A brazier was lighted, into 
 which both the Roman and Gothic liturgies were 
 cast. The flames at once consumed that of Rome, 
 while the Gothic remained unblemished, intact. 
 Thus were the Gothic rites for the third time 
 crowned with victory, and yet in spite of this the 
 Liturgy of Rome was forced upon them, no doubt 
 by the authority of the Bishop of Rome, and in 
 this instance by the influence of Queen Constantia, 
 who determined Alphonso in favour of the service 
 according to the use of Rome.* 
 
 * Bona, ' De Rebus Liturg.,' lib. i., cap. ix., 216 ; Le Brun, 
 loc. citat. 292 ; Jo. de Ferreras, 'Hist, de l'Espagne,' torn. 
 Hi., 237, 241, 246 ; Mosh., ' Eccl. Hist.,' ii. 341 ; Hawkins, 
 ' H. of M.,' i. 141 note, Novello's ed. 
 
CHAPTER X. 
 
 TETRACHORDAL AND HEXACHORDAL SYSTEMS OF 
 HUCBALD AND GUIDO ARETINO — TENTH 
 TO THIRTEENTH CENTURIES. 
 
 HUCBALD, Hubald, or Hugbald, a Bene- 
 dictine monk of the convent of S. Amand 
 sur l'Elnon, in the diocese of Tournay, in 
 Flanders (born 840, died 930, and buried in the 
 church of St. Peter in his own abbey), is reputed to 
 have cast aside the cumbersome, quasi-intelligible 
 and confusing system of neumes, or neumas, which 
 prevailed, and to have substituted a new method 
 of notation. 
 
 This new system consisted in the arranging 
 horizontally of any number of parallel lines, as 
 the voice or instrument required. To the left, 
 before each space formed by these lines, signs 
 representing certain definite fixed sounds were 
 placed. He arranged the scale as follows : 
 
ioo Mediaeval Music 
 
 Graves = GABbCl_ . „. _ I _ „ ' ,« 
 Finales =DE Fg } f ABbCDEFg («) 
 
 Superiors = ab c d ) , I rii ,,. 
 
 Excellentes =ef|ga| ^bcd e f|g a (b) 
 
 4*2 
 
 .^2.-^.-11— — 
 
 m 
 
 M 
 
 Craves. Finales. Superiors. Excellentes. 
 
 These four tetrachords were detached or dis- 
 jointed, and the semitone in each occurred be- 
 tween the second and third intervals whether 
 read upwards or downwards ; the octaves (a) and 
 (6) therefore do not agree as to the intervals ; 
 this difficulty, however, was obviated by placing 
 the letters T = tone, and S = semitone, on the left 
 before the space containing a note when it stood 
 at the distance of a tone or semitone from the 
 note immediately above it, showing clearly whether 
 the voice was to proceed by the interval of a 
 tone or a semitone. The words or syllables were 
 written in the spaces or intervals = inter- valle, 
 between the walls — only, and the letters T and S 
 showed at a glance whether the interval from 
 one note to another, reading upwards, was a 
 tone or a semitone. The lines were not written 
 on.* 
 
 * ' Mus. En.,' c. xiii. 
 
Systems of Hucbald and Aretino 101 
 
 T 
 
 (A) 
 
 
 EXAMPLE I.— ONE PART, 
 a 
 
 
 
 
 T 
 
 <G) 
 
 da / 
 
 \ te / num 
 
 \ 
 
 
 
 
 
 T 
 
 (*■) 
 
 Lau / 
 
 \ /mi 
 
 \ de ' 
 
 coe \ 
 
 /lo 
 
 \ 
 
 
 S 
 
 (K) 
 
 
 \ do/ 
 
 \ « / 
 
 \ li 
 
 / 
 
 \rum 
 
 
 T 
 
 (D) 
 
 
 
 \ ccelis / 
 
 \ cot 
 
 :/ 
 
 
 \lau 
 
 T 
 
 (C) 
 
 
 
 
 
 
 
 \ 
 
 The above in modern notation : 
 
 Lau-da • te do - mi-num de - coe - lis coe - li coe - lo-rura lau- 
 
 The number of lines were not limited, but were 
 regulated by the extent of the scale used and 
 number of parts required. 
 
 He used certain signs before the spaces in place 
 of the letters inserted above for clearness. 
 
 EXAMPLE II.— FOUR PARTS. 
 
 T 
 
 
 
 Do \ 
 
 
 
 
 T 
 
 
 / 
 
 mini 
 
 \ 
 
 
 
 T 
 
 sit 
 
 ria / 
 
 
 in \ cula, 
 
 etc. 
 
 
 S 
 
 \ glo/ 
 
 
 Do \ 
 
 sse / 
 
 
 
 T 
 
 
 / 
 
 mini 
 
 \ 
 
 
 
 T 
 
 sit 
 
 ria/ 
 
 
 in \ cula, 
 
 etc. 
 
 
 S 
 
 \ glo/ 
 
 
 
 s=e / 
 
 
 
 T 
 
 
 
 Do \ 
 
 
 
 
 T 
 
 
 / 
 
 mini 
 
 \ 
 
 
 
 T 
 
 sit ria / 
 
 
 in \ cula, 
 
 etc 
 
 
 6 
 
 \ glo/ 
 
 
 Do \ 
 
 sae/ 
 
 
 
 T 
 
 
 / 
 
 mini 
 
 \ 
 
 
 
 T 
 
 sit ria / 
 
 
 in \ cula, 
 
 etc. 
 
 
 S 
 
 \ glo/ 
 
 
 
 s*/ 
 
 
 
 T 
 
 
 
 
 
 
 
102 Mediaeval Music 
 
 The above in modern notation : 
 
 
 
 ~2 
 
 
 
 E 
 
 
 Ji 
 
 ) a ^ ezi a „ O n „ 
 
 rs 
 
 rz 
 
 
 O -G- -^ -e-^ ~ =■>-©--£- 
 sit glo - li - a Do-mini in sx - 
 
 -&- 
 
 cu 
 
 la, etc. 
 
 
 
 f (V • & a ° „ n „ ° a 
 
 
 
 
 \*^a^-as-*&o~ 
 
 r> 
 
 n 
 
 
 
 
 
 
 
 For the graves he used the letter F with its 
 arms on the left side — these were turned up or 
 down for the notes G A C, whilst a form of the 
 letter N was used for the B flat. 
 
 For the finales the arms of the letter F were on 
 the right side, and were differently turned up or 
 down for D E G ; a plain stroke signified F. 
 
 For the superiors the letter F was used, as for 
 the graves, but upside down ; whilst for the excel- 
 lentes the F's were similar to the finales upside 
 down, the G being represented by X.* 
 
 Hucbald was undoubtedly the first to make 
 use of a stave of parallel lines, and by the adop- 
 tion of a sufficient number, as in example II., was 
 enabled to write out his parts in score, of which 
 the earliest instance known is his Organum, or 
 rudimentary harmony, described in chapter xii. 
 
 ' It is obvious that Hucbald's scale was nOt what 
 the ecclesiastical or " Gregorian " scale is com- 
 
 *This system is fully described in his 'Musica En- 
 chiriadis'; Lib. Corp. Chris., Cambridge, No. cclx. 
 
Systems of Hucbald and Aretino 103 
 
 monly supposed and said to have been. He made 
 all his fourths to have the semitone between the 
 second and third notes, as in D EF G. Hucbald's 
 text is clear enough to anyone not prepossessed 
 with the immutability of " Gregorian " music, for 
 he says repeatedly that his tetrachords have the 
 same succession of intervals whether taken up or 
 down.'* 
 
 It will be noted that we now find, for the first 
 time, the semitone has been moved up a degree 
 from the place it occupied in the Greek scales and 
 tetrachords, where it always occupied the first 
 place, for we have seent that the proslambano- 
 menos, though used, was not counted as a part of 
 the scale — it now is. 
 
 The position of the semitone is of the utmost 
 importance. It has passed through three stages 
 in the history of the scale : 
 
 1st' 
 2nd 
 3rd 
 
 '1st place =BCDEFGA 
 
 with the semi- 
 tone in the 
 
 2nd place =GABbCDEFG 
 
 3rd place =CDEFGABC 
 
 Hucbald's tetrachordal or four-note system was in 
 vogue, in all probability, from the ninth to the 
 eleventh centuries. 
 
 * Stainer and Barrett, 'Diet, of Musical Terms.' Art. 
 ' Notation.' 
 t P. 26. 
 
104 Mediaeval Music 
 
 About the same time that Hucbald's system of 
 notation came in, another and somewhat similar 
 one appeared, described by Vincentio Galilei* in 
 1 58 1, and afterwards by Pater Athanasius Kircher, 
 in which the spaces were left vacant, and the 
 notes were indicated by dots, or points, written 
 on the lines only, the actual degrees or pitches 
 of the scale being determined by Greek letters 
 placed before the stave on the left side : 
 
 EXAMPLE III. 
 
 etc. 
 
 The same in modern notation is : 
 
 The combination of these two systems,t with a 
 limitation of the number of lines and other slight 
 modifications, produced ultimately the system now 
 in use. 
 
 Guido Aretino, or d'Arezzo, a monk in the Bene- 
 dictine convent of Pomposa, between Ferrara and 
 Ravenna (born at Apezzio circa 990, died 1050), is 
 the reputed author of these four works : J 
 
 f * ' Dialago della Musica,' p. 37. 
 
 t See example from the Monastery of Vallambrosa, 
 Hawkins, 158. 
 
 X 'Proceedings of the Musical Association,' 1878-1879, p. 79. 
 
Systems of Hucbald and Aretino 105 
 
 (1) Micrologus, c. 1024 ; 
 
 (2) An Antiphonary, c. 1024 ; 
 
 (3) Letter to Monk Michael ; 
 
 (4) A small tract entitled ' De sex motibus 
 vocum a si invicem et divisione earum.' 
 
 He unquestionably did much to advance the art 
 of music, both in theory and in practice. 
 He did not invent : 
 (i) The staff; 
 
 (2) The shape of the pointed notes ; 
 
 (3) The placing of the signs or notes between 
 
 as well as on the lines ; 
 
 (4) The hexachord ; 
 
 (5) The monochord ; 
 
 (6) The so-called Guidonian hand ; 
 
 (7) The use of the syllables UT, RE, MI, etc. 
 
 (8) The two coloured lines. 
 
 The late Professor Sir F. A. G. Ouseley, Bart., 
 Mus. Doc, truly said :* ' They would give the 
 world at large to suppose he well-nigh revolu- 
 tionized the art of music, not only by the excellent 
 schools of music which he undoubtedly did set up, 
 but also by several inventions, such as the system 
 of hexachords, principles of solmization, Guidonian 
 hand, of all of which he is not the originator.' 
 
 Fetis, in his ' Biographie des Musiciens,' proves 
 from Guido's own words that none of these inven- 
 tions were his in reality, though many of them 
 
 * ' Proceedings of the Musical Association,' 1878-1879 
 P- 79- 
 
Jo6 Mediaeval Music 
 
 were adopted by him, and all were discoveries of 
 his time.* 
 
 The syllables UT, RE, MI, FA, SOL, LA, SI, 
 are said to have been taken from the first lines of a 
 Latin hymn to Saint John the Baptist : 
 
 ' UT queant laxis, REsonare fibris 
 MIra gestorum FAmuli tuorum 
 SOLve polluti LAbii reatum. 
 Sancte Iohannes.' 
 
 The last syllable, SI, is generally supposed to have 
 been added by Ericus Puteamus, a Fleming, circa 
 1600. 
 
 The hexachordal system, erroneously ascribed 
 to Guido, was arranged as on page 108, in 
 diagram J, with the solmization or syllables UT, 
 RE, MI, FA, SOL, LA apportioned to the respec- 
 tive notes. The position on the scale of any note 
 could be at once determined by the solmization 
 shown on diagram J. 
 
 This system is built up of seven hexachords : 
 three upon G, the hard = i, 4, 7, two upon C, 
 the natural = 2 and 5, and two upon F, the soft = 
 3 and 6. The position of the semitone in each, 
 whether read upwards or downwards, is always 
 between the 3rd and 4th instead of the 2nd and 
 3rd as in Hucbald's tetrachordal system ; having 
 been moved a degree higher, i.e., to the third place, 
 it thus always fell between MI and FA. 
 
 * ' Proceedings of Musical Association,' 1878- 1879, P- 79- 
 
Systems of Hucbald and Arctino 1 07 
 
 B occurs in the 1st, 4th and 7th hexachords 
 
 above, and was called b durus. 
 Bb occurs in the 3rd and 6th hexachords above, 
 
 and was called b molle. 
 These hexachords embraced a compass of two 
 and a half octaves. From the sign F (gamma) 
 being placed* below the old proslambanomenos 
 't was called ' gamma - UT,' hence the term 
 'gamut.' The first eight letters were written 
 in capitals, the next in italics, and the re- 
 mainder in smaller italics. If a song or melody 
 was limited to the extent of any one hexachord, 
 the solmization — that is, adapting the syllables 
 UT, RE, etc., to the sounds required — was clear 
 and apparent. But if this limit was exceeded, 
 and the melody included part of another hexa- 
 chord, a change in the syllables — ' mutation,' as it 
 was termed — took place. 
 
 Mutation was only possible from C to F, F to C, 
 or C to G, G to C, owing to the presence of B|? 
 in the third or F hexachord, and B|J in the 
 fourth or G hexachord. 
 
 The mutation usually took place at * re ' in 
 ascending, and ' la ' in descending. At the point 
 of mutation — that is, at the junction of the two 
 hexachords — the syllables changed from the former 
 to the latter ; examples : 
 
 * Aristides Quintilianus uses it as early as no A.D., and 
 S. Odo in the tenth century. Mus. Times, xxx., p. 77. 
 
io8 Mediaeval Music 
 
 UT re mi fa sol la 
 
 
 ut re mi FA sol LA 
 
 i,\\ • n rJ a 
 
 .- '■■' '-' 
 
 V.'f • ^ a a 
 
 „ n & 
 
 V yrj ^ *~ 
 
 
 r> & ^ 
 
 
 >-& 
 
 a ° 
 
 UTttm\FAtpX)(\a) ut re mi fa (sol) (la) 
 
 Hexachord of F j Hexachord of C 
 I I I 
 
 Hexachord of C Hexachord of G 
 
 The pitch of any note could be immediately 
 known by a knowledge of the formation of the 
 hexachords ; for instance if [G] sol, re, ut, was 
 the note, the pitch of which was required, it was 
 obvious, from the diagram J, that it could only 
 be G in the fourth hexachord ; the size and form 
 of the letter also determined the pitch and number 
 of the hexachord to which it belonged. The 
 only place where any difficulty might arise was 
 with regard to FA UT, which in the second 
 hexachord = C, and in the third and sixth = F. 
 
 The use of the musical hand appears to have 
 been to illustrate the hexachords with the muta- 
 tions. 
 
 The hexachordal system, clumsy as it is, was a 
 great advance on the systems up to that time 
 known, and most successful in the elucidation of 
 the mediaeval modes so long as they continued in 
 general use. It was absolutely impossible in these 
 modes to show, with anything like clearness or 
 accuracy, the proper answer to a given subject in 
 a real fugue excepting by this solmization, in which 
 it was requisite to make the answer a strict one, 
 
Systems of Hucbald and Aretino 1 09 
 
 that the solmization in one hexachord should 
 exactly correspond with the subject in another — 
 otherwise it was no true answer, but merely 
 ' limitation '; UT should answer UT, RE RE, in 
 whatever hexachord is selected. 
 
 The system of hexachords continued from the 
 commencement of the eleventh to the sixteenth 
 century, when our present tonal system of the 
 octave, through the influence of the chord of the 
 dominant seventh, came into existence. 
 
 In the tenth century we first find the use of a 
 line, on, above, and below which the neumas are 
 written. Coussemaker* gives a specimen, ' Ode 
 d'Horace,' from the library of Montpellier, MS. 
 425 : the line is black. He also gives a speci- 
 ment in two parts, each having a distinct line 
 — the two are divided by a roughly - drawn 
 line with a sort of leaf ornament at the left end. 
 The MS. is 1139 in the National Library of Paris, 
 and is given as of the eleventh century. He gives 
 a specimen,! from a MS. in the same Library, of 
 the thirteenth century. See also ' Musical Nota- 
 tion of the Middle Ages.' § 
 
 One of the earliest known instances of the use 
 of the red and yellow lines is given by Cousse- 
 
 * ' Hist, de l'Harmonie du Moyen Age,' Plate X. 
 t On Plate XXIII. 
 % Plate XXVI. 
 
 § Plain-Song and Mediaeval Music Society's publications, 
 Plate XII. 
 
1 1 o Mediaeval Music 
 
 maker in the above work;* the red line has 
 F before it, and the yellow C on the left. The 
 neumse are written on, above, between and 
 below the two lines ; the MS. is given as A 47, 
 ' Archives du Chaptre de Padoue,' twelfth century. 
 A specimen, No. 11, is given in the ' Mus. Not. 
 Middle Ages,'f of the twelfth and thirteenth cen- 
 turies : two lines black, one red and one yellow, in 
 all four. During the twelfth century the stave of 
 four lines, as used for writing the so-called 
 ' Gregorian ' notation at the present day, had 
 become quite common — numerous examples could 
 be given. See Coussemaker, in work quoted 
 above, J also ' Musical Notation of the Middle 
 Ages.'§ A stave of twelve lines was also in use 
 at this period. 
 
 It is somewhat inexplicable that such an errone- 
 ous statement as to the notation of the ' Win- 
 chester Troparium,' given on pp. 469 and 470 in 
 Sir George Grove's ' Dictionary of Music and 
 Musicians,' vol. ii., should have appeared. The 
 same error was also made by the late Mr. William 
 Chappell, who was generally so very accurate, at 
 a meeting of the Musical Association held in 
 London, March 3, 1879, by Sir G. Macfarren, 
 and by others. A specimen of this MS., 775 
 
 * Plate XXXVIII. 
 
 t See Plate XVI., ' Pal. Mus.,' vol. ii. ; No. 11, Plain-Song 
 and Mediaeval Music Society's publications. 
 % Plates XXIV., XXV., XXVI I., XXVIII., XXIX., XXX. 
 § Plates IX., XI. 
 
Systems of Hucbald and Aretino 1 1 1 
 
 Bod. Lib., is given correctly in ' The Musical 
 Notation of the Middle Ages.'* 
 
 The four lines, in the twelfth and thirteenth 
 centuries, were usually red. This was the transi- 
 tional period of the neumse to the square-shaped 
 notes ; the process was known as * quadrating,' or 
 ' squaring.'t 
 
 John Cotton, a monk of Tours — the first to recom- 
 mend the use of contrary motion — writing in 1047, 
 expresses a doubt similar to that of St. Isidore, 
 c. 636, as to the interpretation of the neumse 
 of the Middle Ages. He says : ' The same marks 
 which Master Trudo sang as thirds were sung as 
 fourths by Master Albinus ; and Master Salomo (in 
 another place) even asserts fifths to be the notes 
 meant; so that at last there were as many 
 methods of singing as teachers of the art.' 
 
 The necessity of a clef, or key, to show what the 
 notes on the lines and in the spaces represented, 
 was supplied as early as the twelfth century. Two 
 clefs, one [£ representing C and the other *fc F, 
 were adopted, and the notes that were written on 
 the lines or in the spaces, on or before which either 
 the one or the other clef was placed, corresponded to 
 that note. To obviate the use of ledger lines, these 
 clefs were moved up or down the staff as required, 
 
 * Plain-Song and Mediaeval Music Society's publications, 
 Plate II. 
 f Ibid., Plate XIV. 
 
H2 Mediaeval Music 
 
 and provided for all the transpositions then 
 possible. In fact, excepting to the mode a fourth 
 above or fifth below, by the use of Bjj at the signa- 
 ture, transposition was an impossibility, so also was 
 the alteration of any individual note, other than by 
 JB|>, until the introduction of sharps and fiats in the 
 next century. 
 
 A sharp or fiat at the signature of any music 
 indicates such to be a transposition either from 
 the key of C major or of A minor. 
 
 As early as 1240 we find an Englishman, John 
 of Fornsete, in Norfolk, a monk at Reading, not 
 only using thirds, sixths, and passing notes, but a 
 complete specimen of counterpoint in six parts, 
 including the first strict canon — in the unison 
 of one in four, with a pes, foot, or burden for 
 two parts — known, a fugue, and a catch — all this 
 in a rota ' Sumer is icumen in,' whiclris the 
 most ancient and advanced illustration-- of har- 
 mony, as now understood, extant. The notes 
 are black. The red note, the white or open 
 note, and time mark are absent, though all of 
 these were in use in the_ following century. This, 
 is the first English song, with or without music, 
 and is probably not less than two centuries older 
 than any similar composition out of England 
 before the fifteenth century. A facsimile will be 
 found in Chappell's ' Popular Music of Olden 
 Times.'* 
 
 * Vol. i., pi. 1. 
 
Systems of Hucbald and Aretino 113 
 
 Guido says : ' A neumae written without a letter 
 or coloured line, is as useless as a well with plenty 
 of water but without a rope to draw it by.'* 
 
 Gabriel Nivers, circa 1683, assigns as one of the 
 causes of the corruption of the Cantus Gregorianus, 
 the uncertainty of the method of notation prior to 
 Guido's time, it being very difficult to comprehend 
 and still more to retain. 
 
 Athanasius Kircher, circa 1602-1680, mentioning 
 the same fact, says it was impossible to ascer- 
 tain the difference between the tone and semitone, 
 which is in effect saying that the whole con- 
 trivance was inartificial, productive of error, and 
 of very little worth.f 
 
 * ' Epist. Guidonis ad Mich. Mon.' 
 f Hawkins, ' H. of M.,' i. 1693. 
 
CHAPTER XI. 
 
 MEASURABLE MUSIC. ELEVENTH TO SIXTEENTH 
 CENTURIES. 
 
 STRICT time, as now observed, was quite 
 unknown in the music of the Middle Ages, 
 anterior to the eleventh century. 
 
 When a series of notes strung together, so often 
 found in ancient manuscripts, occurred, some- 
 what after the manner of a modern run or cadenza, 
 they were called ' Notse Ligatae,' or bound notes, 
 and were sung, it is conjectured, somewhat quickly 
 but smoothly, the accent usually falling on the 
 highest notes : 
 
 The mediaeval ' modes ' were purely diatonic. 
 The first sharp or flat found is Bb, which, as shown 
 in Chapter VI., appeared about the tenth century, 
 and was the earliest demanded whilst the key 
 of A minor was the only one in use, to obviate 
 the occurrence of the tritone, or sequence of the 
 three whole tones between F and B. A writer 
 
Measurable Music 
 
 "5 
 
 has stated it occurs in a manuscript at the Monas- 
 tery of St. Gaul as early as A.D. 790,* but this 
 is most problematical and lacks corroboration; 
 the weight of evidence being strongly against its 
 use before the tenth century. 
 
 The word ' tone ' is very often erroneously and 
 synonymously used for and with the same mean- 
 ing as the word ' mode,' with which it must not 
 be confounded. A tone is, strictly speaking, an 
 interval, and not a collection of intervals, whereas 
 a mode is. 
 
 Franco, a monk of Cologne, circa 1047-1083, 
 wrote the first bookf on measured or timed music ; 
 he does not, however, lay any claim to be the 
 originator of the system he explains. 
 
 To represent the different time-values, he made 
 use of four signs: J 
 
 Perfect. 
 
 Imperfect. 
 
 Perfect 
 rests. 
 
 Imperfect 
 rests. 
 
 1. The Large. 
 
 2. The Long. 
 
 3. The Breve. 
 
 » 
 
 « 
 
 M 
 
 11 
 
 yi^i 
 
 I£Z5 
 
 :<=-""- 
 
 I 
 
 4. The Semi- ♦ 
 breve. 
 
 SiH 
 
 * Codex S. Gallensis, 546. 
 
 f ' Ars Musica Mensurabili ;' Bod. Lib. 
 
 % Ibid., chap. iv. 
 
1 1 6 Mediasval Music 
 
 Triple time, as emblematical of the Blessed 
 Trinity, was ' perfect '; common time, ' im- 
 perfect.'* 
 
 Perfect. 
 A perfect large = three longs = nine breves = 
 
 twenty-seven semibreves. 
 A perfect long = three breves = nine semibreves. 
 A perfect breve = three semibreves. 
 
 Imperfect. 
 
 An imperfect large = two longs = four breves = 
 eight semibreves. 
 
 An imperfect long = two breves = four semi- 
 breves. 
 
 An imperfect breve = two semibreves. 
 
 The semibreve being the lowest sign, and of 
 the smallest value, could not be divided, nor could 
 the large when used in the tenor of a cantus 
 firmus. 
 
 A. Any single note, or any three of the same 
 
 denomination, or their equivalents in im- 
 mediate succession, were perfect, and 
 retained their full value — equivalents count- 
 ing as notes. 
 
 B. Two or more larges, longs, or three semi- 
 
 breves in succession, were always perfect, 
 and retained their full value each, of three 
 notes of the next in order. 
 
 * ' Ars Musica Mensurabili,' chap. iv. 
 
Measurable Music 117 
 
 C. When two breves or semibreves occurred in 
 
 succession, the last one received double the 
 value of the first one, ■■="P and these 
 were perfect. 
 
 D. A note immediately preceded or followed by 
 
 one next in order of diminution, lost a third of 
 its value, and became imperfect — P P" = P P P 
 instead of P P P P, and so on.* 
 
 Five Modes or Measures of Rhythm. 
 
 1. P P = a. a. 
 
 
 = _ _ by Rule B above. 
 
 2. ■ ■, = Ja 
 
 
 = \J n ,. D „ 
 
 3- P 1 " " = £2- J a 
 
 
 = n W W >> C ,, 
 
 4- " " I P = c) 2 2- 
 
 
 = v_/ \J wm i< C ,, 
 
 S-t-* = dJ 
 
 
 = _ V^ I) D „ 
 
 Note 3 and 4 above. 
 
 To 
 
 signify a large or long 
 
 was to be treated independently of the next note, 
 and to divide groups of similar notes in succes- 
 sion, as: ■ ■ I ■ n I ■ ■• ■■■!■■■!■• 
 and so on, a short stroke or dot was used. 
 
 Example. 
 
 ■ ■■■■■ written=p P P P P | = as 
 sung = without divisio modi. 
 
 ■la m\ m ■!■ written=p- 1 P 3 | p 22 | p- as 
 sung = with divisio modi= | or * 
 
 • « Ars Musica Mensurabili,' chap. v. 
 + The rota ' Sumer is icutnen in,' is phrased in this mood, 
 and written on a stave as adopted by Franco. 
 
1 8 Medieval Music 
 
 The method of singing any measure, or com- 
 bination of measures, was thus easily determined. 
 
 Ligatures. 
 
 When ascending B H the first note counted as 
 a breve 1 ; if it had a tail «", a long 2 ; when de- 
 scending "n, the first note counted as a long 3 ; if 
 it had a tail on the left f a , a breve 4 . 
 
 If the first note had a tail on the left down- 
 wards P it counted as a breve, upwards ' a it counted 
 as a semibreve. 
 
 Examples. 
 
 I 
 
 4 
 
 ,!.."• +-r ***-* j ™- ?,. P rf-r*- 
 
 When the last note was placed immediately over 
 the last note but one S B. 6 it counted as a long ; 
 
 as with the podatus J, which embraced the inter- 
 vals of a third, fourth, fifth, etc. The lowest note 
 was sung first, ascending to the interval above. 
 When the last note was placed at the side of the 
 last note but one ■■ H ", 6 as a breve ; when the 
 last note was placed in obliquity to the last note 
 but one w ' m \ 7 , it received the value of a breve, 
 unless it had a tail descending on the right side, 
 when it equalled a long. 
 
Measurable Music 
 
 119 
 
 Examples. 
 
 All intervening notes were reckoned breves, 
 unless one had a tail ascending on the left side, 
 when it was counted as a semibreve. Larges 
 always retained their full value. 
 
 Obliquity. 
 
 This was a sort of shorthand in which a dash 
 or stroke was employed to represent two notes ; 
 the line or space where the ends of the dash or 
 stroke began and ended corresponded to the two 
 notes signified, the intervening notes being 
 omitted ; they seldom exceeded the compass of a 
 
 fourth. Of course, if the last note was re- 
 quired to be anything else than a breve, obliquity 
 could not be used. 
 A syllable noted with a long f, wherever 
 
120 Mediaeval Music 
 
 placed, received an accent, and was sustained 
 longer than a breve. 
 
 Slurs and Appogiaturas.* 
 
 y The eptaphonus with the tail up on the right 
 side had the value of a long Written. Sung. 
 
 y The eptaphonus with the tail up on the left 
 side had the value of a breve ^ y„ 
 
 f| The cephalicus with the tail down on the right 
 side had the value of a long 
 
 P The cephalicus with the tail down on the left 
 side had the value of a breve 
 
 The appoggiatura= half the value of the note it 
 preceded, as is the present custom. 
 
 Points. 
 
 Perfection — a dot placed immediately after, and 
 level with the middle of a note rendered imperfect 
 by position, restored the note to perfection. 
 
 Ultimately the dot was transposed to the 
 lesser prolation and was placed immediately after 
 a note, and is still so used, to increase a note by 
 half its value — it was known as the point of per- 
 
 * ' Ars Musica'Mensurabili,' chap. vi. 
 
Measurable Music 121 
 
 fection. The modern pause sign ^ is the old sign 
 of greater prolation inverted. 
 
 Imperfection, or Division — the dot was placed 
 somewhat high up, above and after a note. It was 
 always placed between one of two short notes, on 
 a higher level when the first was preceded, and the 
 last followed, by a long note. It was only used in 
 ternary measure, i.e., in triple or perfect time, serv- 
 ing, as does the modern bar, to show and main- 
 tain the threefold measure, and to prevent any 
 confusion. 
 
 Alteration, or Duplication — a dot placed higher 
 than in perfection and lower than in imperfection ; 
 it did not affect the note immediately before it, but 
 it doubled in value the last of the two short ones 
 that followed it. It only occurred before the first 
 of two short notes which were followed by a longer 
 one, or which were placed between two longer ones 
 in perfect time. 
 
 Augmentation — a dot placed after a note 
 lengthened it by one-half, as at the present time. 
 
 A stroke through a time sign denotes diminution 
 in value or length, and consequently increase in 
 pace. 
 
 The points of 
 
 t r t - \ were only used in ternary measure, 
 
 .,." .• ' and were at a later period suc- 
 
 . ' • [ ceeded by the use of red, black, 
 
 Augmentation,] and ope / notes> 
 
122 Mediaeval Music 
 
 Franco divided the intervals in this manner : 
 
 Concords, or Consonances. 
 
 Unison, as A to A } Perfect< 
 Octave, as A to a J 
 
 Major third, as A to C# 1 ImT , erfect 
 Minor third, as A to C j lm P ertect - 
 
 Perfect fourth, as Ato D \ M ,. , 
 Perfect fifth, as A to E j Meaial - 
 
 Discords, or Dissonances. 
 
 Minor second, as A to B(> ' 
 Augmented fourth, as A to Djj: 
 Augmented fifth, as A to E$ r Perfect. 
 Major seventh, as A to GJ 
 Minor seventh, Ato G 
 
 Major sixth, as A to F# ]_ j erfect 
 
 Minor sixth, as A to F j v 
 
 Unless this system, probably in use as late 
 as the sixteenth or seventeenth centuries, is 
 thoroughly mastered and understood, it is impos- 
 sible to translate the jmusic^ of Jhe twelfth, thir- 
 teenth, fourteenth, and fifteenth centuries, .into 
 modern notation. 
 
 Marchetto de Padova, in the thirteenth century, 
 c. 1274, was the first to enunciate the fundamental 
 law of euphony, that every dissonance should 
 
 resolve itself into a consonance. 
 
 The' minim = minimum, the least, as maxima = 
 the long, or greatest, is said to have been invented 
 in the thirteenth century, by Philippus de Vitriaco, 
 Bishop of Meaux (died 1360), or by Johannes de 
 
Measurable Music 123 
 
 Muris (1300-1370) in the fourteenth century — it is 
 not known for certain by which. Its introduction 
 rendered a greater extension of rhythmical em- 
 phasis possible, though the new notes were subject 
 to the same rules as the old ones. 
 
 The semi-minima, which we now call the 
 crotchet, because of the hook which it once pos- 
 sessed, soon followed the minim : as did the lesser 
 semi-minima, also called the fusa, or croma — in 
 English, the quaver — from the fact that this note 
 was only employed in embellishments, as the 
 quilisma or quaver of the voice; the fusa was 
 called ' crome,' inasmuch as it represented the 
 amount of the proportional loss sustained by a 
 note of superior value when it was coloured, in 
 writing. 
 
 The red note, when used with a black one, lost 
 a third of its value. 
 
 About the middle of the fourteenth century, 
 circa 1378, the red notes disappeared, but the 
 names remained ; these were succeeded by white 
 hollow, or outline notes, which were used with the 
 black ones. They were subject to the same rules 
 as the red notes had been; that is, they lost a third 
 of their value when perfect, and a fourth when im- 
 perfect.* They were always written on a stave of 
 five lines. 
 
 * Musical Times, vol. xxix., 1882. 
 
124 Mediasval Music 
 
 Time signatures, by whom invented is not 
 known, now began to appear. 
 
 Mode — Time — Prolation. 
 
 Mode regulated the proportion between the large 
 and long, and the long and breve : 
 
 Notation. 
 \ f JIIO=3 rests and 
 
 The Greater Mode J^ made the Large=3 J j^ X m f f ^ rests 
 
 ' ( and semicircle. 
 
 \ j IIQ = 2 rests and 
 
 The Lesser Mode ȣ& made the Long =\ j Breves.) ./itsmall res ,s 
 
 ( and semicircle. 
 
 Time regulated the proportion between the 
 breve and semibreve : 
 
 Notation. 
 
 SMtL. ™* «* B — = l } s - !b — { ° 8S S 
 
 Prolation regulated the proportion between the 
 semibreve and minim : 
 
 Notation. 
 The SerProTS" ^ *° ^-breve =3 } Minims. { © ( ( £ 
 
 The notation used for the above may be summed 
 up as follows : 
 
 (i) Rests = relations between the large, long, 
 and breve. 
 
 (2) Circle with or without figure 3, the point • = 
 
 the sign of perfection. 
 
 (3) Circle or semicircle, with or without figure 
 
 2, the stroke | =the sign of imperfection. 
 
 (4) (|)» (I. (|)'» (]> )> •), alia breve, alia capella= 
 
 diminution of the value of the notes to half 
 their value. 
 
Measurable Music 125 
 
 (5) (H)> (|| = diminution of the value of the notes 
 
 to a fourth their value. 
 
 (6) O, <• = either perfect time or the greater pro- 
 
 lation when placed after a note ; perfect by 
 time signature but imperfect by position, 
 the point sufficing to complete the beat. 
 This is the only way it differed from the 
 point of augmentation. 
 
 Some attribute to Walter Odington, a Bene- 
 dictine monk, of Evesham, in Worcestershire, an 
 Englishman (living 1280-1316), the naming of 
 the notes ; they are mentioned in a treatise written 
 by him in 1220. There were probably two of this 
 name. 
 
 The first book printed in England with musical 
 notes was the ' Polychronicon ' of Ralph Higden, 
 by John de Terrissa, Wynkyn de Worde, London, 
 1495 ; and the earliest collection, twenty English 
 songs by Cornysh, Taverner, Cowper, Fairfax, and 
 others, by Wynkyn de Worde, London, 1530. 
 Both are in the British Museum. Both contain a 
 clef and open notes on a stave of five lines. One 
 of the earliest books containing engraved music, 
 is to be seen in one of the cases in the British 
 Museum. The music is written on four lines, 
 with time-signature, clefs, and round -shaped 
 semibreves, minims, crotchets, quavers, and semi- 
 quavers. Its title is ' Breve et facile maniera 
 
126 Mediaeval Music 
 
 d' essercitarsi ad agni scholaro, etc.,' by G. L. Con- 
 forti ; printed at Rome, c. 1590. 
 
 The first book printed with round notes was 
 ' Liber primus Missarum Carpentras/* 1532 ; 
 printed by Jean de Channay, Avignon. They do 
 not again appear for 150 years. 
 
 The first printed notes were open. Square notes 
 were gradually superseded in England by round 
 ones, c. 1700. 
 
 * Eliazar Genet, born c. 1500, Chapel Master to the Bishop 
 of Rome, c. 1518. 
 
CHAPTER XII. 
 
 polyphonic music, 
 organum, faburdon, and counterpoint. 
 
 Antiphony. 
 
 ANTIPHONY, or the alternate responsive 
 singing of two choirs in unison or octaves, 
 there can be little doubt eventually suggested the 
 simultaneous singing of the two parts, the pre- 
 cursor of modern Harmony. 
 
 The first known definition of Harmony is that 
 of St. Isidore of Seville in the seventh century: 
 ' Modulatis vocis, et concordantia plurimorum 
 sonorum, et coaptatis.' 
 
 Organum. 
 
 Organum was the name given to an added part 
 sung a fourth or a fifth below a given melody, 
 called the Canto firmo or vox principalis. 
 
 Descantus. 
 
 Descant or Discant signified the art of singing 
 an improvised melody to a fixed song. Morley* 
 speaks of it as * a word usurped of the musitians 
 * Morley, ' Introduction,' p. 70. 
 
128 Mediaeval Music 
 
 in divers significations — that it is generally 
 taken for singing a part extempore, on a playne- 
 song ; so that when a man talketh of a descanter, 
 it must be one that can extempore sing a part 
 upon a playne-song.' The singing of the added 
 part. 
 
 Diaphony. 
 
 Diaphony — 819, twice; <f>a>vico — I sound, was a 
 term used to express the combination of the two 
 parts — the Canto firmo and the Organum or added 
 part, taken together. 
 
 Diaphony. 
 c. F. 
 
 1 
 
 zssz 
 
 i=°"-Z g =g=^ 
 
 Organum. 
 
 Organum was known at least as early as the 
 ninth century ; for Scotus Erigena, who died about 
 880, speaks of it in his treatise ' De Divina 
 Natura.'* 
 
 Hucbald in the tenth century describes three 
 kinds of symphony or harmony, in the fourth, 
 fifth, and octave: 
 
 (1) Diatessaron symphonia = Fourth. 
 
 (2) Diapente symphonia = Fifth. 
 
 (3) Diapason symphonia = Octave. 
 
 He occasionally made use of seconds and thirds, 
 but preferred the octave to other combinations. 
 
 * Grove's ' Dictionary of Music and Musicians,' ii. 608. 
 
Polyphonic Music 129 
 
 True organum comprised fourths and fifths only, 
 though the unison and octave were used. 
 
 He introduced oblique motion on the principle 
 that ' one voice may be permitted to move freely 
 in any direction, so long as the other remains upon 
 the same note *; an exact description of the modern 
 ' pedal-point.' 
 
 Organum was of three kinds : 
 
 (1) Diaphony =in two parts. 
 
 (2) Triphonia or Triaphony =in three parts. 
 
 (3) Tetraphonia or Tetraphony = in four parts. 
 
 In Triphonia, the organum was doubled in the 
 octave above, being both a fifth below and a fourth 
 above, or a fourth below and a fifth above the 
 Canto firmo ; it was also known as Organum 
 duplicatum, or triplum= treble. 
 
 Triaphony. 
 
 r-9- , 
 
 — ,1 1 
 
 
 ■A 
 
 ,_ , 
 
 
 (Ax - -~ 
 
 
 
 vif' ry 
 
 
 
 
 
 
 
 <^3 
 
 
 
 
 
 V & 
 
 -& 
 
 
 
 
 -&• 
 
 a 
 
 ez 
 
 -e- 
 
 rs 
 
 CJ 
 
 a . 
 
 
 
 
 <3 
 
 
 
 
 
 -&— 
 
 
 
 
 
 
 
 G c? 
 
 -&- 
 
 (Z> 
 
 -&- 
 
 C2 
 
 
 
 -&- 
 
 
 
 
 
 
 In Tetraphony, both the Organum and the 
 Canto firmo were doubled in the octave above, 
 forming a series of fifths-fourths-fifths, or fourths- 
 fifths-fourths. 
 
 Hucbald ruled that on whatever interval or 
 
 9 
 
130 Mediaeval Music 
 
 Tetraphony. 
 
 r? r 
 
 
 y^v — & — a — & — -* 
 
 
 -in 3- 
 
 
 -G — 
 
 (.() % &—¥s- 
 
 
 -©- 
 
 s- 
 
 
 
 ^o" 
 
 
 
 
 
 
 -&- 
 
 
 
 
 ° -O- 
 
 /g) :■ 0— g — ©- 
 
 
 
 
 
 n " 
 
 
 =22 "^ ■: 
 
 v' '- 
 
 fi 
 
 
 
 r-i 
 
 
 
 intervals the Organum began, such sequence 
 should be rigidly adhered to throughout. 
 
 The above has by some historians been termed 
 parallel-organum, distinguishing it from that kind 
 which admitted major seconds and major and 
 minor thirds for the purpose of making the fourths 
 move more smoothly. Two thirds were not to 
 appear in succession. 
 
 Guido objected to the sequence of five-four and 
 four-five in Triphonia, caused by doubling the 
 Organum in the octave above, and ruled that these 
 two parts should both be sung below the Canto 
 firmo, or by a new method, in which he contrived 
 to keep the parts nearer together as they 
 approached the end of the melody. This device 
 he called 
 
 Occursus, 
 
 the intervals employed being the unison, seconds, 
 thirds, and fourths. 
 
 Occursus. 
 
Polyphonic Music 131 
 
 John Cotton, c. 1047-1083, introduced contrary 
 motion for the first time between the Organum 
 and Canto firmo. 
 
 De Coussemaker cites MS. treatises published 
 subsequently to that of John Cotton, and before 
 the end of the twelfth century ; he gives the text, 
 translation into French, and an analysis, from 
 which it seems that during that period the 
 
 (1) Use of consecutive fifths had departed. 
 
 (2) Thirds and sixths were used as quasi-con- 
 sonances occasionally. 
 
 (3) Passing notes appeared. 
 
 (4) The minor third was used at the end of a 
 melody. 
 
 (5) Contrary motion prevailed. 
 
 The following example of Discantus of the end 
 of the eleventh or the beginning of the twelfth 
 century is given on the authority of Dr. Riemann.* 
 Every note in the Canto firmo has the value of a 
 long P' of 3 beats — the real Cantus planus; and 
 the Discantus adds to each a long ^ of 2 beats, 
 followed by a breve »'. 
 
 Discantus. 
 
 * ' Catechism of Musical History,' pp. 24, 25 ; Augener 
 and Co. 
 
132 Medieval Music 
 
 A Bishop of St. David's wrote in the twelfth 
 century : ' The Britons do not sing their tunes in 
 unison, like the inhabitants of other countries, but 
 in different parts.'* 
 
 Adam de Hale — a Trouvere, b. 1240 — was the 
 composer of the first comic opera, ' Robin Hood 
 and Maid Marian.'f 
 
 Faburdon, Faux Bourdon, or False 
 Bourdon. 
 
 Faburdon was in use at two different periods. 
 In its earliest form it consisted in a single note, 
 burden, or drone being held on throughout as a 
 bass to the melody or Canto firmo. It probably 
 preceded Diaphony, which was certainly an advance 
 on this rugged attempt at harmony. About the 
 fourteenth century the introduction of the pre- 
 viously forbidden intervals, the thirds and sixths, 
 gave rise to the term False Bourdon also, 
 though with a different meaning. Any slow psalm 
 tune, written chiefly or entirely in the first order 
 of Counterpoint, was called Faburdon. 
 
 An English MS. by a certain Chilston, preserved 
 in the ' Manuscript of Waltham Holy Cross,'* 
 probably of the fourteenth century, gives rules 
 
 * ' History of Music,' Nauman i., ed. by Ouseley. 
 f Hullah's 'History of Modern Music,' pp. 41, 42, gives 
 transcript. 
 
 % Hawkins, 'H. of M.,' i., 256, Novello's ed. 
 
Polyphonic Music 133 
 
 and directions ' for the sight of descant . . . and of 
 Faburdon.' 
 
 Hawkins gives an example, and, quoting Morley, 
 adds after it : ' And though this be prikt a third 
 above the plainsong, yet it was alwaies sung under 
 the plainsong.' 
 
 Imitation and Inversion occur in a three-part 
 song by one Busnois, who lived c. 1450, and died 
 1480. 
 
 Counterpoint. 
 
 The word Counterpoint in place of Descant 
 first occurs in the writings of Jean de Muris, one 
 of the greatest musical theorists of the fourteenth 
 century, and of Gerson, Chancellor of Notre Dame, 
 c. 1408. Counterpoint, Punctus, Contra-punctum, 
 nota contra notam = really, point with point, 
 note with note, was, strictly speaking, written 
 Descant, and was also known as prick-song, owing 
 to the harmony or parts forming it being written 
 or pricked down, whereas in Descant it was the 
 extemporaneous and spontaneous effort of the 
 singer only. 
 
 England, as with all advances in the science 
 and art of music, was to the fore in that of 
 Counterpoint. John Tinctor, a Netherlander, 
 born 1434 or 1435, who died c. 1520, wrote 
 respecting Counterpoint : ' Of this new art, as I 
 may call it, the fountain and source is said to have 
 
134 Medieval Music 
 
 been among the English, of whom Dunstable* 
 was the chief.' 
 
 In the fifteenth century England, as th'e head of 
 a school, preceded both the Netherlander s and 
 Burgundians. During the wars of the Roses, 
 music in England, like the other arts, suffered 
 much, all progress for the time being at an end. , 
 
 Counterpoint is of two kinds, Strict and Free. 
 Strict Counterpoint dates from about the four- 
 teenth to the end of the sixteenth century, when 
 the Polyphonic styles died out, and the Monodic 
 came in. The main idea on which the Polyphonic 
 style was based, was the melodic relation of .two 
 real parts. The Monodic, on the other hand, is 
 based on the harmonic relation of two successive 
 chords. The arrangement and treatment of the 
 parts in each was therefore very different ; the 
 one was lateral, the other vertical. Strict Counter- 
 point admitted the Diatonic genus only, and it is 
 not until 1598! that the first instance of the 
 Chromatic genus is found. 
 
 Counterpoint is simple or florid. Simple Coun- 
 terpoint is when the Counterpoint and Canto firmo 
 respectively comprise notes of the same length. 
 
 Florid Counterpoint is when the Counterpoint 
 
 * John of Dunstable, in Bedfordshire, a musician, mathe- 
 matician, and astrologer, died 1453. 
 
 t ' Construe, my darling,' a canzonet by Giles Farnaby, 
 1 591, ed. by W. B. Squire. 
 
Polyphonic Music 135 
 
 comprises longer and shorter notes than the Canto 
 fir mo. 
 
 At first Concords only were admitted; later, 
 Discords, under certain restrictions. 
 
 Modern Counterpoint includes five species. 
 The general laws of Strict Counterpoint are 
 clearly and succinctly set forth by Mr. W. S. 
 Rockstro in Grove's ' Dictionary of Music and 
 Musicians,'* and those relating to the Free style 
 also ably explained.^ The two styles are not 
 antagonistic, as the new progressions made use of 
 in the Free style were unknown to the contra- 
 puntists of the sixteenth century. It would occupy 
 too much space to enter fully into the subject 
 here, besides being outside the scope of this 
 volume. The reader who desires a complete 
 knowledge of the two styles of Counterpoint can- 
 not do better than consult the articles referred to. 
 For the practical study of Counterpoint any of 
 the following excellent works will be found of 
 much value : — 
 
 ' Counterpoint : Strict and Free.' By Mr. 
 Ebenezer Prout. (Augener and Co.) 5s. 
 
 ' Counterpoint.' By Sir G. A. Macfarren. 
 (Cambridge University Press.) 7s. 6d. 
 
 ' Counterpoint.' By Dr. Bridge. (Novello and 
 Co.) 2S. 
 
 * Vol. iii., 741-744. t Vol. iv., 742"744- 
 
136 Mediaeval Music 
 
 ' Double Counterpoint.' By Mr. Ebenezer 
 Prout. (Augener and Co.) 5s. 
 
 'Double Counterpoint.' By Dr. Bridge. (Novella 
 and Co.) 2s. 
 
 Good works on Counterpoint have also been 
 compiled by Cherubini, Richter, Ouseley, Daven- 
 port, Fux, and others. 
 
 Summary. 
 
 Canto firmo = the Melody, or mis-called Plain- 
 song, usually in the tenor. 
 
 Faburdon (1) = a drone, burden, or holding part 
 in the bass. 
 
 Organum = an added part a fourth or fifth below 
 the Canto firmo. 
 
 Diaphony=the name for the Organum and 
 Canto firmo taken together. 
 
 Descant = the art of singing an improvised part 
 or Organum. 
 
 Faburdon (2) = the addition of thirds and sixths 
 to the Organum. 
 
 Counterpoint = melodies parallel with melodies, 
 at first note with note written horizontally. 
 
 Harmony = combination of notes written verti- 
 cally. 
 
CHAPTER XIII. 
 
 MONODIC OR HARMONIC MUSIC. 
 
 MONODIC or Harmonic Music dates from 
 the end of the sixteenth century. Pre- 
 viously the only apology for harmony was that 
 arising from Organum, Faburdon, and Counter- 
 point, purely lateral combinations of a series 
 of superimposed melodies, written from left to 
 right, with regard only to the movement of the 
 vocal parts at the prescribed intervals, without 
 any idea of individual chords constructed vertically, 
 which constitutes Modern Harmony. 
 
 The advancement of the Modern style was 
 long stayed, owing to the rooted antipathy to 
 the triton or interval of the augmented fourth 
 with its three whole tones, which occurs in the 
 old minor mode of A and in the major mode of C, 
 between the F and B. The use of this interval 
 being very rigidly prohibited, neither the major 
 mode with its major seventh, nor the chord of the 
 dominant seventh could be used ; modulation 
 therefore as now understood was impossible. The 
 
138 Mediaeval Music 
 
 earliest use of the major seventh, or sharpened 
 leading note in the minor mode, partially, if not 
 wholly, is found in a treatise written in 1531 upon 
 Counterpoint, by Stephano Vannco, born 1493 ; it 
 was translated into Latin by Vincenzo Rossetti of 
 Verona, and published in Rome, 1533. In this 
 work he also explains the principles and practice 
 of Music, Solmization, Measurable Music, Nota- 
 tion, and Counterpoint. 
 
 The first to make use of the chord of the domi- 
 nant seventh as a fundamental discord — without 
 preparation — was a French composer, born c. 1475, 
 one Jean Mouton, who died 1522. Its use,' however, 
 does not appear to have become at all general. 
 
 Giovanni Pierluigi, born 15 14 at Palestrina in 
 the Campagna of Rome, died 1594, has been called 
 the ' Father of Church Music' He was commis- 
 sioned to organize the music of the Italian Church, 
 which had at that time again sunk into a most 
 deplorable state, the Masses being interspersed 
 with secular songs and dances, blasphemously 
 profane and indecent. The principle he adopted 
 was harmonic effect in contrast to the harsh 
 polyphony of the old Netherland, Holland, and 
 Belgium schools, as represented by Josquin, 1450- 
 1532. Although he solved the problem, he lacked 
 any feeling of sympathy for that smoothness 
 which should be felt from the use of consecutive 
 chords owing to their mutual relation. His chords 
 
Monodic or Harmonic Music 139 
 
 follow one another by abrupt and disconnected 
 leaps in a restless manner. It is problematical 
 whether we should discern wherein the interest and 
 elevated beauties claimed for it lay if performed now. 
 His music is absolutely devoid of all expression. 
 He made several attempts to introduce new har- 
 monic combinations in his compositions, intro- 
 ducing an uninterrupted flow of consonant chords, 
 dominant sevenths prepared, with dissonant and 
 passing notes charily interspersed. He is accounted 
 by Papists as the greatest, and one of the last com- 
 posers of the Polyphonic School. 
 
 Polyphonic music, and with it the so-called 
 ecclesiastical-mediaeval music, received its death, 
 blow at the end of the sixteenth and beginning of 
 the seventeenth centuries, mainly owing to the 
 general adoption of the chord of the dominant 
 seventh unprepared. 
 
 To Claude Monteverde, born at Cremona in the 
 year 1568, we may look as the originator of the 
 modern style of composition, a system of Harmony 
 which has continued without interruption to the 
 present day. 
 
 In his third and fifth book of Madrigals, pub- 
 lished in 1594 and 1599 respectively, are to be 
 found and used with the greatest freedom, and 
 without preparation : 
 
 Chords of the Diminished Fifth. 
 Diminished Triad. 
 
140 Mediaeval Music 
 
 Chords of the Major, Dominant, and Dimin- 
 ished Seventh and inversions. 
 „ Major Ninth. 
 
 „ Suspended Sevenths and Ninths. 
 
 „ Perfect Cadences, i.e., Tonic 
 
 preceded by the Dominant. 
 The Sharp also is found at the signature. 
 The exact date when the major mode came in 
 vogue has not been definitely determined; it 
 was, however, used for certain by Monteverde, 
 who died in 1643. 
 
 Dramatic music — the Cantata, Opera, and 
 Oratorio proper — date from this period, to which 
 also we owe the unsurpassable family of violins, 
 whose makers, even in these days of enlighten- 
 ment and ingenuity, have never been equalled, 
 much less surpassed, in the richness and fulness 
 of tone and beauty of workmanship. 
 
 It also produced musical giants such as the 
 world had never before known. Archangel Corelli, 
 the father of the violin ; Henry Purcell, the father 
 of English music; Alexander Scarlatti, the creator 
 of modern opera ; George Frederick Handel, the 
 king of oratorio ; John Sebastian Bach, the master 
 of fugue, etc. All born in this wonderful age, the 
 seventeenth century. 
 
 Chamber music must also be included in this 
 remarkable era which produced such phenomenal 
 advances, not only in every branch of music, vocal 
 
Monodic or Harmonic Music 141 
 
 and instrumental, but in • literature, science, and 
 art generally. 
 
 The presence of the chord of the Dominant 
 Seventh at once shows if a composition is of 
 earlier or later date than the sixteenth century. 
 Its use was not general until the middle of the 
 seventeenth century. 
 
 Mediaeval music received its death-blow, and 
 the old chest of viols practically disappeared, until 
 Mr. Dolmetsch quite recently resuscitated them. 
 
 The square notes were gradually superseded in 
 England by round notes at the end of the seven- 
 teenth century. 
 
 Diatonic Scales. 
 Our major and minor modes are included in 
 the ten notes of the Diatonic Scale beginning 
 
 on A = A B C D E F G a b c ; these two modes are 
 
 I ; I 
 
 major 
 
 generally termed relatives : 
 
 The minor mode of A = the relative minor of 
 C major. 
 
 The major mode of C = the relative major of 
 A minor. 
 
 A Tonic minor mode has the same keynote as 
 the major mode. 
 
 The minor mode is used in three different ways : 
 
 (1) As written above = the Old Minor. 
 
 (2) With the seventh raised a semitone = the 
 Harmonic. 
 
142 Mediasval Music 
 
 (3) With the sixth and seventh raised a semi- 
 tone in ascending only = the Arbitrary. 
 
 The major mode came into general use between 
 the middle of the sixteenth and seventeenth cen- 
 turies. 
 
 The chromatic scale comprises twelve semitones 
 ascending by sharps, and twelve in descending by 
 flats. 
 
 Intervals. 
 
 The smallest interval on the pianoforte and 
 other keyed instruments is the semitone, which is 
 the meter by and from which all other intervals 
 are counted. 
 
 Intervals are simple when confined within the 
 compass of an octave, or compound when exceed- 
 ing the limits of an octave. 
 
 The simple intervals of which the compound 
 are formed can easily be found by subtracting 
 seven from the compound interval, thus : 
 
 9-7 = 2, and 9 = the2nd) . 
 
 , , , f Doubled in 
 
 10-7 = 3, and io = the 3rd > 
 
 , , I the octave. 
 11 — 7 = 4, and 11 = the 4th; 
 
 Diatonic intervals consist of the notes only be- 
 longing to the scale. 
 
 Chromatic intervals consist of the notes not 
 belonging to the scale. 
 
 Enharmonic intervals consist of the notes which 
 are changed in name, but not — on keyed instru- 
 ments, as the organ, pianoforte, etc. — in sound. 
 
Monodic or Harmonic Music 143 
 
 A Diatonic semitone consists of two different 
 letters, as F — G[>. 
 
 A Chromatic semitone consists of the same 
 letter altered, as F — F$. 
 
 There are five kinds of intervals : 
 
 Perfect, which by inversion remain Perfect. 
 
 Major, „ „ become Minor. 
 
 Minor, „ „ „ Major. 
 
 Augmented, „ „ Diminished. 
 
 Diminished, „ „ Augmented. 
 
 The unison is not an interval but for convenience. 
 
 Intervals are always counted upwards, and 
 include those counted from and to. 
 
 Inversion signifies the reversal of the positions of 
 the two notes forming the interval. The number 
 of notes in any interval added to those of its 
 inversion = 9 and the semitones = 12. 
 
 The octave in the major mode is made up as 
 follows : 
 The first note, Tonic or keynote 
 
 f =a major tone 2 
 
 The second note, or Super-tonic ~\ j _ 
 
 > =a minor tone 
 
 The third note, or Mediant ] J ? 
 
 > =a major semitone 
 
 Thefourthnote,orSub-dominantJ ] | 
 
 >=a major tone s 
 
 The fifth note, or Dominant ~\ ) 
 
 = a minor tone 
 
 The sixth note, or Sub-mediant ) ") £ 
 
 > = a major tone | 
 
 The seventhnote, or Leading notel J 6 
 
 \ =a major semitone 
 The eighth note, or Octave ) 
 
144 Medieval Music 
 
 The Tonic, Fourth, Fifth, and Octave are 
 Perfect, and remain so on inversion ; they are so 
 called because any alteration either by raising or 
 lowering them converts them at once from con- 
 cords to discords. 
 
 Concords, which are satisfactory in themselves, 
 are either Perfect as above or imperfect = major 
 and minor thirds and sixths. 
 
 Discords are not satisfactory in themselves and 
 require to be resolved = the discord must be 
 followed by a concord — they are either Diatonic 
 or Chromatic. 
 
 Diatonic = major and minor seconds and 
 sevenths. 
 
 Chromatic = all augmented and diminished 
 intervals. 
 
 Chords. 
 
 A chord is, strictly speaking, the simultaneous 
 combination of two or more notes. The common 
 chord or triad consists of any note being taken for 
 the bass with its third and fifth notes added above. 
 So long as the bass note is not altered, the upper 
 notes may change their positions without altering 
 
 Fifth, 
 the chord. It is figured | or 5 = Third. 
 
 Bass. 
 A chord is major or minor according as its third 
 is, which determines the mode. 
 
Monodic or Harmonic Music 145 
 
 There are in each octave of the major mode 
 Three major chords N which 0Ccur y Perfect intervals= 1.4.5. 
 
 Three minor „ ' on the N Imperfect „ =2.3.6. 
 One diminished triad, which occurs on the 7th or leading note. 
 
 Inversions of Chords. 
 
 A chord is inverted when the root is not in the 
 bass part. 
 
 A chord as a rule admits of one less inversion 
 than there are different notes in such chord. The 
 first inversion of the common chord has the third 
 in the bass, which may not be doubled. It may 
 begin a piece, but never end one. It is figured 
 % or 6. 
 
 1st Inversions of major chords give a minor third + a per- 
 fect fourth, the major sixth from the bass. 
 „ minor chords give a major third + a per- 
 
 fect fourth, the minor sixth from the bass. 
 
 The second inversion of the common chord has 
 the fifth in the bass ; it may never begin nor end 
 a piece of music. It is figured |. 
 
 2nd inversions of 
 
 Major. .a major third. 
 
 ^Chords give a Perfect fourth+ ' 
 Minor a minor third. 
 
 The diagrams on pages 146-8 show at a glance 
 the positions each note in the original chords 
 occupies in their inversions : 
 
 10 
 
146 
 
 Medieval Music 
 
 Original 
 Chord. 
 
 G= Fifth 
 E=Third 
 C=Bass 
 
 Inversions. 
 First. Second. 
 
 Third 
 
 Bass 
 
 Sixth 
 
 Bass 
 Sixth 
 Fourth 
 
 Fundamental Discords. 
 
 Fundamental discords are generated from a 
 fundamental note, prime, or generator as under : 
 
 ~2ZL 
 
 m 
 
 $6 
 
 They require no preparation — being heard in a 
 previous chord — like other discords, but need 
 resolution. They are either Diatonic or Chro- 
 matic, and consist of a series of thirds super- 
 imposed on a major triad, and are as follows : 
 
 (1) Chord of the Dominant 7th, 1 
 
 minor 
 
 (2) Chord of the Dominant 9th, 
 
 major and minor 
 
 (3) Chord of theDominant 1 ith, 
 
 major and minor 
 
 (4) Chord of the Dominant 13th, 
 
 major and minor, 
 
 The major 9th on the Super-' 
 tonic 
 
 The major 13th on the Tonic 
 
 on the Tonic, Supertonic and 
 Dominant, from the funda- 
 mental notes of which they 
 are respectively derived. 
 
 and on the Dominant are not 
 used in the Minor mode. 
 
Monodic or Harmonic Music 147 
 
 (1) The Dominant 7th= Dominant major triad+a minor 
 
 third. 
 
 (2) The Dominant 9th=Dominant 7th+a major or minor 
 
 third. 
 
 (3)TheDominantuth=Dominant 9 th^ n ° r +^^}third 
 (4) The Dominant i3th=Dominant nth+a major third. 
 
 
 
 Seventh. 
 
 
 Original 
 Chord. 
 
 First. 
 
 Inversion 
 Second. 
 
 s. 
 Third. 
 
 Progressions. 
 
 F = Seventh 
 
 Fifth 
 
 Third 
 
 Bass 
 
 ^descends. 
 
 D = Fifth 
 
 Third 
 
 Bass 
 
 Sixth 
 
 =free. 
 
 B = Third 
 
 Bass 
 
 Sixth 
 
 Fourth 
 
 =ascends. 
 
 G =Bass 
 
 Sixth 
 
 Fourth 
 
 Second 
 
 
 Ninth. 
 
 Original 
 
 
 Inversions. 
 
 
 Progres- 
 
 Chord. 
 
 First. 
 
 Second. 
 
 Third. 
 
 Fourth. 
 
 sions. 
 
 A =Ninth 
 
 Seventh 
 
 Fifth 
 
 Third 
 
 Bass 
 
 \ descend 
 
 F = Seventh 
 
 Fifth 
 
 Third 
 
 Bass 
 
 Sixth 
 
 J 
 
 \ ascends or 
 
 D=Fifth 
 
 Third 
 
 Bass 
 
 Sixth 
 
 Fourth 
 
 \ descends 
 ) a degree. 
 
 B=Third 
 
 Bass 
 
 Sixth 
 
 Fourth 
 
 Second 
 
 rises. 
 
 G=Bass 
 
 Not 
 
 used. 
 
 
 
 
148 
 
 Mediaeval Music 
 
 
 
 V 
 
 0) 
 
 u 
 
 01 
 
 
 
 
 •> tD 
 
 
 
 
 a 
 
 5 
 
 ■a 
 
 a 
 
 
 
 
 c 43 
 
 
 
 
 •4-* 
 
 
 
 +-J 
 
 
 
 
 O +5 
 
 
 
 
 tn 
 
 ci] 
 
 tn 
 a! 
 
 tn 
 en 
 
 
 
 
 
 'tn 11 
 
 
 
 
 the same 
 Supertonic. 
 s the same 
 ibdominant 
 
 the same 
 ubmediant. 
 
 0) 
 
 s 
 
 « 
 
 tn 
 
 n 
 
 
 
 
 econd inve 
 the second 
 
 
 
 
 tn to 
 
 ■"co 
 
 .2'*! 
 
 .S2H 
 
 
 
 
 
 
 
 O fi 
 
 B <u 
 
 .2 -a 
 
 B j2 
 
 M 
 
 
 
 
 tn 
 
 
 
 
 •s 
 
 
 'a s 
 
 £ 
 
 S2 b 
 
 O O 
 
 
 
 
 43 ■- 
 
 H S2 
 
 
 
 
 S ^ 
 
 5 c c 
 
 •** <+* .s <+■< .a <+« 
 
 
 
 
 > 
 
 <0 jj 
 
 
 
 
 
 
 BT3 
 
 
 
 ■H-S 
 
 O 
 
 ■5-2 
 
 
 
 
 
 
 
 C 
 
 N i3 
 
 COg 
 
 ^S 
 
 
 
 
 
 
 
 
 0>fB 
 
 0>a 
 
 o>a 
 
 0>fB 
 
 
 
 
 
 
 
 *U*UJ3UJ5U 
 
 
 
 
 
 
 
 H 
 
 H 
 
 H 
 
 H 
 
 
 
 
 O <u 
 C 43 
 tn 
 
 
 
 
 
 
 J5 
 
 13 
 
 
 
 
 
 
 >«i 
 
 
 
 
 e 
 
 
 
 
 • rt tn 
 
 
 X 
 H 
 
 la 
 
 S5. 
 
 tn 
 tn 
 
 a 
 
 pq 
 
 co 
 
 O 
 
 
 
 
 0) 
 
 CO 
 
 
 
 
 chord 
 here a 
 
 
 H 
 
 
 
 
 
 
 
 
 
 
 > 
 
 ►si 
 
 
 
 
 a 
 
 
 
 
 
 H 
 W 
 
 s 
 
 1 
 
 la 
 
 tn 
 tn 
 
 id 
 
 a 
 
 ■4-* 
 »H 
 
 3 
 O 
 
 
 
 
 tn t3 
 
 •a d 
 
 
 
 fe. 
 
 H 
 
 PQ 
 
 CO 
 
 fe 
 
 
 
 
 *■ S3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 .a- 
 
 13 
 
 3 
 
 tn 
 tn 
 
 ■4-» 
 
 
 
 
 8 
 
 ™ 
 
 
 
 E 
 
 H 
 
 pq 
 
 CO 
 
 
 
 
 inversi 
 enience 
 
 
 
 IN 
 1 
 
 > 
 
 4) 
 
 ■a 
 
 T3 
 
 a 
 
 tn 
 
 tn 
 cd 
 
 
 0> 
 
 
 
 
 ^ 
 
 co 
 
 E 
 
 tH 
 
 pq 
 
 
 tn 
 
 3 
 
 
 Ui S3 
 
 q3 O 
 
 O 
 
 
 
 ■jj 
 
 J3 
 
 .a 
 
 B 
 
 
 TJ 
 
 
 O 
 B 
 
 
 
 
 .5 
 
 4-» 
 
 B 
 
 (U 
 
 > 
 
 V 
 CO 
 
 a 
 
 «a 
 E 
 
 !a 
 
 
 
 
 1 
 
 oot and 
 
 :, is for 
 
 S3 
 O 
 
 O 
 tn 
 
 T3 
 
 
 *** 
 
 .a 
 
 a 
 
 
 5 
 
 
 
 
 
 
 55 >i 
 
 85. « 
 
 0) 
 
 ,a 
 
 B 
 
 ■-—1 
 
 T3 
 
 
 
 i-< E 
 
 13 
 
 
 > 
 
 0) 
 
 g 
 
 0> 
 
 a 
 
 a 
 
 
 tn 
 tn 
 
 2 «2 
 
 cd 
 
 
 s 
 
 2 
 
 CO 
 
 E 
 
 H 
 
 
 pq 
 
 t -1 to 
 
 T3 
 
 
 II 
 
 II 
 
 II 
 
 II 
 
 II 
 
 
 II 
 
 It 
 
 
 
 
 
 <c 
 
 (n 
 
 Q 
 
 pq 
 
 
 
 
 43 
 
 4-» 
 
Monodic or Harmonic Music 149 
 
 Cadences. 
 
 Every piece of music ends with a Close or 
 Cadence, which establishes its tonality, of which 
 there are several kinds : 
 
 (1) The Tonic preceded by a minor chord on 
 the dominant or an inversion of it; very unusual. 
 
 (2) The Tonic preceded by a major chord on 
 the mediant or third ; used by Gounod. 
 
 (3) The Tonic preceded by a major chord on 
 the subdominant or fourth ; called Plagal. 
 
 (4) The Tonic preceded by a major chord on 
 the dominant or fifth ; called Perfect or Full. 
 
 The last is the most general. The Plagal is 
 common in old Church music. The Perfect 
 Cadence is always major, whether the mode be 
 major or minor. This establishes the tonality, as 
 it is called, to the key which it marks. 
 
 There are two other forms of the Cadence, 
 usually termed half-closes or Cadences : 
 
 (1) The Imperfect or Half-Close = a common 
 
 chord on the dominant, preceded by a 
 common chord on the Tonic ; and 
 
 (2) The Deceptive = a common chord on the 
 
 dominant, followed by a common chord 
 on the submediant ; it is also called the 
 interrupted Cadence, and is used as a 
 device to temporarily delay the perfect 
 Cadences. 
 
150 Mediaeval Music 
 
 Notes. 
 
 The first portion of a movement, the first 
 half of a double chant, of hymn tunes, etc., 
 usually ends on the dominant. 
 
 Passing notes — first used about the middle of 
 the twelfth century — do not belong to the har- 
 mony ; they are not essential, and consequently 
 their progression is almost free. 
 
 Bach used minor chords at the end of his 
 preludes, but not of his fugues or chorales. There 
 was a prejudice against the use of the minor third 
 at the close of a piece in the sixteenth and seven- 
 teenth centuries. 
 
 Handel and Mozart used both the minor and 
 the major chords ; they also omitted the third at 
 the end of a piece. 
 
 A melody, as a rule, should not proceed by an 
 augmented nor diminished interval. 
 
 The chord of the augmented sixth is taken on 
 the minor sixth of the major mode and is formed 
 by the chord of the dominant minor ninth on the 
 supertonic with the dominant minor ninth — the 
 minor sixth of the mode added : Ab, D, FJf, C, Eb ; 
 also on the minor second of the minor mode when 
 it comprises the minor ninth of the tonic, the third 
 and seventh, and the root or minor ninth of the 
 dominant : Djj, G, B, F, Ab. [Macfarren.] 
 
 The chord is written in three ways, and called 
 
Monodic or Harmonic Music 151 
 
 (1) The Italian Sixth £ EIpzz: 
 
 (2) The French Sixth 
 
 (3) The German Sixth 
 
 Chord on minor sixth. 
 
 (1) Root and ninth of supertonic^ 
 
 (2) Ninth of supertonic Vomitted. 
 
 (3) Root „ J 
 
 This chord is also used in the minor mode. 
 
 Chord on minor second. 
 
 (1) Root and ninth of dominant 1 
 
 (2) Ninth of dominant J-omitted. 
 
 (3) Root „ J 
 
 Chromatic Concords. 
 Chromatic concords and their inversions con- 
 tain chromatic notes, hence the term. 
 In the minor mode there are two : 
 
 (1) A major common chord on the minor second 
 with its first inversion, called the 'Neapolitan 
 sixth.' 
 
 (2) A major common chord on the supertonic 
 with its first inversion. 
 
152 Mediasval Music 
 
 In the major mode they are in addition : 
 
 (1) Common major chord on the minor second, 
 and first inversion. 
 
 (2) Common major chord on the supertonic 
 and first inversion. 
 
 (3) Common major chord on the minor sixth 
 and first inversion. 
 
 (4) Common minor chord on the subdominant 
 and two inversions. 
 
 (5) First inversion on the subdominant of a triad 
 with a diminished fifth. 
 
 Suspensions. 
 
 Suspension, as the name implies, is the suspend- 
 ing or holding back the resolution of a chord or 
 note usually by the fourth or ninth, whilst the rest 
 of the chord, or part of it, moves on, and must 
 take place on the accented portion of the bar. The 
 only notes, whether singly or in combination, that 
 may be suspended, are the third and eighth by the 
 fourth and ninth, and the dissonant fifth of the 
 third and seventh degrees of both major and 
 minor modes. 
 
 A discord, whether suspended or not, must not 
 be sounded simultaneously with the note upon 
 which it is resolved, excepting only 
 
 (1) The ninth with the root in the bass. 
 
 (2) The ninth with the root in an upper part. 
 
 (3) The fourth with the third in an upper 
 part or in the bass. 
 
Monodic or Harmonic Music 153 
 
 The suspended note is otherwise treated in 
 every respect as it would be were it not sus- 
 pended. 
 
 Any suspension, as with all other discords, may 
 — prior to its resolution — rise. 
 
 Essential discords are those which belong to 
 the Harmony, and are as follows : 
 
 (1) Chord of the dissonant fifth on the mediant 
 of major and minor modes. 
 
 (2) Chord of the augmented fifth on the mediant 
 of the minor key. 
 
 (3) Chord of the seventh — the second inversion 
 is not available. 
 
 (4) Chord of the seventh, with augmented fifth 
 on mediant of minor mode. 
 
 (5) Chord of the seventh, on mediant of major 
 mode. 
 
 (6) Chord of the seventh on supertonic of minor 
 mode. 
 
 (7) Chords of the ninth. Root always omitted 
 in inversions ; last inversion is unavailable. 
 
 Note. — The bass of a second inversion of a 
 discord usually ascends or descends to the next 
 note. 
 
 Consecutive perfect unisons, fourths, fifths, and 
 octaves, should never occur. Excepting under 
 very exceptional circumstances, the leading note 
 — the third of the dominant — should ascend to 
 the tonic or keynote by a semitone. 
 
154 Mediaeval Music 
 
 False Relation. 
 
 False relation occurs when a note appears in 
 one part, and again in the next chord in another 
 part altered, for instance, when a note appears as 
 a natural in a tenor part in a chord, and as a flat 
 or sharp in the treble, alto, or bass in the next 
 chord. False relation does not occur when the 
 third of the first chord is the root or fifth of the 
 second chord. 
 
 Sequence. 
 
 A sequence is a series of repetitions of the same 
 intervals or chords. 
 
 Movements. 
 
 The three kinds of movement or motion are : 
 (i) Similar, when the parts move in the same 
 direction. 
 
 (2) Contrary, when the parts move in opposite 
 directions. 
 
 (3) Oblique, when one or more parts are 
 stationary whilst the others move. 
 
 Transposition. 
 
 The normal modes are : 
 
 with semitones with semitones 
 
 C Major between 3 and 4 A Minor between 2 and 3 
 7and8 7 and 8 
 
 The presence of a sharp or flat at the signature 
 
Monodic or Harmonic Music 155 
 
 indicates a transposition of one of the above, the 
 sharp or flat only being placed there to ensure the 
 semitones falling in their proper places. 
 
 Every sharp added to the signature shows the 
 mode has been transposed a fifth higher or a fourth 
 lower, as under : 
 
 1 sharp = a fifth above C = G 
 
 2 sharps = „ „ G = D 
 
 3 sharps = „ „ D = A 
 and so on. 
 
 The sharp is always added to the fourth note of 
 the key from which transposition has been made. 
 
 Every flat at the signature denotes the mode 
 has been transposed a fourth higher or a fifth lower 
 
 — thus 
 
 1 flat = a fourth above C = F 
 
 2 flats= „ „ F =Bb 
 
 3 flats = „ „ Bb = Eb 
 
 The flat is always added to the seventh note 
 of the key from which transposition has been 
 made. 
 
 ADDENDA. 
 
 Thorough or figured bass first made its appear- 
 ance in printed books c. 1600; the usual rules 
 were: 
 
 (1) The absence of any figures signified the 
 common chord was to be used. 
 
156 Mediaeval Music 
 
 (2) A 6 signified the chord of the sixth, some- 
 times written |. 
 
 (3) I signified the chord of the six-four. 
 
 (4) Accidentals were placed by the side of the 
 figure representing the intervals requiring them. 
 
 (5) Accidentals by themselves affected the third 
 only. 
 
 The tempo signs, Adagio, Andante, Allegro, 
 were imported from Italy about this time. 
 
 Equal temperament was introduced at the end 
 of the seventeenth century, about which period 
 the distinction between the $ and E was made, the 
 sharp no longer being used to contradict the flat, 
 nor the flat the sharp. 
 
 The root in any inversion of a dominant chord 
 will be found by arranging the notes forming the 
 chord into a regular series of thirds in order, until 
 the chord of the dominant seventh is reached ; the 
 lowest or bass note of this is the root. 
 
 The three lowest thirds = a chord of the domi- 
 nant seventh, the lowest note of which will be 
 the root. 
 
 When a chord is derived from the 
 
 Dominant *s» pleading note. 
 
 Supertonic»- > it usually contains the»-> minor 7th. 
 Tonic *^ ^augmented 4th. 
 
Monodic or Harmonic Music i 
 
 57 
 
 HARMONY. 
 
 ORIGINAL 
 
 POSITION. 
 
 O 
 
 INVERSIONS OF CHORDS. 
 
 123 4 S 6 
 
 B 
 
 3 
 5 
 
 6 
 B 
 3 
 
 4 
 6 
 
 B 
 
 2 
 
 4 
 6 
 
 B 
 
 7 
 
 2 
 
 4 
 6 
 
 B 
 
 5 
 7 
 
 2 
 
 4 
 6 
 
 B 
 
 7 
 6 
 
 5 
 4 
 
 2 
 
 3 
 
 3 
 5 
 7 
 
 2 
 
 4 
 6 
 
 B 
 
 5 
 3 
 
 7 
 
 6 
 3 
 
 5 
 
 6 
 4 
 
 3 
 
 9 
 
 6 
 
 5 
 3 
 
 7 
 
 6 
 
 4 
 3 
 
 5 
 
 6 
 
 4 
 
 2 
 
 3 
 
 ii 
 
 7 
 6 
 
 5 
 3 
 
 9 
 
 6 
 
 5 
 4 
 3 
 
 7 
 
 6 
 4 
 3 
 
 2 
 
 5 
 
 7 
 6 
 
 4 
 
 2 
 
 3 
 
 13 
 
 9 
 7 
 6 
 
 5 
 3 
 
 II 
 
 7 
 6 
 
 5 
 4 
 3 
 
 9 
 
 6 
 
 5 
 4 
 3 
 
 2 
 
 7 
 
 7 
 6 
 
 4 
 3 
 
 2 
 
 5 
 
 
 ii 
 9 
 7 
 6 
 
 5 
 3 
 
 9 
 7 
 6 
 
 5 
 4 
 3 
 
 7 
 6 
 
 5 
 4 
 3 
 
 2 
 
 7 
 6 
 
 S 
 4 
 3 
 
 2 
 
 7 
 6 
 
 5 
 4 
 3 
 
 2 
 
 7 
 6 
 
 5 
 4 
 3 
 
 2 
 
 The squares formed by each of the thick black lines on the 
 right of ' B ' joining the thin lines under ' B,' embrace respec- 
 tively the Chords under o— and their inversions, on reading 
 from left to right, also the positions each of the intervals in 
 the original chord occupies in the inversions. The small 
 figures under the thin line represent the figured Bass of each 
 chord or inversion. 
 
NOTES. 
 
 CHAPTER I. 
 INTRODUCTION. 
 
 Page 5. — Everyone knows how much the world is indebted 
 to the Church for its encouragement of painting, Michael 
 Angelo, Raphael, among many, having been almost entirely 
 employed in the decoration of churches ; of architecture and 
 sculpture it is unnecessary to say anything. 
 
 Page 6. — Antiphons ' cut off,' see Book of Common 
 Prayer, ' Concerning the Services of the Church.' 
 
 Page 7. — Gregorian musical literature continues to grow 
 apace, though the probabilities of the ancient Church modes 
 finally ousting the modern Anglican chant are less than ever. 
 We know how endeavours are made in some quarters to 
 gild the pill of the Gregorian tones by tricking them out 
 with ornate chromatic harmonies in spite of the incongruity, 
 as well as the injurious effect on the voice by perpetually 
 singing them in unison (Musical Times, xxvii., 672-3). 
 
 Page 18. — Terpander's scale is composed of a tetrachord 
 E F G A, and a trichord b d e ; the latter contains no 
 semitone. It is to the avoiding of the use of the semitones 
 of the diatonic scale that Scotch airs owe their peculiarly 
 bright and mobile character. 
 
 In the older form of the air ' Cockle Shells ' there is no 
 second or sixth ; ' Blythe and Merry,' a Gaelic air, has neither 
 third nor sixth. 
 
Notes 159 
 
 CHAPTER II. 
 
 Page 2 1 . — The Hebrews, during their long sojourn amongst 
 the Egyptians, must have become familiar with their music 
 and musical system, and in the absence of any suggestion as 
 to the possibility of their having any distinctive system or 
 method of their own, it may be fairly assumed that the 
 musical systems were more or less the same. 
 
 The Egyptians compared the seven degrees of their scale 
 to the seven planets, including the sun and moon. 
 
 Page 22. — The Greeks maintained their rhythm by the 
 stamping of the feet by the conductor. The first instance in 
 England of the use of the baton for conducting was by 
 Haydn. 
 
 Pythagoras' system was doubtless greatly influenced by 
 the knowledge he gained of the Egyptian system of music 
 and of the mathematical proportions of their intervals during 
 his sojourn in that land. 
 
 CHAPTER III. 
 
 Page 26. — The proslambanomenos, or the added note, was 
 never accounted or formed a part of a tetrachord. 
 
 CHAPTER V. 
 
 Page 42.- — With the Greeks Anti as usually applied to 
 music, is in the sense of ' accompanying,' and therefore, in 
 that of the Latin cum, ' with,' and not of pro or contra. In- 
 stead of being responsive, like the chants in our cathedrals 
 — which in Greek would be called Ameibomenai — Greek 
 Antiphons were simultaneous sounds an octave apart, and 
 therefore like our congregational singing, wherein the voices 
 of men intermingle with those of women and children. The 
 voices of the men, being naturally an octave lower than the 
 others, make the Antiphons. 
 
160 Mediaeval Music 
 
 The English word ' Counter,' as compounded in Counter- 
 part, and in music Counter-tenor and Counter-point, seems 
 better to express the Greek Anti than the Latin Contra or 
 our ' against.' Counter-point is simultaneous harmony, or 
 note with note (Chappell, 'History of Music,' i., n). 
 
 Page 46. — Mr. W. S. Rockstro in his article on the 
 ' Ambrosian Chant,' in Sir George Grove's ' Dictionary of 
 Music and Musicians? now admits that the attribution of the 
 four authentic modes to St. Ambrose has not been proved. 
 
 ' The system of music adopted by St. Ambrose appears to 
 have reference to the modes of the ancients, or rather those 
 of Ptolemy, shown to have been precisely coincident with 
 the seven species of Diapason, four of which he retained : 
 the Dorian, D minor ; the Phrygian, E minor ; the Lydian, 
 F minor ; the Mixo- Lydian, G minor, which names he re- 
 jected, calling them protos, deuteros, tritos, tetrartos ' 
 (Hawkins, ' History of Music' i., 107). 
 
 The very learned Dr. Usher, upon the authority of two 
 ancient manuscripts, asserts the 'TeDeum'to have been 
 made by a Bishop of Triers, named Nicetius or Nicettus, 
 and that not till about the year 500 — 527, which was almost 
 a century after the death of both St. Ambrose and St. Augus- 
 tine (L'Estrange's ' Alliance of Divine Offices,' 79). The 
 Benedictines, who published the works of St. Ambrose, judge 
 him not to have been the author of it, and Dr. Cave, though 
 at one time he was of a different judgment, and Bishop 
 Stillingfleet concur in the opinion that the ' Te Deum ' was 
 not the composition of St. Ambrose or of him and St. Augus- 
 tine jointly (Bingham's 'Antiquities of the Christian 
 Church,' book xiv., c. ii., § 9). The first mention of the ' Te 
 Deum' occurs in the Rules of S. Benedict of Cassarius of 
 Aries (Walcott's ' Sacred Archaology,' 573). 
 
 CHAPTER VI.1 
 Page 49. — Trinity Sunday. The office of the Holy 
 Trinity was composed by Alcuin of York in the reign of 
 
Notes 161 
 
 Charles the Great ; it was not observed at Rome during the 
 episcopacy of Alexander III., 1159-1183, and was even in 
 1268 in England known as the Octave of the Pentecost. 
 In some churches, the festival was kept on this Sunday, or 
 on the Sunday next before Advent. In 1303 it was estab- 
 lished by Bishop Benedict XL, 1303-1304, as it is now ob- 
 served ; or, according to others, by John XXII., Bishop of 
 Rome, 1316-1334, or by Thomas A'Becket. Walcott's 
 ' Sacred Archccology ,' 590. The general observance of the 
 day as a separate festival in honour of the Blessed Trinity 
 was first enjoined by a Synod of Aries, in a.d. 1260 (Blunt's 
 ' Annotated Book of Common Prayer'). 
 
 Page 52. — If the neumes ever gave the intervals of ascent 
 or descent exactly, then the knowledge of the necessary rules 
 was indeed early lost. Hucbald already complains in the 
 tenth century that the neumes were only an uncertain guide, 
 and a mere help to the memory rather than a real notation. 
 John Cotton says the virga, podatus and clives, indicate with 
 no certainty intervals of ascent or descent. 
 
 Various scribes would naturally write the neumes they 
 copied without regard to accuracy, rendering different read- 
 ings inevitable. The attempts made at the present time 
 to transcribe them are purely guess-work. 
 
 Page 53. — It is an erroneous assumption that St. Gregory 
 the Great introduced a letter notation ; the very Antiphonary 
 attributed to him is written not in letters, but in neumes. 
 
 Page 54. — Notker knew nothing of the Greek names to 
 the modes, only the numerical 1, 2, 3, 4, 5, 6, 7, 8. 
 
 Page 55. — For fuller accounts of the ancient service books 
 the reader is referred to Maskell's ' Monumenta Ritualia,' 
 and to the article by the late Henry Bradshaw in ' The 
 Chronicles of the Collegiate Church of All Saints, Derby,' 
 by J. C. Cox and W. H. St. John Hope. The Sarum 
 Gradual has just been published in facsimile by the Plain 
 Song and Mediaeval Music Society, and the Bangor Anti- 
 phonary and Westminster Missal by the Henry Bradshaw 
 
 Society. 
 
 II 
 
1 62 Mediaeval Music 
 
 Page 56. — The so-called Gregorian Antiphonary is said to 
 be a copy of the one made by Adrian I., 790, for Charles the 
 Great. 
 
 CHAPTER VII. 
 
 Page 59. — 'All musical instruments are called organs — 
 organa] says St. Augustine, born 354, died 430; *not only 
 that great instrument into which the wind is pumped by 
 bellows is called an organ, but also every instrument which 
 is capable of producing a melody.' 
 
 Page 72. — Illustrations of organs of the following periods 
 can be seen in the works mentioned below : 
 
 1st century, Stainer's ' Music of the Bible] fig. 65. 
 
 4th 
 
 )> 
 
 Lacroix's ' Fine Arts of the Middle Ages] figs. 
 3$3> 393- 
 
 8th 
 
 )J 
 
 Hopkins's ' English Mediaval Organ, 7 fig. 12. 
 
 10th 
 
 » 
 
 Lacroix, fig. 394. 
 
 13th 
 
 )J 
 
 Lacroix, fig. 382. 
 
 14th 
 
 )> 
 
 Lacroix, fig. 395. 
 
 11 
 
 J» 
 
 Sacristy, vol. iii., 149. 
 
 i$th 
 
 » 
 
 Hopkins, fig. 27. 
 
 » 
 
 » 
 
 ( Portatives,' Lacroix, figs. 376, 383, 396. 
 
 1 6th 
 
 » 
 
 Lacroix, fig. 377. 
 
 J) 
 
 » 
 
 'Positive,' Stainer's k Music of the Bible] fig. 62. 
 
 After the Restoration the usual place for the organ in our 
 cathedrals, college chapels, and large parish churches was 
 on the rood-screen. Previously the organ is found in various 
 parts of the buildings, sometimes on the north and some- 
 times on the south side, as well as at the west end. 
 
 CHAPTER VIII. 
 
 Page 81. — The terms 'False Greek' and 'False Mediaeval 
 Modes' are here used synonymously for the eight octave 
 scales meaninglessly termed ' Gregorian.' 
 
Notes 163 
 
 Page 80. — Some assert that the designating the mediaeval 
 modes by the ancient Greek names dates from the tenth 
 century, probably by Notker. 
 
 The difference in meaning is obvious, for Ptolemy, referring 
 to the Greek modes, stated that the 
 
 Phrygian mode lay one degree higher than the Dorian mode. 
 Lydian „ „ „ Phrygian „ 
 
 Mixo-Lydian „ „ „ Lydian „ 
 
 Being transposing scales, this is of course correct. The 
 mediaeval modes being non-transposing, the names had not 
 the same meaning. 
 
 The alphabetical notation, TABCDEFG, ab[>cd 
 eiga^^x^is first mentioned by Odo, Abbot of Cluny, 
 in the ' Dialogus de Musica ' ; he died 942. It is formed by 
 taking an octave each way from the mese a ; below the 
 lowest octave r, the Greek gamma, was placed, and 
 above the highest octave the small Greek letters, a /3 \f 
 
 X A - 
 
 Page 91. — Regals were movable reed organs, Positives 
 were supplied with flue-pipes. 
 
 Regals when single = one pair = one set of pipes, 
 when double = two pairs = two sets of pipes. 
 
 A pair of organs. The word ' pair ' is here used in the same 
 sense as we use it in such expressions as pair of tongs, of 
 scissors, bellows, snuffers, virginals, etc. The number of 
 pipes in the organ = a complete set. 
 
 A great pair of organs = a series of pipes sounding in 
 unison with the tenor and bass voices. 
 
 A small pair of organs = a series of pipes sounding in 
 unison with the treble voices. 
 
 Two pairs of organs = two sets of pipes, are mentioned as 
 belonging to the Temple Church, London, in 1307.. 
 
 Page 104. — A chronicle of the Monastery of Corbie of the 
 
164 Mediasval Music 
 
 tenth century mentions the use of the lines to regulate the 
 positions of the neumes, about 986. 
 
 CHAPTER X. 
 
 Page 105. — The finales, D, E, F, g, of Hucbald's system 
 = all the finals of the eight medijeval octave scales. 
 
 ' In consideration of Guido's contributions to musical art, 
 many of the Italian writers of the seventeenth century re- 
 garded him as the restorer, if not the inventor, of musical 
 science. At all events, few modern thinkers will be inclined 
 to depreciate the great value of his services. Those who 
 look with scorn and contempt at all efforts to trace the 
 origin of music to the period of mythical existence, and who 
 believe in the tangible, will readily adroit that the reality of 
 musical art began with Guido. Therefore, if this be con- 
 ceded, the question of the more remote origin for Gregorian 
 song must be abandoned as insoluble. At all events, its 
 present form is untraceable beyond Guido ' {Musical Times, 
 xxxi., 526). 
 
 Page in. — Speaking of a table of neumes with transla- 
 tions recently published, a writer in the Musical Times 
 said : ' Should anyone attempt to elucidate an old MS. by 
 its aid he will find, as others have before, that he has 
 ventured into an unknown sea whose depths up to the 
 present time have not been fathomed' (vol. xxi., 241). 
 
 Leger lines were unknown as late as the fifteenth cen- 
 tury. The clefs first appear as fixtures in the sixteenth 
 century, when leger lines might occasionally be called into 
 requisition. 
 
 CHAPTER XI. 
 
 Page 124. — Philippe de Vitry is accredited by some with 
 having invented the systems of Prolation, and Johannes Tinc- 
 toris with the introduction of strokes added to the time-value 
 
Notes 1 65 
 
 to express respectively the greater or lesser mode according 
 to the number used — three = the greater, two = the lesser. 
 
 In the 12th and 13th centuries the bar unit = the breve. 
 „ 15th century „ = the semibreve. 
 
 „ 19th „ „ = the crotchet. 
 
 Rests. — The crotchet rest resembles the letter r with the 
 hook to the right The quaver, semiquaver, demi-semi- 
 quaver and semi-demi-semiquaver rests have the hook turned 
 to the left, an additional hook being appended to the upright 
 for every stroke added to the tail of the note to whose value 
 it corresponds, thus : 
 
 Crotchet = J rest = V 
 
 Quaver = J „ = 7 
 
 Semi-quaver = ^N » — g 
 
 ^ 3 
 
 Demi-semi-quaver = S ,, = 3 
 ^ 
 
 & -i 
 
 Semi-demi- semi-quaver = nJ 
 
 * 
 
INDEX RERUM. 
 
 Adoration of the Lamb, 72 
 yEolian, 16 
 ./Golian scale, 17 
 Alleluia, 56 
 Alteration, 121 
 Ambrosian music, 45 
 
 Te Deum, 46 
 Ameibomenai, 159 
 Anglican chant, 6 
 
 music,' 7 
 Anthem, 56 
 Anti, 159 
 
 Antiphon, 6,45, 158, 159 
 Antiphonal singing, 42, 43, 
 
 44,45 
 Antiphonary, 48, 50, 51, 56, 
 
 58, 161, 162 
 Antiphony, 127 
 Appoggiatura, 120 
 Arab scale, 24 
 Arians, 43 
 Asiatic flute, 16 
 Augmentation, 121 
 Augmented intervals, 144 
 Authentic, 80, 86, 87, 88 
 Avars, 74 
 
 B flat, 6, 67, 68, 69, 89 
 Babylonian scale, 22 ' 
 Bangor antiphonary, 161 
 Belgian adulterations, 6 
 Black lines, 109, 1 10 
 
 notes, 70, 112, 121, 123 
 Blessed Trinity, 43, 44, 1 16 
 Book of Common Prayer, 
 158 
 
 Books, none written, 53 
 Bradshaw Society, 161 
 Breve, 115, 116, 117, 118 
 
 119, .120 
 Breviary, 57 ' 
 Burden, 112 
 Burney, ignorance of, 3 
 Burthen, 112 
 
 Cadences, 149 
 Canon, 112 
 
 of the Mass, 56, 57 
 Canto firmo, 8, 127, 128, 129, 
 
 130, 131. 132, 136 
 Cant us Gregorianus, 113 
 
 planus, 131 
 Catch, 112 
 Cephalicus, 120 
 Chants, 6, 95 
 Choir school at Rome, 48, 
 
 Si 
 Chords, 144 
 
 Chords, augmented sixth, 1 50 
 common, 144 
 dominant eleventh, 146, 
 
 147, 148 
 dominant ninth, 146, 147 
 dominant seventh, 146, 
 
 147 
 dominant thirteenth, 1 46, 
 
 147 
 
 inversion of, 145 
 Chord of the six-four, 145 
 
 of the sixth, 145 
 Chromatic, 72, 144 
 
 concords, 151 
 
Index Rerum 
 
 167 
 
 Chromatic discords, 144 
 
 interval, 144 
 
 scale, 142 
 Church and the arts, the, 5, 
 158 
 
 English, 4 
 
 Italian, 4, 5 
 
 music, 53 
 
 of England, 4, 6, 7, 8, 9, 1 1 
 
 Roman, 52 
 Circle, 124, 125 
 Clef, 125 
 Clivis, 161 
 Closes, 149 
 
 Cloveshoo, synod of, 55 
 'Cockle-shells, 1 158 
 Collectarium, 58 
 Collects, 56, 58 
 Coloured lines, 105, no, in 
 Communions, 56 
 Concords, 122, 144 
 
 diatonic, 146 
 Conducting, 159 
 Conjunct system, 25 
 Consonances, 122 
 Contrary motion, in, 131 
 Counterpoint, 112, 133, 160 
 Counter tenor, 160 
 Creed, 56, 57 
 Croma or crome, 123 
 Crotchet, 123, 125 
 
 Deacons to sing Gospel only, 
 
 53 
 Descant, 127, 133 
 Descanter, 128 
 Descantus, 127, 131 
 Diapason, 39 
 
 symphonia, 128 
 Diapente, 39 
 Diapente symphonia, 128 
 Diaphony, 128, 129 
 Diatesseron, 39 
 
 symphonia, 128 
 Diatonic interval, 21 
 
 scale, 22 
 
 Diatonic semitone, 143 
 
 tetrachord, 39 
 Diminished intervals, 144 
 Discords, 122, 144, 146 
 
 diatonic, 146 
 Disjunct system, 26 
 Dissonances, 122 
 Divisio Modi, 117 
 Division, 121 
 Dominant, 87 
 Dorian civilization, centre 
 
 of, 17 
 Dorian mode, 17 
 Dot, 120 
 Duplication, 121 
 
 Egypt, 21,23 
 Egyptian flutes, 20, 21 
 
 harp, 23 
 Egyptians, 20, 21, 22, 23, 159 
 Enharmonic genus, 26 
 
 interval, 142 
 
 scale, 21 
 Ephesine liturgy, 43 
 Epistles, 57 
 Epistolarium, 57 
 Eptaphonus, 120 
 Euphony, law of, 122 
 Evangeliarium, 57 
 
 Faburdon, 132, 136, 137 
 
 False burden, [32, 136, 137 
 
 False relation, 154 
 
 Faux Bourdon, 132 
 
 Final, 86 
 
 Finales, 100, 102 
 
 Five lines, 125 
 
 Flat, 114 
 
 Flats, 67 
 
 Flute, Asiatic, 16 
 
 Egyptian, 20, 21 
 Foot, 112 
 Four lines, 125 
 French adulterations, 6 
 
 endings, 6 
 
 foliations, 6 
 
i68 
 
 Mediaeval Music 
 
 Fugue, lis 
 
 Hours, 57 
 
 Fundamental discords, 146 
 
 Hours, book of seven, 57 
 
 Fusa, 123 
 
 Huns, 74 
 
 
 Hymnarium, 58 
 
 Gallican Liturgy, old, 43 
 
 Hymns, 56 
 
 Gamma, 107 
 
 
 Gamut, 107 
 
 Iambuca, 19 
 
 Gelasian sacramentary, 49, 
 
 Imperfect, 116 
 
 5o 
 
 Imperfection, 121 
 
 Genus, 26 
 
 Instrumental music, 15 
 
 Gizeh, tombs at, 20 
 
 Intervalle, 100 
 
 Gloria deo in excelsis, 56, 57 
 
 Intervals, 100, 142 
 
 Gloria Patri, 43, 45 
 
 Introits, 56, 57 
 
 Gospel-book, 57 
 
 Italian Church, 4 
 
 Gradual, 56 
 
 modern mission, 5 
 
 Graduals, 56, 161 
 
 music, 7 
 
 Graile, 56 
 Graves, 100 
 
 Key, 27, 29, 33, 40, 73, 84, 85, 
 
 Greek lyres, 16 
 mese, 28 
 modes, 27 
 scales, 25,31, 103 
 
 112 
 Keys, black, 70 
 
 white, 31, 67 
 Kyrie, 56, 57 
 
 Gregorian antiphonary, 162 
 
 Large, 115, 120, 124 
 
 chants, 6, 8, 9, 10, 68 
 
 Leading note, 27 
 
 music, 4, 7, 103, 113 
 
 Lectionary, 58 
 
 sacramentary, 58 
 
 Ledger lines, 11 1 
 
 tones, 54, 158 
 
 Legenda, 58 
 
 Gregory, St., I., 48, 49, 50, 51, 
 
 Lent, 49, 50 
 
 52,53,54.55.56,58,74,75, 
 
 Lessons, 58 
 
 76 
 
 Letter to Monk Michael, 105 
 
 Gregory, St., II., 49, 50, 52 
 
 Liber Pontificalis, 50 
 
 „ III., 50, 51, 52 
 
 Library of Montpellier, 109 
 
 ,, IV., 53, 
 
 of Paris, 109 
 
 Guido's hexachord, so-called, 
 
 Ligatures, 118 
 
 106 
 
 Lines, black, 109, no 
 
 Guidonian hand, so-called, 
 
 red, 109, 1 10 
 
 105 
 
 yellow, 109, no 
 
 
 Litany, 57 
 
 Harmony, 127 
 
 Liturgies, 51, 52 
 
 Harp, Egyptian, 23 
 
 Ephesine, 43 
 
 Hawkins, ignorance of, 2 
 
 Milanese, 92 
 
 Hexachord, 105-109 
 
 Mozarabic, 92, 97 
 
 Hexachordal system, 106 
 
 Old Gallican, 43 
 
 Hollow notes, 123 
 
 Roman, 52, 92, 97, 98 
 
 Holy water, blessing of, 57 
 
 Lombards, 74 
 
 Homophonic music, 15 
 
 Long, 115, 120, 124 
 
Index Rerum 
 
 169 
 
 Lyre, method of tuning, 31 
 of Egypt, 21 
 of Greece, 16, 19, 25 
 
 Major intervals, 143 
 Major mode, 140, 142 
 Manual, 57 
 Mass, 10, 49, 50, 56, 57 
 
 book of, 57 
 Mattins, 58 
 
 Measurable music, 114 
 Measured music, 115 
 Measures of rhythm, 117 
 Measures or modes, five, 117 
 Mediaeval music, 74, 114 
 
 organ, 59 
 Melopoeia, 27 
 Mese, 28, 29, 85 
 Micrologus of Guido, 105 
 Milan, liturgy of, 92 
 Milan, use of, 54, 92-98 
 Minerva, 77 
 Minim, 122, 124 
 Minor intervals, 143 
 Minor mode, 36, 89, 141 
 Missal, 57, 161 
 Mission, modern Italian, 5 
 Mode, 124 
 Modes, JEolian, 17 
 
 Confinal, 88 
 
 Dorian, 27, 28, 33, 34, 
 39, 4°, 84, 86 
 
 Greek, 85, 161 
 
 Gregorian, 84 
 
 Hypo-Dorian, 27, 34, 37, 
 39, 40, 84, 86 
 
 Hypo-Lydian,27,34,39, 
 40 
 
 Hypo-Mixo-Lydian, 27, 
 
 34, 39, 4o 
 Hypo-Phrygian, 27, 34, 
 
 39, 40, 87 
 irregular, 88 
 Lydian, 27, 28, 34,39,40, 
 
 87 
 major, 140, 142 
 
 Modes, mediaeval, 85, 114 
 
 minor, 36, 89, 141 
 
 Mixo-Lydian, 27, 34, 39, 
 40,84 
 
 names of, 27 
 
 Phrygian, 27, 34, 39, 40, 
 86 
 Modulation, 26 
 Monastery of St. Gaul, 115 
 Monochord, 105 
 Monodic music, 137 
 Montpellier library, 109 
 Mozarabic Church, 97 
 
 liturgy, 92 
 Musical Association, 105, 
 
 no 
 Musical catechism, 80 
 Musical notations — 
 
 Assyrian, 23 
 
 Chaldean, 23 
 
 Egyptian, 23 
 
 Greek, 23 
 
 Guido, 106 
 
 Hebrew, 23 
 
 Hucbald, 99 
 
 John Cotton, in, 131 
 
 Middle Ages, 109 
 Musical systems — 
 
 Assyria, 21 
 
 Babylon, 21 
 
 Egypt, 20, 21 
 
 Greek, 23 
 
 Guido, 104 
 
 Hebrew, 1 59 
 
 Hexachordal, 106 
 
 Hucbald, 99 
 
 Middle Ages, 74-91 
 
 Nineveh, 21 
 
 Phoenicia, 21 
 
 Ptolemy, 31, 75 
 
 Pythagoras, 25 
 
 Terpander, 16, 17, 18, 
 19,25 
 
 Tetrachordal, 99 
 Musical Times, 158 
 Mutation, 26, 107 
 
170 
 
 Mediasval Music 
 
 Narbonne, council of, 49 . 
 National chant, 6 
 Neapolitan Sixth, 151 
 Neumes, 111, 113, 161 
 
 not construable, 11 1, 113, 
 164 
 Nocturns, 58 
 Notation, 23 
 Notse ligatas, 114 
 Notae obliquae, 119 
 Notes — 
 
 black, 112 
 
 open, 112 
 
 red, 112 
 
 white, U2 
 
 Obliquity, 119 
 Occursus, 130 
 Office-book, 57 
 Office-book of our Lady, 
 
 little, 58 
 Opera, first comic, 132 
 Ordinal, 57 
 Organ, 59 
 
 Abingdon Abbey, 66 
 
 beater, 65 
 
 builders, 6, 70, 71 
 
 building, 59 
 
 Buildwas Abbey, 70 
 
 Canterbury, 69 
 
 chromatic fingerboard, 
 72 
 
 compass, 79 
 
 Croyland Abbey, 70 
 
 Durham Cathedral, 70 
 
 early church, 61 
 
 Fountains Abbey, 70 
 
 Glastonbury Abbey, 66 
 
 keyboard, 69, 72 
 
 keys, 65 
 
 levers, 65 
 
 makers, 70, 71 
 
 Meaux Abbey, 70 
 
 pipes, 59, 60, 61, 62, 63, 
 64, 65, 66, 67, 68 
 
 pneumatic, 60 
 
 Organ, portable, 61, 91 
 
 portatives, 91 
 
 positives, 72, 91 
 
 primitive, 59, 72 
 
 Rievaulx Abbey, 69 
 
 Ripon Cathedral, 70 
 
 slides, 62, 68 
 
 tongues, 61, 63, 67, 68 
 
 water, 61 
 
 Winchester, 66, 68 
 
 Worcester, 70 . 
 
 York Minster, 69 
 Organum, 63, 102, 127, 128, 
 
 129, 130, 131 
 Outline notes, 123 
 
 Pantheon at Rome, 77 
 Paris, library of, 109 
 Paris, University of, 79 
 Passing notes, 131, 150 
 Pentatonic scale, 15 
 Pentecost, 49, 50 
 Perfection, 120 
 Pes, 112 
 Phorminx, 16 
 Pistol-book, 57 
 Pitch, 27, 87 
 Plagal modes, 80, 88 
 Plain-song, 9, 86, 90 
 Plain-song and Mediaeval 
 
 Music Society, 12, 109- 
 
 iii, 161, and advt. 
 Podatus, 161 
 Points, 120 
 
 Polyphonic music, 127 
 Portative organ, 91 
 Portiforium, 57 
 Portuary, 57 
 Positive organ, 72, 91 
 Prefaces, 56 
 Prick Song, 133 
 Primer, 58 
 
 Printed notes, first, 126 
 Processions, order of, 57 
 Prolation, 120, 124 
 
Index Rerum 
 
 t 7 i 
 
 Proslambanomenos, 25, 26, 
 
 37, 38, 159 
 Prymer, 58 
 Psalter, 57 
 Pye, 57 
 
 Quadrating, ill 
 Quavers, 125 
 
 Red lines, 109, no, in 
 
 Red notes, 112, 121, 123 
 
 Regal, 91 
 
 Responds, 56 
 
 Rests, 165 
 
 ' Robin Hood and Maid 
 
 Marian,' 132 
 Roman chants, 95 
 
 service books, 55 
 Romanesque period, 65 
 Round -shaped notes, 125, 
 
 126 
 
 Sacramentary, Gelasian, 49, 
 
 S° 
 Sacramentary, Gregorian, 58 
 Sambuca, Egyptian, 19 
 Sanctus, 56, 57 
 Sappho's scale, 18, 25, 26, 30 
 Scale, ./Eolian, 17 
 
 Arab, 24 
 
 Chinese, 24 
 
 comparative table of, 30 
 
 Dorian, 17, 27, 28, 33, 34 
 
 Egyptian, 21, 23, 31 
 
 Greek, 31 
 
 Hindoo, 24 
 
 Hucbald's, 102 
 
 Japanese, 24 
 
 of young children, 16 
 
 Persian, 24 
 
 Pythagorean, 25, 26 
 
 Sappho's, 18, 25, 26, 30 
 
 Terpander's, 17, 18, 30, 
 i S 8 
 
 Turkish, 24 
 Semi-breves, 115, 116, 117 
 Semi-minima, 123 
 
 Semi-quaver, 125 
 Semi-tone, 18, 67, 100, 106 
 Semi-tone, lyric, 67,68,69, 89 
 Sequentiary, 57 
 Service books, ancient, 56- 
 
 58 
 Seven hours, 57 
 Sharps, 114 
 Slurs, 120 
 Solmization, 105 
 Song, earliest, 112 
 Square notes, 126 
 Staff or stave, two lines, 105, 
 no 
 
 four lines, no, in, 125 
 
 five lines, no, 125 
 
 twelve lines, no 
 'Sumer is icumen in,' 112, 
 
 117 
 Sundays after Pentecost, 50 
 
 after Trinity, 49 
 
 in Lent, 49, 50 
 Systems — 
 
 Greek, 16 
 
 Guido's, 99 
 
 Hexachordal, 99, 106 
 
 Hucbald's, 99, 104 
 
 Mediaeval, 74 
 
 Ptolemy, 36 
 
 Pythagoras, 25, 159 
 
 Tetrachordal, 99, 106 
 
 TeDeum,Ambrosian,46, 160 
 Tetrachords, first order, 19, 
 103 
 
 second order, 103 
 
 third order, 103 
 Tetraphonia, 129 
 Tetraphony, 129 
 Thursdays in Lent, 49, 50 
 Time, 124 
 
 imperfect, 115, 116 
 
 perfect, 115, 116 
 
 signatures, 125 
 
 values, 115 
 Tonality, 149 
 
172 
 
 Mediaeval Music 
 
 Tone, ioo, 115 
 major, 38, 39 
 minor, 38, 39 
 
 Tracts, 56 
 
 Transposition, 84, 154 
 
 Triad, 144 
 
 Triaphony, 129 
 
 Trinity Sunday, 49 
 
 Triphonia, 129, 130 
 
 Triptych, 72 
 
 Tritone, 89 
 
 Troparium, no 
 
 Troper, 57, 1 10 
 
 Virga, 161 
 
 Vox Principalis, 127 
 
 Water organ, 61 
 White keys, 31, 67 
 White notes, 112 
 Winchester Troper, no 
 
 Yellow line, 109, no 
 
B. 
 
 INDEX NOMINUM. 
 
 A'Becket, Thomas, 161 
 Adrian I., 58, 80, 92, 93, 96, 
 
 162 
 .Sired, 69 
 
 Albinus, Flaccus, 79, 80 
 Albinus, Master, 1 1 1 
 Alcuin of York, 79, 8o, 160 
 Aldhelm, St., 62 
 Alexander III., 161 
 Alpbonso of Castile, 97, 98 
 Alypius, 31 
 Amalarius, 53, 96, 97 
 Ambrose, St., 4, 45,46, 74, 75, 
 
 76 
 Angelo, Michael, 158 
 Anno, Bishop, 65 
 Apollo, 78 
 Archilochus, 19 
 Argall, Sir William, 71 
 Asshwell, John, 70 
 Athanasius, St.,44 
 Augustine, St., 43, 46, 160, 162 
 Aurelianus, 88 
 
 Bach, J. S., 140, 150 
 
 Baldric, 69 
 
 Barrett, W. A., and Stainer, 
 
 Sir John, 54, 103 
 Basil, St., 44 
 Bede, Ven., 51, 62 
 Benedict, St., 160, 161 
 Beton, William, 71 
 Bingham, 160 
 Birbeck, Mr., 11 
 Biront, Maurice, 71 
 
 Boethius, 1, 2, 3, 31 
 Borton, Robert, 71 
 Boyce, Edward, 71 
 Bradshaw, Henry, 161 
 Bridge, Dr., 135 
 Bryennius, Manuel, 31 
 Burney, Dr., 2, 3 
 Busnois, 133 
 
 Carpentras, 126 
 Cassiodorus, 61 
 Cave, Dr., 160 
 Celestine, St., 46 
 Chamberlyn, John, 71 
 Channay, Jean de, 126 
 Chappell, William, 2, 4, 14, 
 
 29.31.38, 59, no. 112, 160 
 Chappington, John, 71 
 Charles the Great, 51, 63, 79, 
 
 80, 93> 95. 161, 162 
 Cherubini, 136 
 Chilston, 132 
 Chrysostom, St. John, 46 
 Cocks and Co., R., 72 
 Conforti, 125 
 Constantia, Queen, 98 
 Constantine, 59, 63 
 Copronymus, 63 
 Corelli, 140 
 Cornysh, 125 
 
 Cotton, John, 1 11, 131, 161 
 Couper, John, 70 
 Coussemaker, 109, no, 131 
 Cowper, 125 
 Cox, J. C, 161 
 Cybele, 77 
 
J 74 
 
 Mediaeval Music 
 
 Da Corte, 9 
 Damasus, 45 
 Davenport, F., 136 
 David, King, 11 
 David's, St., Bishop of, 132 
 Demps, James, 71 
 Dempsey, James, 71 
 Diodorus, 43 
 Duchesne, Abbe, 58 
 Duddington, Anthony, 71 
 Dunstable, John of, 134 
 Dunstan, St., 66 
 Dykes, Dr., 7, 9 
 
 Ealdhelm, St., 62 
 Egbert, St., 79 
 Elphege, St., 66 
 Elwyn, Count, 66 
 Engel, Carl, 16, 21 
 Erigena, Scotus, 128 
 Ethelwold, St., 66 
 Euclid, 26 
 
 Eugenius, St., 92, 93, 94 
 Eyck, Van, 72 
 
 Fairfax, 125 
 
 Farnaby, Giles, 134 
 
 Fetis, 105 
 
 Flaccus Albinus, 79, 80 
 
 Flavian, 43, 46 
 
 Fornsete, John of, 112 
 
 Fortunatus, 53, 96, 97 
 
 Franco of Cologne, 115 
 
 Fux, 136 
 
 Fyvell or Nyvell, 70 
 
 Galilei, Vincentio, 104 
 Gaunt, George, 71 
 Genet, Eliazar, 126 
 George, aVenetian, 64 
 Gerson, 133 
 Gervase, 69 
 
 Gevaert, 49, 51, 52, 53, 57 
 Giafer, 63 
 Glareanus, 33, 85, 87 
 
 Gregory the Great, 4, 9, 10, 
 48,49.5o,5i,52,53.54,55, 
 56, 58, 68, 74, 75, 76, 161 
 Gregory II., 49, 50, 52 
 „ III, 50, 51, 52 
 „ IV, 53, 96 
 ,, VII., 97, 
 Grove, Sir G., 61, 67, no, 
 
 128, 135, 160 
 Guido, Aretino, 89, 99, 104, 
 
 105, 106, 113, 130, 164 
 Gyse, John, 70 
 
 Hale, Adam de, 132 
 
 Hall, William, 71 
 
 Handel, G. F., 140, 150 
 
 Hawkins, Sir J, 2, 29, 45, 72, 
 113, 160 
 
 Helmholtz, 15 
 
 Hermes, 77 
 
 Hewe, John, 71 
 
 Heweson, John, 71 
 
 Higden, Ralph, 125 
 
 Honorius, 61 
 
 Hope, W. H. St. John, 70,- 
 161 
 
 Hopkins, Dr. E. J, 67, 68, 71, 
 72, 162 
 
 Howe, John, 71 
 
 Hubald, Hucbald, or Hug- 
 bald, 54, 89, 99, 102, 103, 
 104, 128, 130, 161 
 
 Hullah, 9, 76, 77 
 
 Ignatius, St., 42, 43 
 Irenaeus, St., 42 
 Isidore, St., 51, 53, 127 
 
 Jerome, St., 61 
 John VIII, 65 
 John XXII, 161 
 John de John, 71 
 John the Deacon, 50, 51 
 Josquin, 138 
 Julian the Apostate, 60 
 Julianus, Bishop, 62 
 Jupiter, 49; 78 
 
Index Nominum 
 
 175 
 
 Kircher, Athanasius, 104, 113 
 
 Lacroix, 162 
 
 Lawless, John, 71 
 
 Legg, Dr. Wickham, F.S.A., 
 
 pre/. 
 L'Estrange, 160 
 Leontius, 43 
 Lewis the Debonnaire, 53, 95, 
 
 96 
 Lewes, 71 
 
 Longman and Co., 9 
 Macfarren, Sir G. A., 9, 68, 
 
 80, 110, 135 
 Marcellus, 44 
 Marcelona, St., 45 
 Maskell, 161 
 May nh amber, Arnalt, 70 
 Melchiades, 48 
 Mendelssohn, 8 
 Michael, Monk, 105 
 Minerva, 77 
 
 Monteverde, Claude, 139, 140 
 Morley, 127 
 Mouton, Jean, 138 
 Mozart, 150 
 
 Muris, John de, 122, 133 
 Nero, Emperor, 61 
 Newton, Sir Isaac, 2 
 Nicetius, Bp., 160 
 Nicomachus, 3 
 Nivers, 113 
 Notker, 54, 161, 163 
 Novello and Co., 98, 135, 136 
 Nyvell or Fyvell, Wm., 70 
 Odington, Walter de, 125 
 Odo, Abbot, 163 
 Optation, 59 
 Orpheus, 77 
 Ouseley, Sir F. A. G., 2, 8, 
 
 105, 136 
 Padova, Marchetto de, 122 
 Palestrina, 138 
 Paul I., 51, 58 
 Pierluigi, 138 
 Pippin, 51, 63 
 
 Platina, 48, 62 
 Pliny, 42 
 
 Plutarch, 17, 18, 19 
 Pole, Dr., 12 
 Praetorius, 70 
 Prout, E., 135 
 Prudentius, 77 
 Psammetichus I., 22 
 Ptolemy, Claudius, 31, 36, 
 
 37, 38, 47, 75, 79, 163 
 Purcell, Henry, 140 
 Puteamus, Ericus, 106 
 Pythagoras, 25, 30 
 
 Quintilianus, Aristides, 107 
 
 Raphael, 158 
 Rawlinson, Sir H., 23 
 Richter, Dr., 136 
 Riemann, Dr., 131 
 Rimbault, Dr., 60, 72 
 Robert of , organ-builder, 
 
 71 
 Rockstro, W. S., 2, 135, 160 
 Roose, John, 71 
 Ross, John, 71 
 Rossetti, Vincenzo, 138 
 Rowbotham, J., 18, 19, 21, 64, 
 
 80 
 
 Sabellus, 44 
 
 St. Aldhelm, 62 
 
 St. Ambrose, 4, 45, 46, 74, 
 75, 76, 160 
 
 St. Athanasius, 44 
 
 St. Augustine, 43, 46, 160, 162 
 
 St. Basil, 44 
 
 St. Benedict, 160, 161 
 
 St. Cecilia, 72 
 
 St. Celestine, 46 
 
 St. Chrysostom, John, 46 
 
 St. Dunstan, 66 
 
 St. Ealdhelm, 62 
 
 St. Ethelwold, 66 
 
 St. Eugenius, 92, 93, 94 
 
 St. Gregory the Great, 4, 9, 
 10,48,49,50,51,52,53,54, 
 55,56, 58,68, 74,75,76,161 
 
176 
 
 Mediaeval Music 
 
 St. Ignatius, 42, 43 
 
 St. Irenseus, 42 
 
 St. Isidore, 51, 53, nr, 127 
 
 St. Jerome, 61 
 
 St. John Chrysostom, 46 
 
 St. Marcelona, 45 
 
 St. Peter, 93, 99 
 
 St. Sophia, 77 
 
 Salomo, Master, 1 1 1 
 
 Sancius, 97 
 
 Sappho, 18, 22, 25, 26, 30 
 
 Saul, King, 11 
 
 Scarlatti, Alexander, 140 
 
 Sergius I., 51 
 
 Smith, Thomas, 71 
 
 Southgate, Mr. T. L., $ref. 
 
 Squire, W. B., 134 
 
 Stainer, Sir John, 6, 54, 103, 
 
 162 
 Stephanus, 63 
 Strabo, 63 
 
 Tavern er, 125 
 
 Terpander, 16, 17, 18, 25, 30, 
 
 IS 8 
 Terrissa, 125 
 Theodosius, 60 
 Theophilus, 68 
 Tinctor, John, 133, 164 
 
 Trajan, Emperor, 10, 42 
 Treasurer, William, 71 
 Triers, 160 
 Trudo, Master, in 
 
 Ursurtsasen II., 20 
 Usher, Dr., 160 
 
 Van Eyck, 72 
 Vannco, Stephano, 138 
 Vaulks, John, 71 
 Vicentino, 72 
 Virgil, 78 
 Vitalian I., 62 
 
 Vitriaco, Philippus de, 122, 
 164 
 
 Wackerbath, 66 
 Walcott, Mackenzie, 160, 161 
 Walla, 96 
 Wallace, Lady, 8 
 Wallis, 31 
 Warnefried, 51 
 Wesley, S. S., 9 
 White, William, 71 
 Wilkinson, Sir Gardner, 20 
 Worde, Wynkyn de, 125 
 Wotton, William, 71 
 Wulstan, 66 
 
 Zarlino, 37 
 
INDEX LOCORUM. 
 
 Aachen, 63, 64 
 Abingdon, 66 
 jEgean Sea, 19 
 ^Eolia, 16, 17 
 Antioch, 42, 43, 46 
 Apezzio, 104 
 Aries, 160, 161 
 Aragon, 97 
 Asia, 1 5, 24 
 Asia Minor, 42 
 Assyria, 21 
 Athens, 44 
 Avignon, 126 
 
 Babylon, 21 
 Bithynia, 42 
 British Isles, 43 
 Buildwas, 70 
 
 Caesarea, 44 
 Cambridge, 9, 102 
 Canterbury, 69 
 Castile, 97 
 Chaldea, 23, 25 , 
 China, 15, 22 
 Cloveshoo, 55 
 Cologne, 115 
 Compiegne, 63 
 Constantinople, 46, 59, 77 
 Corbie, 96, 163 
 Cremona, 139 
 Crewkern, 71 
 Croyland, 70 
 
 Delphi, 16 
 Derby, 161 
 
 Durham, 70 
 
 Egypt, 21, 22, 23, 25, 44 
 England, 65 
 Evesham, 125 
 Europe, 3, 88 
 
 Fayoum, the, 20 
 Ferrara, 104 
 Flanders, 99 
 Fornsete, 112 
 Fountains, 70 
 
 Gaul, S3, 63, 64, 79, 94, 95, 96 
 
 Germany, 63, 64, 65, 69 
 
 Ghent, 72 
 
 Gizeh, 20 
 
 Glastonbury, 66 
 
 Grado, 61 
 
 Greece, 1, 2, 16, 18 
 
 Hereford, 9 
 
 India, 15 
 Ireland, 15 
 Italy, 6 1, 65 
 
 Java, 15 
 
 Kilkenny, 71 
 
 Lesbos, 16, 18 
 Liguria, 45 
 Lombardy, 94 
 London, 71, 125 
 Lydia, 44 
 Lyons, 42 
 
 Malmesbury, 62, 66 
 12 
 
178 
 
 Medieval Music 
 
 Meaux, 70, 122 
 Mexico, 15 
 Milan, 45, 92 
 Mitylene, 18 
 Montpellier, 109 
 Munich, 80 
 
 Narbonne, 49 
 Nineveh, 21, 23 
 Nivers, 97 
 North Africa, 15 
 Norwich, 70 
 
 Oxford, 2, 31 
 
 Padoue, no, 122 
 Palermo, 51 
 Palestine, 44 
 Paris, 79, 109 
 Paros, 19 
 Pelusium, 36 
 Phoenicia, 19, 21 
 Picardy, 96 
 Pomposa, 104 
 
 Ramsey, 66 
 Ravenna, 104 
 Reading, 112 
 Rievaulx, 69 
 
 Ripon, 70 
 
 Rome, 1,43,45,46, 48, 52, 55, 
 
 61,62,65,72,74,77,92,97, 
 
 98, 125, 138, 161 
 
 St. Albans, 70 
 St. Gall, 54,56, 115 
 Samos, 25 
 Scotland, 15 
 Seville, 51 
 Spain, 62, 97 
 Sparta, 17 
 Stowmarket, 71 
 Sumatra, 15 
 
 Tarsus, 43 
 Thasos, 19 
 Thebes, 44 
 Tournay, 99 
 Tours, in 
 Triers, 160 
 Tyre, 19 
 
 Vallambrosa, 104 
 
 Westminster, 161 
 Winchester, 66, 68, 89 
 Worcester, 70 
 
 York, 70, 71, 76, 79, 160 
 York Minster, 69 
 
D. 
 
 BIBLIOGRAPHY OF WORKS 
 QUOTED AND CONSULTED. 
 
 Barrett, W. A., and Stainer, Sir John : Dictionary of 
 
 Musical Terms. 
 Bingham, J. : Antiquities of the Christian Church. 
 Blunt, J. H. : Annotated Book of Common Prayer. 
 Boethius : De Institutione Musica. 
 Bona : De Rebus Liturg. 
 Bryennius, A. M. T. S. : Wallis' ed. 
 Burney, Dr. C. : History of Music, 4 vols. 
 Chappell, William : History of Music, Vol. I. 
 
 Popular Music of the Olden Times. 
 2 vols. 
 Cherubini, M. L. C. Z. S. : Counterpoint, Canon and Fugue. 
 Chronicle of Abyngdon, Rolls Series, II. 
 
 Ramsey, Rolls Series, LXVI. 
 Cotton, John : Ars Musica Mensurabili. 
 Coussemaker, C. E. H. : Histoire de Pharmonie du Moyen Age. 
 Cox, J. C, and Hope, W. H. St. John : Chronicles of the 
 
 Collegiate Church of All Saints, Derby. 
 Da Corte : Storia di Verona, Venetian ed., 1744. 
 Donnelly, Rev. N. : Magister Choralis. 
 Duchesne, Abbe. 
 Durandus, W. : Rationale Divinorum Ofiiciorum, Ludg., 1574. 
 
 Div. Pin. Hist. Eccles. 
 Engel, Carl : Music of the most Ancient Nations. 
 Erigena, Scotus : De Divina Natura. 
 Euclid : Sectio Canonis. Introductio Harmonica. 
 Ferraras, J. de : Hist, de l'Espagne. 
 
180 Mediaeval Music 
 
 Fdtis, F. J. : Biographie Universelle des Musiciens. 
 Freemen's Roll, Norwich, Rye. 
 
 York MSS. 
 Gevaert, Fr. Aug. : Les origines du chant liturgique de 
 
 l'eglise latine. 
 Goss, Sir John : Harmony. 
 Grove, Sir George :' Dictionary of Music and Musicians, 
 
 4 vols. 
 Guido, Aretino : Micrologus de Disciplina Artis Musicse. 
 Hawkins, Sir John : History of Music, 2 vols., Novello's ed. 
 Helmholtz, H. L. F. : Sensations of Tone, Ellis. 
 Helmore, Rev. T. : Plain Song, Novello's Primer. 
 Hogarth, G. : History of Music. 
 Hopkins, Dr. E. J. : English Mediaeval Church Organ, 
 
 A rchcsological Journal. 
 Hopkins, E. J., and Rimbault, Dr. : The Organ. 
 Hucbald, de S. Amand : Musica Enchiriadis. 
 HuIIah, John P. : History of Modern Music. 
 Isidore of Seville : Origines. 
 Lacroix, Paul : Fine Arts of the Middle Ages. 
 L'Estrange : Alliance of Divine Offices. 
 Liber Pontificalis. 
 Liber Primus Musarum Carpentras, 1532. Jean de Channay. 
 
 Avignon. 
 Macfarren, Sir G. A. : Counterpoint. 
 
 Harmony. 
 
 History of Music. 
 
 Six Lectures on Harmony. 
 Magister Choralis : Donnelly. 
 Marx, Dr. A. B. : General Musical Instruction. 
 Matthews, J. E. : History of Music. 
 Mendelssohn, H. L. B. : Letters edited by Lady Wallace. 
 Musical Association, Proceedings of. 
 Musical News. 
 Musical Times. 
 
 Naumann : History of Music. 3 vols. 
 Newbery House Magazine. 
 
Bibliography 1 8 1 
 
 Nicomachus, Gerasenus : ed. Meibom. 
 
 Nivers, G. G. : Dissertation sur le chant Gregorien. 
 
 Notes and Queries. 
 
 Notker, L. : De Octo Tonis. 
 
 Odo, Abbot of Cluny : Dialogus de Musica. 
 
 Ouseley, Sir F. A. G. : Harmony. 
 
 Counterpoint, Canon and Fugue. 
 Paleographie Musical. 
 Parish Choir, 3 vols. 
 
 Plain Song and Mediaeval Music Society's publications. 
 Platina : Lives of the Popes. 
 Plutarch : De Mus. 
 Pole, Dr. : Trans. Mus. Ass., 1878-79. 
 Ptolemy, Claudius : Harmonicorum Libri tres ex Codd. 
 
 MSS. ed Wallis, Oxonii, 1682, 4to. 
 Rawlinson, Professor : Ancient Egypt. 
 Regorzin, A., Chaldea. 
 Riemann, Dr. : Catechism of Musical History, 2 parts. 
 
 Dictionary of Music. 
 Rockstro, W. S. : History of Music. 
 Rowbotham, J. F. : History of Music, 3 vols. 
 Sacristy, 3 vols. 
 Stainer, Sir J., and Barrett, W. A. : Dictionary of Musical 
 
 Terms. Music of the Bible. 
 Vincentino, Don Nicola: L'Antica Musica Ridotta alia 
 
 Moderna Prattica. 
 Wackerbath : Music of the Anglo-Saxons. 
 Walcott, Mackenzie : Sacred Archaeology. 
 Walker : The Plain Song Reason Why. 
 Waltham Holy Cross MS. 
 Wilkinson, Gardner : Manners and Customs of the Ancient 
 
 Egyptians, 3 vols. 
 
ERRATA. 
 
 Page 38. For ' sixteenth ' read ' seventeenth.' 
 „ 45. For' pater ' read'patri.' 
 „ 137. Line 8 from bottom, for f triton ' read ' tritone.' 
 „ 148. Delete ' root and* from last line but two. 
 „ 171 (Index). Semitone, for ' 18' read '19'; '103" 
 should also have been added. 
 
T"HCE 
 
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 MUSIC SOCIETY. 
 
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 Height 3 ft. 10 i in. , depth i ft. 10 in. , length 4 ft. 6 in. ; in solid walnut case. Iron 
 frame, check action, trichord, machine-covered hammers, etc. 
 
 PRICE 16 GUINEAS, WARRANTED FOR 10 YEARS. 
 
 ILLUSTRATED LISTS FREE. 
 
 Y/ILLIAM G. THOMAS, Pianoforte Manufacturer, 
 
 STEAM WORKS, GOSPEL OAK GROVE, MALDEN ROAD, 
 
Second Edition now ready ', in tasteful crown Bvo. , cloth, price ss. 
 
 THE PLACE OF MUSIC IN PUBLIC WORSHIP. 
 
 By H. C. SHUTTLEWORTH, M.A., 
 
 Rector of St, Nicholas Cole-Abbey, and Professor of Pastoral Theology in King's College, 
 London, formerly Minor Canon of St. Paul's. 
 
 QLotdentB : 
 THE PLACE OF MUSIC IN PUBLIC WORSHIP — OF TWO 
 THEORIES— OF CONGREGATIONAL SINGING— OF THE CHOIR— 
 OF INSTRUMENTAL MUSIC— OF HYMNS. 
 
 ' A sensible and able little brochure ; will be a valuable guide to tbe parish 
 clergyman and the choirmaster. Hardly anyone can read it without learning 
 much, and it is so exquisitely printed and got up as to render it a pleasure to 
 turn over its pages.' — Literary Churchman. 
 
 ' That so excellent and enthusiastic a musician, so sensible and successful a 
 manager as the Rector of St. Nicholas Cole-Abbey should have produced this 
 little book will be a cause of congratulation to all who take part in public worship, 
 whether as clergy, choir, or congregation. The book is very accurate, and its 
 practical value is such that every choirmaster should have a copy.' — 
 
 Daily Chronicle. 
 
 'Excellent. The conclusions are wise, and will command the assent of 
 musicians in all the churches.' — Christian World. 
 
 ' The subject is discussed with judgment and common-sense in these vigorous 
 little essays, ?nd Mr. Shut tic worth speaks with the authority of considerable 
 experience. ' — Speaker. 
 
 'Prof. Shuttleworth advances many valuable hints gleaned from personal ex- 
 perience, and the little work is worthy of careful perusal.'— Public Opinion. 
 
 * Will be found usefully suggestive. — Scotsman. 
 
 * Cordially recommended to all interested in the psalmody of our churches and 
 chapels.' — Hackney Express. 
 
 Seventh and Cheaper Edition. 
 
 Also in crown 8vo. y cloth, price 6s.; also in a variety of special bindings. 
 
 See Prospectus, forwarded post free on application. 
 
 The Imitation of Christ. 
 
 Now for the first time faithfully rendered in rhythm, after the manner 
 in which it was written. 
 
 By THOMAS A KEMPIS. 
 
 Translated, with an Introduction, by a 'Clerk of Oxenford*; 
 and a Preface by the late H. P. Liddon, D.D., D.C.L. 
 
 ' A beautiful and interesting edition of the " Imitatione Christi." ' — 
 
 Bishop of Oxford. 
 1 The rhythmic arrangement is happily carried out.' — Bishop of Durham. 
 ' The paper and binding of this version render it a very beautiful one, well 
 fitting it to serve as a present.' — Bishop of Nottingham. 
 
 * The mind is led by the poetical arrangement to dwell with a new intelligence 
 and intensity upon clauses and words, and to discern with new eyes their deeper 
 meanings, their relation to each other, and to the whole of which they are 
 parts.'— Rev. Canon Liddon, D.D. _ t 
 
 ' From a literary point of view, the excellence of this version is so incontestable, 
 that a few extracts, with a word or two of the briefest comment, will suffice to 
 make it plain that this is a book worth buying.' — Spectator. 
 
 1 A real service has been done by the publication of this old classic m its present 
 shape. The style of binding and printing is in admirable keeping with the 
 literary contents.' — Oxford Chronicle. 
 
 ' The best edition of the " Imitation " existing.*— Bookseller. 
 
 ELLIOT STOCK, 62, Paternoster Row, LONDON, E.C 
 
Now ready ^ in handsome demy Bvo., tastefully hound in cloth, price js. 6d. 
 Also Fifty Large Paper Copies^ price 31 s. 6d. 
 
 tU feesenbatg £ore of f0e l)ofg TOeffe 
 of (Bwrfano. 
 
 Including Rivers, Lakes, Fountains, and Springs ; copiously illustrated by 
 
 curious Original Woodcuts. 
 
 By ROBERT CHARLES HOPE, F.S.A., F.R.S.L. 
 
 1 A subject at once interesting and not hackneyed. This is the first time, we believe, that 
 all the holy wells of England have been treated of together in one and the same work. There 
 is a good index, and many attractive Illustrations.'— The Globe. 
 
 'Thanks are due to Mr. Hope for the evidently con amore labour and pains he has bestowed 
 upon the bringing together of such an amount of curious and interesting information upon a 
 subject that is almost novel by reason of the little that has hitherto been made known In a 
 collected form respecting it.'— Scarborough Gazette. 
 
 ' The author's introduction deals very fully with the general subject of water-worship.'— 
 
 Morning Post. 
 
 ' Mr. Hope has compiled an agreeable account of the '* Holy Wells of England." — 
 
 Daily News. 
 
 ' Mr. R. C. Hope has found a topic the interest of which it would not be easy to exhaust.'— 
 
 Manchester Guardian. 
 
 ' A book that will have much fascination for antiquaries, learned and amateurish. Some of 
 the most beautiful of myths are centred round wells, springs and fountains. Mr. Hope's book 
 is capitally arranged for the use of local students.* — Sketch. 
 
 ' The substance of Mr. Hope's learned and interesting monograph was contributed from 
 time to time in the pages of The Antiquary, but there is a good deal in the present volume 
 which now for the first time sees the light.'— Speaker. 
 
 * A valuable work on " The Holy Wells of England," their legends and traditions, which is 
 illustrated with many curious old woodcuts.' — Daily Telegraph. 
 
 ' Any work which endeavours to shed fresh rays upon the legends of our country ought to 
 find a welcome place on our bookshelf, and to this category Mr. Hope's excellent volume cer- 
 tainly belongs.'— Public Opinion. 
 
 ' That Mr. Hope knows a great deal about well-worship as practised in many lands is 
 evident.' — Athenecum, 
 
 ($n JnBenforg of *0e €0urc0 Qpfafe in 
 (guffano. 
 
 {With Nine full-page and other Illustrations.') 
 
 Bv ROBERT CHARLES HOPE, F.S.A., F.R.S.L. 
 
 (Peterhouse, Cambridge, and Lincoln's Inn), 
 
 Editor of Barnabe Googe's 'Popish Kingdome'; Author of 'A Glossary of 
 
 Dialectal Place Nomenclature,' ' English Goldsmiths,' etc., etc. 
 
 A very limited number of Copies of this work remain unsold, which can be 
 obtained, bound in cloth, price 3s. 6d. net. Early application is desirable. 
 The Plates having been worked off^ the above is becoming very scarce. 
 
 * Mr. R. C. Hope has furnished a useful catalogue of Plate, with careful descriptions of relics 
 in topographical or&ev.'—Athena>um. 
 
 ' The work contains a concise and accurate description of the Plate to be found in the Parish 
 Churches of the County of Rutland, and shows evidence of much study and research. The 
 illustrations, which are numerous, much enhance the value of the book. — York Herald. 
 
 ' The Author has managed to invest a dry and statistical subject with interest and even 
 fascination. Additional value is given to the book by a chronological index, and a list of the 
 names of donors, as well as by careful illustrations of some of the most beautiful pieces.'— 
 Antiquary. 
 
 ' Mr. Hope has given us a very full account of the Church Plate in the County of Rutland, 
 and has beautifully illustrated the most striking examples,'— Church. Times, 
 
 ' Very well got up. The illustrations, which are peculiarly difficult, are in every way excel- 
 lent. The Author has done his work exceedingly well, and has been very painstaking in the 
 excellent compilations and descriptions which he has given. There is a most excellent chrono- 
 logical index appended.' — Scarborough Post. 
 
 ELLIOT STOCK, 62, Paternoster Row, LONDON, E.C. 
 
Now ready, price is. net. 
 
 THE 
 
 LEPER IN ENGLAND; 
 
 WITH SOME ACCOUNT OF 
 
 jEnQliab Xa3ar fbouece. 
 
 WITH NOTES. 
 
 BY 
 
 ROBERT CHARLES HOPE, F.S.A., F.R.S.L. 
 
 Peterhouse, Cambridge, and Lincoln's Inn, 
 
 Member of the Royal Archaeological Institute of Great Britain, 
 
 Editor of Barnabe Googe's * Popish Kingdome,' 
 
 Author of ' Glossary of Dialectal Place-Nomenclature,' 
 
 'An Inventory oftlie Church Plate in Rutland,' 'English Goldsmiths,' 
 
 etc., etc. 
 
 ' Full of curious and interesting matter. ' — Reliquary. 
 
 ' Of real merit. ' — Antiquary. > , 
 
 'He has brought together a great deal of curious knowledge. 
 This list of English Lazar Houses is longer than usual. It Contains 
 a digression on the early use of simples in England. '■ — Atfienaum. 
 
 LONDON : 
 ELLIOT STOCK, 62, PATERNOSTER ROW.