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 The history of church music.Syllabus, wi 
 
 3 1924 018 473 045 
 
©bcrlin CoUcqc Uibrari? Bulletin. 
 
 VOLUME I., NUMBER 3. 
 
 THE 
 
 HISTORY OF CHURCH iVtUSffit 
 
 SYLLABUS 
 mJH BIBLIOGRAPHICAL REFERENCES. 
 
 FOR A COURSE OF TWENTV-FIVE LECTURES GIVEN AT 
 ' OBERLIN THEOLOGICAL SEMINARY, 
 
 JANUARY-MAY. 1 896. 
 
 BY 
 
 EDWARD DICdNSON, 
 
 Professor of the History and Philosophy of Music, 
 Conservatory of Music, Oberlin College. 
 
 OBERLIN, OHIO. 
 i89£. 
 
Cornell University 
 Library 
 
 The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924018473045 
 
©berlin College Xibrar^ Bulletin. 
 
 VOLUME I„ NUMBER 3. 
 
 THE 
 
 HISTORY OF CHURCH MUSIC. 
 
 SYLLABUS 
 WITH BIBLIOGRAPHICAL REFERENCES, 
 
 FOR A COURSE OF TWENTY-FIVE LECTUKES GIVEN AT 
 
 OBERLIN THEOLOGICAL SEMINARY, 
 
 JANUARY-MAY, l8g6. 
 
 EDWARD DICKINSON, 
 
 St 
 Professor of the History and Philosophy of Music, 
 
 Conservatory of Music, Oberlin College. 
 
 OBERLIN, OHIO. 
 
 l8g6. 
 
 rEABCE AND RANDOLPH, PKINTEBS. 
 
PREFACE. 
 
 The references in this pamphlet are to books which, with a 
 few exceptions,, are contained in the Oberlin College Library. The 
 intention has been to include in this bibliography the most valuable 
 works on the subject which exist in English. Out of the larger 
 number to be found in German and French a few have been se- 
 lected which are indispensable to a thorough study. For magazine 
 articles the student is referred to Poole's Index to Periodical Liter- 
 ature. 
 
 The publisher and date of a work are stated at the first men- 
 tion of the work only. The most important references are distin- 
 guished by asterisks. 
 
I. 
 
 GENERAL CHARACTER OF RELIGIOUS MUSIC 
 IN ANCIENT AND PRIMITIVE TIMES. 
 
 Supposed antiquity of music; theories of its origin; its univer- 
 sality. 
 
 Music in religious rite and ceremony; its instinctive employ- 
 ment in the expression of awe and reverence. The ancient relig- 
 ious festival; the sacred dance, how and when employed; primitive 
 union of poetry, dance, and music. Nature of the primitive choral 
 chant. 
 
 Religious song among the most ancient nations; Assyrians; 
 Egyptians. Function of instrumental music in ancient religious 
 ceremony. Symbolism; miraculous origin and powers ascribed to 
 music. 
 
 The most ancient vocal music was probably a heightening of 
 speech inflection, an irregular chanting; its rhythm was subject to 
 that of the poetry. Music was not a free independent art. Har- 
 mony was unknown. Music therefore did not progress beyond a 
 half-barbaric condition. Controlled by the priestly class who op- 
 posed innovation. 
 
 Music among the Greeks was more refined, but restrained by • 
 similar ideas; made little sign of progress until after the golden 
 age of Greek art was past. 
 
 REFERENCES. 
 
 *Spencer. Origin and Function of Music; Essays. New York, 
 
 Appleton, i8gi. 
 Popular Science Monthly, Sept., 1893. The Origin of Literary 
 
 Forms. 
 ♦Popular Science Monthly, April, 1893. The Festal Development 
 
 of Art. 
 Brown. The Fine Arts. New York, Scribner, 1891. 
 Knight. The Philosophy of the Beautiful, Part II. New York, 
 
 Scribner, 1893. 
 *Parry. The Art of Music. London, Kegan Paul, \i,C)\. 
 
Elson. Curiosities of Music. Boston, Ditson, 1880. 
 
 *Engel. Music of the Most Ancient Nations. London, Murray, 
 
 1864. 
 *Naumann. History of Music, 2 Vols. Tr. by Praeger; edited 
 
 by Ouseley. London, Cassell & Co. 
 Walleschek. Primitive Music. London, Longmans, 1893. 
 Bumey. History of Music, VoL L 
 
 Rowbotham. History of Music, 3 Vols. London, Triibner, 1885. 
 *Ambros. Geschichte der Musik, 5 Bde. Leipzig, Leuckart, 1887. 
 
 n. 
 
 MUSIC AMONG THE ANCIENT HEBREWS. 
 
 Conception of music among the Hebrews. Music with them 
 was "divine service, not art." (Ambros.) Followed the general 
 laws of music among ancient nations; not a free art, but auxiliary 
 to poetry and the dance. 
 
 Present slight knowledge of the Hebrew musical practice; no 
 authentic melodies or theoretical treatises have come to us. Music 
 probably in the barbaric stage. 
 
 Hebrew instruments were derived frem neighboring nations. 
 Their names and character, so far as known; for what purposes 
 used. The schools of the prophets. 
 
 Hebrew vocal music more important than instrumental; its re- 
 lation to lyric poetry. Character of the Psalms; their adaptiveness 
 to musical treatment. 
 
 The golden age of Hebrew poetry and music in the period of 
 David and Solomon. Music at the dedication of Solomon's tem- 
 ple; its use in the temple service. 
 
 Inferences in regard to the style of Hebrew song drawn from 
 the structure of the Psalms, indications in the Bible, tradition, an- 
 alogy, etc. Headings of the Psalms as referring to musical render- 
 ing. 
 
 The musical service in the second temple as indicated by Ezra 
 and Nehemiah. 
 
 Final extinction of the temple service. Have any remnants of 
 the temple music survived to the present time? 
 
REFERENCES. 
 
 Histories of Ambros, Burney, and Naumann. 
 
 Smith's Dictionary of the Bible. Boston, Houghton, Mifflin & Co. 
 
 McClintock &^ Strong's Cyclopsedia of Biblical, Theological, and 
 Ecclesiastical Literature. New York, Harper, 1867-1885. 
 
 Engel. The Music of the Most Ancient Nations. 
 
 *Stainer. The Music of the Bible. London, Cassell, 1882. 
 
 *Curwen. Studies in Worship Music, Series L London, Curwen. 
 
 Kaiser <S^ Sparger. A Collection of the Principal Melodies of the 
 Synagogue. (Introduction.) Chicago, Rubovits, 1893. 
 
 Rites and Worship of the Jews. Published by the Religious Tract 
 Society. London, 1838. 
 
 Perowne. The Book of Psalms. London, Ball, 1870. 
 
 Herder. The Spirit of Hebrew Poetry. Burlington, Marsh, 1833. 
 
 *Delitsch. Commentary on the Psalms, English translation. Edin- 
 burgh, Clark, 1876. 
 
 III. 
 MUSIC IN THE EARLY CHRISTIAN CHURCH. 
 
 Song the natural expression of the fervor and joy of the early 
 Christians. Peculiar adaptiveness of music to the genius of Chris- 
 tianity. Music preeminently a Christian art, and why. 
 
 Music must, however, develop slowly; conditions of a highly 
 developed art of song. Early Christian music simply a continua- 
 tion of the ancient style and method. 
 
 Song as an agent m spiritual culture and in the propagation of 
 the faith. Indications of the use of music as found in the New 
 Testament. 
 
 Scanty means of information in respect to music in the first two 
 centuries. Use of antiphonal singing. Church song in the begin- 
 ning congregational. Theories in respect to the origin of the 
 Christian melodies, and their character. 
 
 To what extent were instruments employed? Prejudice against 
 them, and its causes. 
 
 Early Christian hymns; Psalms, Canticles, the Gloria in Ex- 
 celsis, hymn at the lighting of candles, Ter Sanctus, etc. 
 
 Oriental Christian hymnody. Syriac hymnody: Ephraem the 
 Syrian 
 
Greek Christian hymnody: Cosmas, St. John of Damascus, 
 Gregory of Nazianzen. 
 
 Heretical use of song; Bardasanes, the Arians, etc. 
 
 Gradual transfer of the office of song from the congregation to 
 a select company or choir; causes and historic significance of this 
 change. 
 
 Growth of the great historic liturgies. Increase of ceremonialism 
 after the peace of the church (fourth century); its growth coincident 
 with a gradual hierarchical concentration of power. 
 
 Music in the Roman church probably Greek in origin. The 
 ritual takes a musical dress from the beginning. Rise of the litur- 
 gical chant. 
 
 Antiphonal singing in the church of Milan under St. Ambrose; 
 report of St. Augustine (Confessions). Music in the western church 
 taken under the sole care of the clergy. Choirs and singing schools. 
 The worship in the basilicas. 
 
 REFERENCES. 
 
 Histories of Ambros, Burney, and Naumann. 
 
 McClintock &^ Strong s Cyclopaedia. Articles — Music, Singing, 
 Liturgies. 
 
 Smith <&^ Cheetham's Dictionary of Christian Antiquities. Hart- 
 ford, J. B. Burr Co., 1876. Article— Music. 
 
 *Kdstlin. Geschichte des Christlichen Gottesdienstes. Freiburg, 
 Mohr, 1887. 
 
 Pressensd. The Early Years of Christianity. New York, Nelson 
 & Phillips, 1876. Vol. IV., bk. II., chaps, i.-vi. 
 
 Schletterer. Geschichte der geistlichen Dichtung und kirchlichen 
 Tonkunst. Hannover, Riimpler, 1869. 
 
 Neale. Essays on Liturgiology and Church History. London, 
 Saunders, 1867. 
 
 Maskell. The Ancient Liturgies of the Church of England. Ox- 
 ford, Clarendon Press, 1882. 
 
 *Koch. Geschichte des Kirchenliedes und Kirchengesanges. Stutt- 
 gart, 1866. 
 
 * Julian. Dictionary of Hymnology. London, Murray, l8g2. 
 
 Encyclopaedia Britannica. Article — Hymns. 
 
 •Articles in Caecilien Kalendar, 1876-1885; and Kirchenmusika- 
 lisches Jahrbuch, 1886-1894. Regensburg, Pustet. 
 
 Mrs. Charles. Voice of Christian Life in Song. New York, Carter, 
 1866. 
 
Schaff. Christ in Song. New York, Randolph, 1868. 
 Saunders. Evenings with the Sacred Poets. New York, Ran- 
 dolph, 1870. * 
 
 IV. 
 EPOCH OF THE ROMAN LITURGICAL CHANT. 
 
 Impressiveness of the liturgy, music, and ceremonies of the 
 Catholic church. 
 
 Union of the arts. Value of forms in worship; the problem of 
 ecclesiastical art. Its twofold purpose is to edify the believer, and 
 to show honor to the object of adoration. 
 
 The liturgy of the Catholic church, its origin, development, and 
 meaning. The office of the Mass, its various components; acces- 
 sory ceremonies, their antiquity and significance. Effect of this 
 service upon the devout Catholic. 
 
 Liturgies of the West: the Roman, Milanese, Mozarabic, Gal- 
 ilean, English. Almost universal adoption of the Roman use. 
 
 The Latin as a universal liturgical language; reasons for this 
 law. 
 
 The liturgy bound up with a fixed and prescribed form of mu- 
 sical rendering; intimacy and significance of this union of text and 
 tone. 
 
 The liturgical chant of the Catholic church, the so-called Gre- 
 gorian; its general character; antiquity; extraordinary veneration 
 accorded to it; its mystic symbolic meaning; its effect religious 
 rather than artistic. 
 
 Forms of the Catholic chant or " Plain Song "; suitableness for 
 its purpose; principles and laws of rendering; elements of its ex- 
 pression. 
 
 The Catholic chant a continuation into modern times of the 
 conception and method of all ancient worship music. Music as sub- 
 ordinate to poetry, rite, and ceremony. Peculiar impression of awe 
 imparted by this music. 
 
 REFERENCES. 
 
 Histories of Ambros, and Naumann. 
 
 McClintock dr' Strong's Cyclopaedia. Articles — Liturgies, Mass, 
 Breviary, Hours. 
 
8 
 
 Schaff. History of the Christian Church. New York, Scribner, 
 
 1882-1888. Vol. III., chap. vii. 
 *Koch. Geschichte des Kirchenhedes und Kirchengesanges. 
 *Kdstlin. Geschichte des Christlichen Gottesdienstes. ^ 
 
 *0'Brien. History of the Mass. New Yorl<:, Catholic Publishing 
 
 Society, 1893. 
 *Groves Dictionary of Music and Musicians. London and New 
 
 York, Macmillan, 1879-1890. Article — Mass. 
 ♦Catholic World, Vol. XXVIH. Plain Chant in its Relation to 
 
 the Liturgy. 
 Catholic World, Yo\. XXI. The Roman Ritual and its Chant. 
 Littell's Living Age, Vol. CXLIV. The Roman Breviary. 
 Schlecht. Geschichte der Kirchenmusik. Regensburg, Coppen- 
 
 roth, 1879. 
 CUmcnt. Histoire generale de la Musique religieuse. Paris, 
 
 Adrien le Clere, 1861. 
 Maskell. Ancient Liturgies of the Church of England. 
 *Articles in Caecilien Kalendar, and Kirchenmusikalisches Jahr- 
 
 buch. 
 Schletterer. Geschichte dor geistlichen Dichtung und kirchlichen 
 
 Tonkunst. 
 
 V. 
 EPOCH OF THE ROMAN LITURGICAL CHANT. —II. 
 
 Why is this form of chant called "Gregorian"? Gregory L 
 (pope 580-604), his distinction in the history of the church; the 
 Roman liturgy practically completed by him; supposed founder of 
 the system of liturgical chant. 
 
 He is declared to have revised, selected, composed, and noted 
 many chant melodies, established a singing school, and to have 
 added scales to those already in use. 
 
 This tradition, unquestioned until a very recent time, is now 
 found to have no positive historic 'basis. Origin of the tradition 
 and reasons for the present doubt. 
 
 Probable date of the changes which produced the "plain song" 
 of the church. The conjectural origin of these melodies. Later 
 efforts to discover and establish their original form. 
 
 Tonality of the Gregorian chant; authentic and plagal modes. 
 
Mediaeval notation; the neumae, and the development of the men- 
 sural system. 
 
 Efforts of the hierarchy to establish uniformity in the ritual and 
 its musical rendering throughout the West. The Roman liturgical 
 chant carried and taught by the Roman missionaries. 
 
 Great services of Charlemagne (king of the Franks 768-814) as 
 protector of the church and ally of its missionary and educational 
 work. His love of learning. The schools founded and maintained 
 by him. His authority exerted in favor of uniformity in worship. 
 Aids in establishing the Roman chant in place of the Ambrosian 
 and Gallican forms; imports singers from Rome, and supports 
 them in the ecclesiastical schools of his empire. 
 
 The convent schools of this epoch; their importance in the his- 
 tory of education. 
 
 The convent of St. Gall second only to Rome as a center and 
 model of church music in the eighth, ninth, and tenth centuries; 
 its famous musicians, poets, and scholars; its daily musical ser- 
 vices, methods of instruction, and practice. 
 
 Notker Balbulus and the Sequence. 
 
 The unison, unaccompanied chant the sole form of church mu- 
 sic until about 1000. Its connection with monastic life. Illustra- 
 tions of the veneration iri which it was held by the monks. 
 
 REFERENCES. 
 *Schubiger. Die Siingerschule St. Gallens. Einsiedlen, Benziger, 
 
 1858. 
 *Parry. The Art of Music, chap. ii. 
 *Gevaert. Les Origines du Chant liturgique. Gand, Librairie 
 
 Generale de Ad. Hoste, Editeur, i8qo. 
 *Gevaert. La Melopee antique dans le Chant de 1' Eglise latine« 
 
 Gand, 1895. 
 *Articles in Caecilien Kalendar, and Kirchenmusikalisches Jahr- 
 
 buch. 
 Gregorian Chant (technical): 
 *Haberl. Magister Choralis. Tr. by Donnelly. Regensburg and 
 
 New York, Pustet, 1892. 
 *Pothier. Les Melodies Gregoriennes. Tournay, Desclee, Le- 
 
 febvre et Cie., 1880. A German translation by Kienle. 
 ^Grove's Dictionary. Articles— Plain Song, Modes, Gregorian 
 
 Tones (appendix). 
 
spencer. Concise Explanation of the Church Modes. London, 
 Novello. 
 
 *Helmore. Plain Song (Novello's Music Primers). London, No- 
 vello. 
 
 Pole. Philosophy of Music. London, Triibner, 1879. 
 
 * Wagner. Einfiihrung in die Gregorianischen Melodien. Frei- 
 burg (Schweiz), Veith, 1895. 
 
 VL 
 THE DEVELOPMENT OF POLYPHONIC MUSIC. 
 
 First known use of harmonic music in the church; supposed 
 origin of the new form ; transfer of musical progress from the South 
 to the North; native music of the early Keltic and Teutonic na- 
 tions. 
 
 Hucbald, a monk of Flanders (840-930), and his Organum. 
 
 The problem of contrapuntal music; its early simplicity and 
 rudeness; possibilities of development. 
 
 Addition of parts to a cantus firmus on the principle of " imita- 
 tion." 
 
 Necessity for more precise methods of fixing the length and 
 pitch of notes; mensural music and its progress; growmg com- 
 plexity of structure and of notation; the "descant." 
 
 Methods of composition in the thirteenth, fourteenth, and fif- 
 teenth centuries; the composer not an inventor of melodies; the 
 scholastic age of music; a long period of scientific experiment pre- 
 cedes the attainment of beauty and expression. 
 
 The dry counterpoint of the church uninfluenced by the folk 
 song, or the lays of the Troubadours and the Minnesingers. 
 
 The "extemporized descant" and its abuses. 
 
 Dawn of the period of artistic counterpoint in the fourteenth 
 century. The court chapels and schools of France as musical cen- 
 ters. 
 
 Mediaeval polyphony gradually completed by the musicians of 
 northern France and the Netherlands. 
 
 The Xetherlanders, and their supreme influence in European 
 music in the fifteenth and first half of the sixteenth centuries. 
 
 The papal court at Avignon (1309-1379); introduction of coun- 
 terpoint into the papal chapel. 
 
The epoch of Dufay (early in the fifteenth century); of Okeghem 
 (about 1420-1513); of Josquin des Pres (about 1450-1521). 
 
 Mediaeval polyphonic music culminates in the sixteenth century 
 in Lassus, Willaert, and Palestrina. 
 
 Nature of this evolution; complexity of this music; abstract 
 and typical rather than definitely expressive. 
 
 Frequent abuses; use ot secular tunes as cantus firmus. 
 
 Beauty of tone effect obtained by unaccompanied voices. 
 
 The Latin hymns of the mediseval church. 
 
 REFERENCES. 
 Histories as before. 
 
 *Coussetnaker. Histoire de 1' Harmonic au Moyen Age. Paris, 
 
 1852. 
 Grove's Dictionary. Articles — Schools, Mass, Motet. 
 Poie. Philosophy of Music, chap. xx. 
 *Articles in Caecilien Kalendar, and Kirchenmusikalisches Jahr- 
 
 buch. 
 *Famous Composers and their Works. Boston, J. B. Millet Co. 
 
 Article — The Netherland Masters, by Henderson. 
 Schletterer. Studien zur Geschichte der Franzosischen Musik. 
 
 Berlin, Damkohler, 1884. 
 *Parry. The Art of Music, chap. iv. 
 The Latin Hymns: 
 
 * March. Latin Hymns, with English Notes. New York, Harper, 
 
 1894. 
 *Wackernagel. Das deutsche Kirchenlied. Leipzig, Teubner, 
 
 1 85 1. Vol. L 
 Koch. Geschichte des Kirchenliedes und Kirchengesanges. 
 
 * Julian' s Dictionary of Hymnology. 
 
 *Trench. Sacred Latin Poetry. London, Macmillan, 1874. 
 *Duffield. Latin Hymn-writers and their Hymns. New York, 
 
 Funk, 1889. 
 *Neale. Mediaeval Hymns and Sequences. London, Masters, 1867. 
 Mrs. Charles. Voice of Christian Life in Song. 
 Schaff. Christ in Song. 
 Encyclopsedia Britannica. Article — Hymns. 
 *The Roman Breviary. Tr. by the Marquis of Bute. 
 Saunders. Evenings with the Sacred Poets. 
 
VII. 
 
 THE CULMINATING PERIOD OF MEDI^ilVAL 
 
 MUSIC: PALESTRINA (about 1524-1594). 
 
 Two styles of music in the Catholic church in the sixteenth 
 century — the Gregorian chant and the a capella chorus. 
 
 The spirit of the Renaissance not felt in music until late in the 
 sixteenth century; the church music not affected by the secular 
 luxury and moral decay of the time; purity of ideal maintained by 
 the church composers. 
 
 The polyphonic style reaches its perfection in the works of 
 Palestrina; his life in the service of the popes; his extraordinary 
 industry and influence; nobility of character. 
 
 The "Mass of Pope Marcellus''; the legends that have grown 
 up around it. Palestrina not the savior of church music, as so often 
 stated; the Council of Trent had no intention of abolishing chorus 
 music; the Marcellus Mass not written by command as a model, 
 and not a new style. 
 
 The reforms emanating from the Council of Trent; the Catho- 
 lic Reaction felt also in the sphere of church art. 
 
 The Marcellus Mass as an example of Palestrina's work; beauty 
 and loltiness of its style ; the most perfect type of mediaeval musical 
 art. 
 
 The motive and effect of the Catholic music of the sixteenth 
 century. It must be studied from two points of view, the artistic 
 and the religious, but these cannot be entirely separated. 
 
 Technical structure, tonality, difficulty of comprehension. 
 
 The Palestrina style as an expression of the rapt and mystical 
 type of piety especially nurtured by the discipline of the Catholic 
 church. Its proper effect depends largely upon place, occasion, 
 and historic and devotional association. 
 
 The polyphonic style in the seventeenth century; increasing 
 brilliancy and variety of effect, especially in the music of Venice. 
 
 The Church of St. Mark, and its great musicians; splendor of 
 ritual; transition to a more modern tone in worship music; Lotti, 
 the last great Venetian church composer. 
 
 Church music in Rome after Palestrina; AUegri (about 1580- 
 1652); his famous Miserere, and its performance in the Sistine 
 chapel. 
 
 Is the Catholic mediaeval style the highest example of church 
 
13 
 
 music? Union of the arts in the Catholic service. Question of the 
 relative values of liturgical and non-liturgical worship. 
 
 REFERENCES. 
 
 For the period, standard works on the Renaissance and the Cath- 
 olic Reaction, such as Ranke's History of the Popes, Symonds's 
 The Renaissance in Italy, Burckhardts Civilization of the 
 Period of the Renaissance, Hausser's The Period of the Refor- 
 mation. 
 
 *Am.bros. Geschichte der Musik, Band IV. 
 
 * Winterfeld. Johannes Gabrieli und sein Zeitalter, 2 Bde. Berlin, 
 
 Schlesinger, 1834. 
 ♦Articles in Caecilien Kalendar, and Kirchenmusikalisches Jahr- 
 
 buch. 
 *Parry. The Art of Music, chap. v. 
 •Catholic World, Vol. XLVIII. The Palestrina Myth. 
 Bibliotheca Sacra, January, 1894. The Golden Age of Italian 
 
 Church Music. 
 Mendelssohn. Letters from Italy. Tr. by Lady Wallace. Boston, 
 
 Ditson. Pp. 126-135, 168-191. 
 
 * Wiseman. Lectures on the Offices and Ceremonies of Holy 
 
 Week. Baltimore, Kelly, 1850. 
 Thibaut. Purity in Music. Tr. by Broadhouse. London, Reeves. 
 
 VIII. 
 
 CATHOLIC CHURCH MUSIC IN THE LAST 
 
 THREE CENTURIES. 
 
 Three historic forms of Catholic church music, viz., the unison 
 chant, the a capella polyphonic chorus, and the accompanied solo 
 and choral song. 
 
 The transition period of musical history. The invention of the 
 Opera about 1600; transformation of the Gregorian modes into the 
 modern major and minor scale system; the rise of instrumental 
 music; the beginning of all modern forms and styles. 
 
 Introduction of these new forms and methods into the church; 
 church music revolutionized by the dramatic style of solo singing 
 and the popularity of organ and orchestra. Employment of the 
 
14 
 
 female voice and the recasting of the choir; definitenessof expres- 
 sion in modern music, as compared with the mediseval. 
 
 Blending of the ecclesiastical and operatic styles in the Ora- 
 torio; similar change in the Mass. 
 
 Decadence of the music of the Catholic church in the seven- 
 teenth and eighteenth centuries; corresponding decline in spiritual 
 life. Depressed condition of art in general in these centuries. 
 
 False ideals of church music under the influence of the univer- 
 sal passion for the Italian opera; the masses of Haydn and Mozart. 
 Church music in Italy and France down to the present time. 
 
 Effect upon Catholic music of the nobler musical taste of the 
 nineteenth century. The Mass as treated by Beethoven, Schubert, 
 Cherubini, and others. 
 
 The present condition of Catholic music. Revival of the study 
 of the works of the Palestnna age. Efforts to restore the purity of 
 the Gregorian chant. The St. Cecilia Society. 
 
 REFERENCES. 
 
 *Parry. The Art of Music, chap. vi. 
 
 *Naumann. History of Music. 
 
 *Langhans. Geschichte der Musik des 17, 18, und 19 Jahrhund- 
 erts, 2 Bde. Leipzig, Leuckart, 1884. 
 
 *Kretzschmar. Fiihrer durch den Concertsaal. Leipzig, Liebes- 
 kind, 1B88. I. Theil, II. Abtheilung. 
 
 Grovels Dictionary. Article — Mass. 
 
 *Jahn. Life of Mozart, 3 Vols. Tr. by Pauline D. Townsend. 
 London, Novello, 1882. (Mozart's Masses.) 
 
 ^Vernon Lee. Studies of the Eighteenth Century in Italy. Lon- 
 don, Unwin, 1887. The Musical Life. 
 
 See biographies of the great modern Catholic composers, and arti- 
 cles in periodicals and dictionaries. 
 
 IX. 
 
 MUSIC OF THE EARLY PROTESTANT CHURCH 
 
 IN GERMANY. 
 
 I. The German Hymn Before Luther. 
 
 The temper and genius of the Reformation, and how shown in 
 the songs of early Protestantism. 
 
15 
 
 Conception of congregational singing in the Protestant church; 
 how different in the Catholic church; attitude of each toward the 
 vernacular in worship. 
 
 Hymn singing in the native tongue before the Reformation; 
 medijeval German religious poets. 
 
 Theology of the religious folk song; comparison with the Latin 
 hymns of the middle ages. 
 
 Slight encouragement given to vernacular hymn-singing on the 
 part of the church; attempts to supplant it with the Gregorian 
 chant. 
 
 Beginnings of the German religious song; the Kyrie eleison. 
 
 Development of the hymn out of the Kyrie eleison ; the Leisen. 
 
 Growth of religious poetry in the epoch of the Crusades and the 
 Minnesingers. 
 
 Hymns of the Mystics, fourteenth century. 
 
 Hymnody in the fifteenth century; Hus and the Bohemian schis- 
 matics, their hymn-books of 1501 and 1505; vernacular hymns in 
 the celebration of religious festivals. 
 
 The popular hymn not admitted as a part of the liturgy; rare 
 instances in which it was permitted in connection with the Mass. 
 
 The German folk song, secular and religious. 
 
 REFERENCES. 
 
 *Wackernagel. Das deutsche Kirchenlied, Vol. II. 
 
 *Koch. Geschichte des Kirchenliedes und Kirchengesanges. 
 
 *Hqffmann von Fallersleben. Geschichte des deutschen Kirchen- 
 liedes bis auf Luther's Zeit. Hannover, Rumpler, 1861. 
 
 *Baumker. Das Katholische deutsche Kirchenlied. Freiburg, 
 Herder, 1886. 
 
 Liliencron. Deutsches Leben im Volkslied um 1530. Berlin und 
 Stuttgart, Spemann. 
 
 Bibliotheca Sacra, October, 1895. The Hymns of Martin Luther: 
 their Predecessors and their Place in History. 
 
i6 
 
 X. 
 
 MUSIC OF THE EARLY PROTESTANT CHURCH 
 
 IN GERMANY. 
 
 II. The Lutheran Hymns, and Musical Service. 
 
 Luther's motive, — a purifier not a destroyer; his conservatism 
 in respect to forms of worship. 
 
 His revision of the liturgy; the service at Wittenberg; the 
 Formula Missce (1523), and the Deutsche Messe (1526). 
 
 Luther the founder of Protestant hymnody; his love of music, 
 and perception of its value as a proselyting agent. 
 
 Luther's hymns largely translations and paraphrases. 
 
 Effect of these hymns in disseminating the Lutheran doctrines; 
 their extraordinary popularity. 
 
 Their doctrinal teaching, and poetic value. 
 
 Rapid rise of hymn writers and multiplication of hymn-books; 
 he first song-book under Luther's auspices published in 1524; sub- 
 sequent editions; Luther's prefaces. 
 
 Origin of the melodies of the Reformation hymns; the general 
 opinion that Luther wrote tunes now shown to be erroneous; method 
 of composers in the sixteenth century. 
 
 The German Chorale; its threefold origin: (i) the melodies of 
 the Catholic Latin song; (2) the pre-Reformation religious folk 
 song, and (3) the secular folk song. 
 
 The choir music in the early Protestant church. 
 
 Gradual changes in the methods of harmonizing and singing the 
 Chorale. 
 
 Later modifications of the Chorale form; the early rhythmic 
 Chorale as compared with the modern. 
 
 Influence of the Lutheran Chorale upon the Catholic church; 
 Catholic tunes and hymn books in the sixteenth century. 
 
 The German Chorale and hymn reach their highest excellence 
 in the sixteenth and seventeenth centuries; influence of the Thirty 
 Years' War on sacred poetry and music; Paul Gerhardt. 
 
 Decline of Chorale production in the eighteenth century. 
 
 The choir anthem in Germany in the sixteenth and seventeenth 
 centuries; rise of the great German school of organ playing. 
 
 REFERENCES. 
 For the period, standard works on the Reformation in Germany. 
 
17 
 
 *Kostiin. Geschichte des Christlichen Gottesdienstes. 
 McClintock d" Strong's Cyclopsedia. Articles— Liturgies, Lutheran 
 
 Church. 
 *Dommer. Handbuch der Musik-Geschichte. Leipzig, Grunow, 
 
 1878. 
 Naumann. History of Music. 
 ^Spitta. Johann Sebastian Bach, 3 Vols. Tr. by Clara Bell and 
 
 J. A. Fuller-Maitland. London, Novello, 1884-1888. 
 * Winterfeld. Der evangelische Kirchengesang, 3 Bde. Leipzig, 
 
 Breitkopf und Hjirtel, 1843. 
 Curwen. Studies in Worship Music, Series IL 
 German Hymns: 
 Julian. Wackernagel. Koch. 
 *Bacon &^ Allen (editors). The Hymns of Martin Luther, set to 
 
 their original Melodies, with an English Version. New York, 
 
 Scribner, 1883. 
 Mrs. Charles. Voice of Christian Life in Song. 
 Winkworth. Christian Singers of Germany. London, Macmillan. 
 *Bennett <S-= Goldschmidt (editors). The Chorale Book for England, 
 
 London, Longmans, 1865. 
 Encyclopaedia Britanriica. Article — Hymns. 
 Bibliotheca Sacra, October, 1895. The Hymns of Martin Luther. 
 Schaff. Christ in Song. 
 Saunders. Evenings with the Sacred Poets. 
 *Lyra Germanica. Tr. by Catherine Winkworth. New York, 
 
 Randolph. 
 
 XI. 
 
 CHURCH MUSIC IN GERMANY, SEVENTEENTH 
 AND EIGHTEENTH CENTURIES. 
 
 I. Germany Under the Influence of the New Italian Recitative 
 
 and Aria. 
 
 Church music as affected by the new Italian style; increasing 
 prominence of solo singing and instrumental music. Reasons why 
 this influence acted more slowly in Germany than in Italy. 
 
 The German Passion Music, Oratorio, and Cantata the result of 
 the union of old German and new Italian elements. 
 
Conservatism of old-school German cantors and organists in 
 the seventeenth century. 
 
 The Passion Play and the Passion Music in Germany adopted 
 from the usage of the ancient church; the medijeval Miracle 
 Plays, Mysteries, and Moralities. 
 
 Early form of the Passion representation. 
 
 The chanted Passion. 
 
 This form succeeded by the motet Passion. 
 
 Heinrich Schiitz (1585-1672), the greatest German musician be- 
 fore J. S. Bach, combines the new Italian ideas of expression with 
 the old German religious feeling. 
 
 His Passions, "Conversion of St. Paul," "Resurrection," "Seven 
 Words," etc. 
 
 The third historic form — the oratorio Passion — developed after 
 Schiitz; it adds the Italian Aria and Recitative and the Chorale to 
 the older elements. 
 
 Relaxation of the old strict standards in church music under 
 the influence of the dramatic style. 
 
 The Oratorio and Passion at Hamburg; their frequent trivial 
 character; Keiser, Mattheson, Telemann, and Handel. 
 
 The old and new forms and ideas are united and carried to their 
 highest ideal perfection by J. S. Bach. 
 
 REFERENCES. 
 
 Histories of Naumann, Langhans, and Dommer. 
 
 Hciuser. Geschichte des Christlichen. Kirchengesanges und der 
 Kirchenmusik. Quedlinburg und Leipzig, Basse, 1834. 
 
 Ritter. Zur Geschichte des Orgelspiels. Leipzig, Hesse, 1884. 
 
 *Spitia. Johann Sebastian Bach. 
 
 *Kretzschmar. Fiihrer durch den Concertsaal. 
 
 Grove s Dictionary. Article — Passion Music. 
 
 * Winterfeld. Der evangelische Kirchengesang. 
 
 *Mendel-Reissmanit. MusikalischesConversations-Lexikon. Leip- 
 zig, List und Francke. Articles — Orgel (Geschichte), OrgelstiL 
 
 *Spitta. Zur Musik. Berlin, Paetel, 1892. 
 
 Spitta. Musikgeschichtliche Aufsatze. Berlin, Paetel, 1894. 
 
19 
 
 XII. 
 
 CHURCH MUSIC IN GERMANY, SEVENTEENTH 
 AND EIGHTEENTH CENTURIES. 
 
 II. Johann Sebastian Bach, 1685-1750. 
 
 Place of Bach in the history of religious life in Germany; the 
 greatest name in Protestant church music; the interpreter in tones 
 of the true temper and ideal of the German people. 
 
 The Bach family the most musical known to history; piety, 
 thrift, and musical genius combined in them. 
 
 Relaxed condition of the national spiritual life in the time of J. 
 S. Bach; musical conditions. 
 
 Uneventful life of Bach; always an organist and choir director; 
 his official positions; nature of his education and tendencies. 
 
 The larger proportion of his music written for the church; his 
 conscious life-mission was to reform and elevate the national 
 church music. 
 
 The supreme master of all organ players and composers; de- 
 mands of the Lutheran service upon organists; Bach's unrivaled 
 powers as a player. 
 
 Bach's organ Preludes and Fugues, Chorale Preludes, etc. ; their 
 variety of expression, perfection of form, grandeur of effect. 
 
 Highest reach of his genius shown in his vocal works; they re- 
 flect some of the most marked religious currents of their day. 
 
 The Cantatas; Bach's qualities as a writer for chorus and for 
 the solo voice. 
 
 Church services at Leipsic in the first half of the eighteenth 
 century; Bach's duties. 
 
 Bach's masterpiece — the Passion according to St. Matthew; 
 reasons for the fame of this work: remarkable depth of expression, 
 and variety in treatment of a single ground motive. 
 
 The Mass in B minor. 
 
 Elements of Bach's greatness; supreme scientific mastery, com- 
 plete self-knowledge, even balance of intellectual and emotional 
 powers; revival of his works in the nineteenth century; secret of 
 his permanent influence upon the world. 
 
 Decline of church music in the German Protestant church since 
 Bach's day; causes of this decline; theatre and concert hall take 
 the place of the church as centers of musical culture; Rationalism 
 of the eighteenth century; rise and popularity of singing societies; 
 
recent indications of revival of church music under the influence of 
 a more vigorous spiritual life. 
 
 REFERENCES. 
 Histories as before. 
 *SJ>itia. Johann Sebastian Bach. 
 Poole. Sebastian Bach (Great Musicians Series). New York, 
 
 Scribner, 1882. 
 *Parry. The Art of Music; see Index for Bach. 
 * Famous Composers and their Works. Bach, by Spitta. 
 Macfarren. Addresses and Lectures: Bach and Handel. London, 
 
 Longmans, 1888. 
 Upton. The Standard Oratorios. Chicago, McClurg, 1893. 
 
 XHI. 
 
 PROTESTANT CHURCH MUSIC IN ENGLAND 
 AND AMERICA. 
 
 I. The Music of the Anglican Church. 
 
 Character of the Reformation in England as compared with its 
 course upon the continent; its progress during the reigns of Henry 
 Vni,, Edward VI., Mary, and Elizabeth. 
 
 The question of a liturgy involved with the modification of doc- 
 trine and government; conservatism of the reformers. 
 
 The Book of Common Prayer; largely derived from older offices 
 of the Catholic church, especially as found in the ancient use of 
 Sarura; first edition published in 1549, and ordered to be adopted 
 in all the churches of the Kingdom. 
 
 The service of the Anglican church originally conceived as a 
 musical service. The present three methods of performing the 
 service, viz., the Cathedral or Choral service, the Parochial, and the 
 Mixed. 
 
 System of chanting in the Church of England, how differing 
 from the Gregorian from which it is derived; Marbeck's setting of 
 the Prayer Book, 1550. 
 
 Singing or monotoning of the prayers; reasons for this use. 
 
 The modern accompanied and harmonized Chant; single and 
 double Chants; " pointing." 
 
 The "Service." 
 
2t 
 
 The Anthem; its different forms. 
 
 The early composers for the Anglican church — Tallis, Byrd, 
 Farrant, Gibbons. 
 
 Changes in the ecclesiastical style in the seventeenth century 
 under the influence of new French and Italian musical fashions. 
 
 The Restoration. Henry Purcell, 1658-1695. 
 
 Dignified position of English church music and church musi- 
 ciins at the present day; healthful influence of the cathedrals and 
 universities on English musical culture. 
 
 REFERENCES. 
 
 For the period, standard histories of England and the English 
 Reformation. 
 
 *ICdstlin. Geschichte des Christlichen Gottesdienstes. 
 
 McClintock <S^ Strong's Cyclopaedia. Articles — Liturgies, Com- 
 mon Prayer. 
 
 *Proctor. History of the Book of Common Prayer. London, Mac- 
 millan, 1892. 
 
 *Maskell. Ancient Liturgies of the Church of England. 
 
 Histories of Naumann, Burney, and Hawkins. 
 
 Ritter. Music in England. New York, Scribner, 1890. 
 
 "Helmore. Plain Song (Novello's Music Primers). 
 
 *Marbeck. The Book of Common Prayer, with Musical Notes, 
 edited by Rimbault. London, Novello, i8'iS. 
 
 *Jebb. Choral Service of the United Church of England and Ire- 
 land. London, Parker, 1843. 
 
 La Trobe. The Music of the Church. London, Seeley, 1831. 
 
 *Curwen. Studies in Worship Music. 
 
 *Gr'ove's Dictionary. Articles — Anthem, Chant, Cathedral Music, 
 Service, Schools. 
 
 Stainer <S- Barrett's Dictionary of Musical Terms. Boston, Dit- 
 son. Articles — Anthem, Cathedral Music, Chant. 
 
 Famous Composers and their Works. Article— Music in England, 
 by Rockstro. 
 
XIV. 
 
 PROTESTANT CHURCH MUSIC IN ENGLAND 
 AND AMERICA. 
 
 II. Music Amongthe Puritans in England and America; 
 Psalmody. 
 
 The two great parties dividing English Protestantism. The 
 Puritans, and their attitude toward the rites, ceremonies, and usages 
 of the established church. 
 
 The opinions of the Puritans chiefly derived from Calvin. Abo- 
 lition of all prescribed and artistic forms of worship in the Calvin- 
 istic church of Geneva; expulsion of organs and choirs, reduction 
 of music to the unaccompanied congregational singing of metrical 
 translations of the Psalms. 
 
 The Huguenot Psalter of Marot and Beza. 
 
 Rise of the Puritan party in the reign of Elizabeth; their de- 
 nunciation of the established service. Attacks of Cartwright; noble 
 reply of Hooker in his Ecclesiastical Polity. 
 
 Triumph of the Puritans in the Great Rebellion; overthrow of 
 the Anglican service, destruction of organs and service-books, and 
 dispersion of the cathedral choirs; restoration of the ritual under 
 Charles II. ' 
 
 Congregational psalm-singing the only form of music in the 
 Puritan churches; its decline, followed by reaction in favor of more 
 artistic methods. 
 
 History of psalmody; metrical translations of the Psalms by 
 Sternhold and Hopkins, Tate and Brady, and many others. Long 
 prejudice against " uninspired " hymns; the rise of modern English 
 hymnody under the lead of Watts. 
 
 Music in the Puritan churches of America follows the same gen- 
 eral course as in England. Grotesque character of church singing 
 in New England in the seventeenth century; growing demand for 
 better things in the eighteenth century; introduction of more artis- 
 tic music in the face of bitter hostility. Formation of choirs, and 
 introduction of instruments into the churches. 
 
 William Billings and the New England anthem of the eighteenth 
 century. 
 
 The New England choir and singing school to 1850; Lowell 
 Mason. 
 
 Music in the non-liturgical churches of America at the present 
 
23 
 
 time; this music eclectic, no uniformity of methods or tendencies, 
 no school of American church composers. The chorus choir, quartet 
 choir, congregational singing. The " Gospel Songs " and the ideas 
 which justify them. Does the church profit by the diffusion of 
 higher musical taste among the masses? 
 
 REFERENCES. 
 Histories of Hawkins and Burney. 
 
 *Douen. Clement Marot et le Psautier Huguenot. Paris, 1878. 
 Koch. Geschichte des Kirchenliedes und Kirchengesanges. 
 *Kdstlin. Geschichte des Christlichen Gottesdienstes. 
 Grove's Dictionary. Article — Psalter. 
 
 La Trobe. The Music of the Church. Chapter on Psalmody. 
 ^Curwen. Studies in Worship Music. 
 Glass. The Story of the Psalters. London, Paul, 1888. 
 *Hooker. The Laws of Ecclesiastical Polity, Bk. V. 
 *Ritter. Music in America. New York, Scribner, 1890. 
 Bibliotheca Sacra, Vol. XXXVI. New England Psalmody. 
 Gould. Church Music in America. Boston, Gould, 1853. 
 Brooks. Olden-Time Music. Boston, Ticknor, 1888. 
 *Earle. The Sabbath in Puritan New England. New York, 
 
 Scribner, 1891. 
 Perkins &^ Dwight. History of the Handel and Haydn Society. 
 
 Boston, Mudge, 1883-1893. 
 Prefaces to the Plymouth Collection, edited by Henry Ward 
 
 Beecher; and The Plymouth Hymnal, edited by Lyman Abbott. 
 
 English Hymnology: 
 
 * Julian. Dictionary of Hymnology. 
 *Duffield. English Hymns. New York, Funk, 1888. 
 *Horder. The Hymn-Lover. London, Curwen, 1889. 
 Saunders. Evenings with the Sacred Poets. 
 
 XV. 
 
 SUMMARY ANi3 CONCLUSION. 
 
 The problem of church music; its value as a promoter, intensi- 
 fier, and director of religious emotion. Art in the service of re- 
 
24 
 
 ligion. Danger that art rather than religion may be the gainer. 
 Secularizing tendencies in religious music and how to meet them. 
 
 Is there an authoritative standard of church music? Distinc- 
 tion between church music and religious concert or dramatic music. 
 Influence of association. 
 
 Choir music vs. congregational music, artistic music vs. popular. 
 
 How to promote a noble and edifying style and practice of 
 church music. Danger in non-liturgical churches of separating 
 music in effect from the rest of the service. The choir as repre- 
 sentative of the congregation. 
 
 The relation of the minister to the choir. 
 
 The education of organists and choir-leaders. 
 
 The need of higher musical knowledge and taste in church, 
 public school, college, and theological seminary. 
 
 The highest type of church music, that which religious history 
 has finally sanctioned, is that which is inspired by living faith and 
 wrought with artistic skill.