Music in the History of the Western Church / With an Introduction on Religious Music Among Primitive and Ancient Peoples

[1]Brinton, The Religions of Ancient Peoples.

[2]Brown, The Fine Arts.

[3]Spencer, Professional Institutions: Dancer and Musician.

[4]Lang, Myth, Ritual, and Religion.

[5]A full account of ancient Assyrian music, so far as known, may be found in Engel’s Music of the Most Ancient Nations.

[6]“Long ago they [the Egyptians] appear to have recognized the principle that their young citizens must be habituated to forms and strains of virtue. These they fixed, and exhibited the patterns of them in their temples; and no painter or artist is allowed to innovate upon them, or to leave the traditional forms and invent new ones. To this day no alteration is allowed either in these arts, or in music at all.”—Plato, Laws, Book II., Jowett’s translation.

[7]Chappell, History of Music.

[8]Erman, Life in Ancient Egypt, translated by Tirard.

[9]See Plato, Republic, book iii.

[10]Ambros, Geschichte der Musik.

[11]Gen. xxxi. 27.

[12]Ex. xix.

[13]Jos. vi.

[14]Num. x. 2-8.

[15]2 Chron. v. 12, 13; xxix. 26-28.

[16]2 Chron. xiii. 12, 14.

[17]1 Sam. x. 5.

[18]Chappell, History of Music, Introduction.

[19]For extended descriptions of ancient musical instruments the reader is referred to Chappell, History of Music; Engel, The Music of the Most Ancient Nations; and Stainer, The Music of the Bible.

[20]2 Sam. vi. 5.

[21]2 Sam. vi. 14, 15.

[22]1 Chron. xvi. 5, 6.

[23]1 Chron. xxiii. 5.

[24]1 Chron. xxv.; 2 Chron. v. 12. See also 2 Chron. v. 11-14.

[25]2 Chron. xxix. 25-30.

[26]Ezra iii. 10, 11.

[27]Neh. xii.

[28]Synagogue Music, by F. L. Cohen, in Papers read at the Anglo-Jewish Historical Exhibition, London, 1847.

[29]Ps. cxiii-cxviii.

[30]Eph. v. 19; Col. iii. 16.

[31]1 Cor. xii. and xiv.

[32]Schaff, History of the Christian Church, I. p. 234 f.; p. 435.

[33]1 Cor. xiv. 27, 28.

[34]Chappell, History of Music.

[35]Among such supposed quotations are: Eph. v. 14; 1 Tim. iii. 16; 2 Tim. ii. 11; Rev. iv. 11; v. 9-13; xi. 15-18; xv. 3, 4.

[36]Constitutions of the Apostles, book. ii. chap. 57.

[37]Hefele, History of the Councils of the Church, translated by Oxenham.

[38]St. Augustine, Confessions.

[39]Klesewetter, Geschichte der europäich-abendländischen Musik.

[40]For an exhaustive discussion of the history of the Te Deum see Julian’s Dictionary of Hymnology.

[41]Hymns of the Eastern Church, translated, with notes and an introduction by J. M. Neale, D.D.

[42]Lanciani, Pagan and Christian Rome.

[43]St. Augustine, Confessions, book ix. chap. 7.

[44]St. Augustine, Confessions, book ix. chap. 6.

[45]Gibbons, The Faith of our Fathers, chap. 24.

[46]Caecilien Kalendar (Regensburg), 1879.

[47]Wiseman, Four Lectures on the Offices and Ceremonies of Holy Week as performed in the Papal Chapels, delivered in Rome, 1837.

[48]Jakob, Die Kunst im Dienste der Kirche.

[49]Sermon by Dr. Leonhard Kuhn, published in the Kirchenmusikalisches Jahrbuch (Regensburg), 1892.

[50]O’Brien, History of the Mass.

[51]Gibbons, The Faith of our Fathers.

[52]The musical composition commonly called a Mass—such, for instance as the Imperial Mass of Haydn, the Mass in C by Beethoven, the St. Cecilia Mass by Gounod—is a musical setting of those portions of the office of the Mass that are invariable and that are sang by a choir. These portions are the Kyrie, Gloria, Credo, Sanctus and Benedictus, and Agnus Dei. The musical composition called Requiem, or Mass for the Dead, consists of the Introit—Requiem aeternam and Te decet hymnus, Kyrie eleison, Dies Irae, Offertory (Domine Jesu Christe), Communion—Lux aeterna, and sometimes with the addition of Libera me Domine. These choral Masses must always be distinguished from the larger office of the Mass of which they form a part.

[53]It is worthy of note, as a singular instance of the exaltation of a comparatively unimportant word, that the word Mass, Lat. Missa, is taken from the ancient formula of dismissal, Ite, missa est.

[54]Wagner, Einführung in die Gregorianischen Melodien.

[55]Sauter, Choral und Liturgie.

[56]Gevaert first announced his conclusions in a discourse pronounced at a public session of the class in fine arts of the Academy of Belgium at Brussels, and which was published in 1890, under the title of Les Origines du Chant liturgique de l’ Église latine. This essay was amplified five years later into a volume of 446 pages, entitled La Mélopée antique dans le Chant de l’ Église latine. These works are published by Ad. Hoste, Ghent.

[57]Lemaire, Le Chant, ses principes et son histoire.

[58]Green, Short History of the English People.

[59]Montalembert, The Monks of the West, vol. ii.

[60]Montalembert, The Monks of the West, vol. ii.

[61]Ibid.

[62]Ambros, Geschichte der Musik, vol. ii.

[63]The offices, chiefly conventual, in which the chant is employed throughout are exceptions to the general rule.

[64]This distinction between harmony and counterpoint is fundamental, but no space can be given here to its further elucidation. The point will easily be made clear by comparing an ordinary modern hymn tune with the first section of a fugue.

[65]Mendelssohn, in his letter to Zelter describing the music of the Sixtine Chapel, is enthusiastic over the beautiful effect of the abellimenti in Allegri’s Miserere.

[66]Winterfeld, Johannes Gabrieli und sein Zeitalter.

[67]Jakob, Die Kunst im Dienste der Kirche.

[68]Wackernagel, Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des XVII. Jahrhunderts.

[69]Hoffmann von Fallersleben, Geschichte des deutschen Kirchenliedes bis auf Luther’s Zeit.

[70]Taylor, Studies in German Literature.

[71]Koch, Geschichte des Kirchenliedes und Kirchegesanges der christlichen insbesondere der deutschen evangelischen Kirche.

[72]Bacon and Allen, editors: The Hymns of Martin Luther set to their Original Melodies, with an English Version.

[73]The performance of Bach’s cantatas by the Catholic Schola Cantorum of Paris is one of many testimonies to the universality of the art of this son of Lutheranism.

[74]Kretzschmar, Führer durch den Concertsaal; Kirchliche Werke.

[75]Arsène Alexandre, Histoire populaire de la Peinture.

[76]Spitta, Zur Musik: Wiederbelebung protestantischer Kirchenmusik auf geschichtlicher Grundlage.

[77]Jebb, Choral Service of the United Church of England and Ireland.

[78]An edition of Marbecke’s Book of Common Prayer with Notes, edited by Rimbault, was published by Novello, London, in 1845.

[79]Curwen, Studies in Worship Music.

[80]Laws of Ecclesiastical Polity, book v., secs. 38 and 39.

[81]It appears from this injunction that the grotesque custom of “lining out” or “deaconing” the psalm was not original in New England, but was borrowed, like most of the musical customs of our Puritan forefathers, from England.

[82]Curwen, Studies in Worship Music.

[83]This has been done by several writers, but by no other in such admirable fashion as by Horder in his delightful book, The Hymn Lover (London, Curwen, 1889).

[84]Hooker, Laws of Ecclesiastical Polity, book v. chap. 15.