How Music Developed
A Critical and Explanatory Account of the
Growth of Modern Music

BY
W. J. HENDERSON
Author of
"The Story Of Music,"
"Preludes and Studies,"
and
"What is Good Music?"

NEW YORK
FREDERICK A. STOKES COMPANY
PUBLISHERS

Copyright, 1898
By Frederick A. Stokes Co.
Printed in the United States of America.

TO
CHARLES BAMBURGH

Table of Contents

How Music Developed
Chapter I

The Beginning of Modern Music

Descent of the Roman Chant from the kithara songs of the Romans and thence from those of the Greeks—First appearance of modern melody—Steps toward the formation of a musical system—Ambrosian and Gregorian chants—Their character—Nokter Balbulus and sequences—Spread of the Roman chant—Nature of music at this period.

IN reading any history of the development of music as an art one must ever bear in mind the fact that music was also developing at the same time as a popular mode of expression, and that the two processes were separate. The cultivation of modern music as an art was begun by the medieval priests of the Roman Catholic Church, who were endeavoring to arrange a liturgy for their service, and it is due to this fact that for several centuries the only artistic music was that of the Church, and that it was controlled by influences which barely touched the popular songs of the times. In the course of years the two kinds of music came together, and important changes were made. But any account of the development of modern music as an art is compelled to begin with the story of the medieval chant.

In the beginning the chants of the Christian Church, from which the medieval chant was developed, were without system. They were a heterogeneous mass of music derived wholly from sources which chanced to be near at hand. The early Christians in Judea must naturally have borrowed their music from the worship of their forefathers, who were mostly Jews. The Christians in Greece naturally adapted Greek music to their requirements, while those in Rome made use of the Roman kithara (lyre) songs, which in their turn were borrowed from the Greeks. Christ and the apostles at the Last Supper chanted one of the old Hebrew psalms. Saint Paul speaks also of "hymns and spiritual songs," by one of which designations he certainly means the hymns of the early Christians founded on Roman lyre songs. It is also on record that the Christian communities of Alexandria as early as 180 A. D. were in the habit of repeating the chant of the Last Supper with an accompaniment of flutes, and Pliny, the Younger (62-110 A. D.), describes the custom of singing hymns to the glory of Christ.

The psalms in the early Church were chanted antiphonally; that is, one verse was sung by one part of the congregation and answered by another with the next verse, or they were chanted by priest and congregation alternately. Of course there could not have been any high artistic endeavor in such music, because it must have been within the capacity of the least skilled performers. There could not have been any fixed system in the Church until its various branches in the vast Roman empire were unified under a Christian emperor, Constantine (306-337 A. D.). Under him art and architecture began to serve the Church, and it is about this time that we begin to discover attempts at the formation of a system in church music. Four distinct steps are traceable:—

First. A. D. 314.—Pope Sylvester founded singing-schools at Rome.
Second. A. D. 350.—Flavian and Diodorus made antiphonal chanting of the psalms a required part of the church service at Antioch.
Third. A. D. 367.—The Council of Laodicea forbade congregational singing, and confined the service to a trained choir.
Fourth. A. D. 384 (about).—St. Ambrose brought together the inharmonious elements in the church liturgy and formulated a general system of chanting known as the Ambrosian chant.

The foundation of singing-schools produced choristers who were able to meet the requirements of the improved music, for that was beyond the narrow powers of the early congregations. The reader will readily see how the first three steps toward the formation of a system were logical. But differences in practice naturally crept in, and the work of Ambrose appears to have been one of regulation. He founded his system on four of the ancient Greek scales, which were, of course, at the base of all the Greek and Roman tunes then used in the Church. It is unnecessary to go into any extended account of Greek music in order to get an idea of the character of the Ambrosian chant, but it is needful to give the subject some consideration, because Greek music influenced modern music for several centuries. All modern major scales are formed thus: two whole intervals followed by one-half interval (a semitone), then three whole intervals followed by a half. For example, take the scales of C and G:—

[C scale: 1 2 ½ 1 2 3 ½]