[32] Polyphonic music flourished from 1000 A.D. to about 1750 A.D., the culmination of the polyphonic period being reached in the music of Johann Sebastian Bach (1685-1750). Haydn, Mozart, Beethoven, and the later writers have used the monophonic style more than the polyphonic, although a combination of the two is often found, as e.g., in the later works of Beethoven.
[33] There is a very pronounced disagreement among theorists as to what terms are to be used in referring to certain forms and parts of forms and it seems impossible to make a compromise that will satisfy even a reasonable number. In order to make the material in this chapter consistent with itself therefore it has been thought best by the author to follow the terminology of some single recognized work on form, and the general plan of monophonic form here given is therefore that of the volume called Musical Form, by Bussler-Cornell.
[34] A liturgy is a prescribed form or method of conducting a religious service, and the parts sung in such a service (as e.g., the holy communion, baptism, etc.), are referred to as the musical liturgy.
[35] It should be understood that this statement refers to the service called "the high mass" only, there being no music at all in connection with the so-called "low mass."
[36] Many theorists (including Durand in his monumental "Treatise on Harmony") consider the V—I cadence to be the only one which may legitimately be called perfect, but the majority of writers seem to take the view that either authentic or plagal cadence may be either perfect or imperfect, depending upon the soprano tone, as noted above.
[37] Elson—Music Dictionary, article, "Notation."
[38] Goddard—The Rise of Music, p. 177.
[39] Williams in Grove's Dictionary, article, "Notation."
[40] The tonic-sol-fa system represents an attempt to invent a simpler notation to be used by beginners, (especially in the lower grades of the public schools) and by singers in choral societies who have never learned to interpret staff notation and who therefore find some simpler scheme of notation necessary if they are to read music at all.
In this system the syllables do, re, mi, etc., (in phonetic spelling) are used, the tone being arrived at in each case, first by means of a firmly established sense of tonality, and second by associating each diatonic tone with some universally felt emotional feeling: thus do is referred to as the strong tone, mi as the calm one, and la as the sad tone, great emphasis being placed upon do as the center of the major tonality, and upon la as the center of the minor. The system is thus seen to have one advantage over staff notation, viz.: that in presenting it the teacher is compelled to begin with a presentation of actual tones, while in many cases the teacher of staff notation begins by presenting facts regarding the staff and other symbols before the pupil knows anything about tone and rhythm as such.