[253]Grove’s Dictionary of Music and Musicians, part 1, vol. 1, article “Ambrosian chant,” by Rev. Thomas Helmore.
[254]Ambros, Gesch. d. Mus., v. 2, p. 43.
[255]Ambros, v. 2, p. 45.
[256]These latter letters may however, only refer to the diagrams, and not to musical notes.
[257]Epoch men, by Sam’l Neal, p. 43.
[258]Vie de Charlemagne, Guizot, T. 3, p. 151.
[259]Ambros Gesch. d. Mus., v. 2, p. 94. We must remind the reader that “Gregorian” music, does not always refer to the compositions of Gregory, but simply means the singing used at Rome, as the “Ambrosian” means the style used at Milan.
[260]Monachus Engolismensis (the monk of Angouleme), an anonymous writer of this era, in his Vita Caroli Magni. quoted by J. J. Rousseau, in his Dictionnaire de Musique article “Chant,” also by Crowest, Mus. Anecdotes, v. 2, p. 239; Fetis, v. 4, p. 279; Ambros, v. 2, p. 94, etc., etc.
[261]It has been suggested by some recent writers on this subject, that even this should be met by forming the notes of various lengths, thus, a whole note ———, a half note ——, a quarter —, etc., but this difficulty can be obviated, in spacing, by any good music engraver, and does not require so radical a change.
[262]The semitone falling always between the second and third note, is the only regularity apparent.