[3] The reader will find an account of these modes in Grove's Dictionary of Music under "Modes, Ecclesiastical."
[4] In Hadow's "Songs of the British Islands" (Curwen & Co., London).
[5] The first partial measure is counted as one.
[6] The partial measure at the beginning is counted as one.
CHAPTER III.
THE POLYPHONIC MUSIC OF BACH.
We have seen in the last chapter some typical examples of folk-songs, which have served to give us an impression of folk-music in general, since it always conforms, in all essentials, to the type they illustrate. Folk-music is generally simple and unsophisticated in expression; it is generally cast in short and obvious forms; and it generally consists of a single melody, either sung alone or accompanied, on some primitive instrument, by a few of the commonest chords.
The prominence given to a single melody by music of this type, however, makes it unsuitable for groups of different voices, such as a vocal quartet or a chorus; and therefore when musicians began to pay attention to music intended for church use they had to work out a different style, in which several parts, sung by the various voices, could be strongly individualized. This led to what is called the "polyphonic," or "many-voiced" style. Another reason why the ecclesiastical style always remained unlike the secular was that the learned church musicians disdained any use of those methods which grew up in connection with folk-songs and dances, considering them profane or vulgar. Had they been willing to study them, they might have added much vitality to church music; but they maintained an attitude of aloofness and of contempt for the popular music.