CHAPTER X.

THE INFLUENCE OF THE CHRISTIAN CHURCH.

T is not easy to define the influence of the Christian Church in this transformation, for the reason that upon the technical side it was slight, although upon the æsthetic side it was of very great importance. From the circumstance that all the early theoretical writers from the sixth century to the thirteenth were monks or ecclesiastics of some degree, and from the very important part played by the large cathedrals in the development of polyphonic music, many historians have concluded that to the Church almost this entire transformation of the art of music is due. This, however, is wide of the truth. The Church as such had very little to do with developing an art of music through all the early centuries. The early Christians were humble people, for the most part, who had embraced a religion proscribed and at times persecuted. Their meetings were private, and attended by small numbers, as, for instance, in the Catacombs at Rome, where the little chapels in the dark passage ways under ground were incapable of holding more than twenty or thirty people at a time. Under these circumstances the singing cannot have been essentially of more musical importance than that of cottage prayer meetings of the present day. In another way the Church, indeed, exercised a certain amount of influence in this department as in all others, an influence which might be described as cosmopolitan. The early apostles and bishops traveled from one province to another, and it is likely that the congregation in each province made use of the melodies already in existence. The first Christian hymns and psalms were probably sung to temple melodies brought from Jerusalem by the apostles. As new hymns were written (something which happened very soon, under the inspiration of the new faith and hope), they were adapted to the best of these old melodies, just as has been done continually down to nearly our own time. Our knowledge of the early Church, in this side of its activity, is very limited. It is not until the time of St. Ambrose, who was bishop of Milan in the last part of the fourth century, that the Church began to have an official music. By this time the process of secularization had been carried so far that there was a great want of seriousness and nobility in the worship. St. Ambrose, accordingly, selected certain melodies as being suitable for the solemn hymns of the Church and the offices of the mass. He himself was a poet of some originality. He composed quite a number of hymns, of which the most famous is that noble piece of praise, Te Deum Laudamus, a poem which has inspired a greater number of musical settings than any other outside the canon of the Scriptures. The melodies which St. Ambrose collected were probably from Palestine, and he selected four scales from the Greek system, within which, as he supposed, all future melodies should be composed. This was done, most likely, under the impression that each one of the Greek scales had a characteristic expression, and that the four which he chose would suffice for the varying needs of the hymns of the Church. In naming these scales a mistake was made, that upon re being called the Dorian, and all the other names being applied improperly. The series upon mi was called Phrygian, upon fa Lydian; upon sol Mixo-Lydian. The melodies of St. Ambrose were somewhat charged with ornament, a fact which indicates their Asiatic origin. It is probable that a part of the melodies of the Plain Song still in use are remains of the liturgies of St. Ambrose. The Church at Milan maintains the Ambrosian liturgy to the present date. In this action of St. Ambrose we have a characteristic representation of the influence which the Church has exerted upon music in all periods of its career. Upon the æsthetic and ethical sides the Church has awakened aspirations, hopes and faith, of essentially musical character, and in this respect it has been one of the most powerful sources of inspiration that musical art has experienced. But upon the technical side the action of the Church has been purely conservative and, not to say it disrespectfully, politic. The end sought in every modification of the existing music has been that of affording the congregation a musical setting for certain hymns—a setting not inconsistent with the spirit of the hymns themselves, but in melody agreeable to the congregation. The question which John Wesley is reported to have asked, "Why the devil should have all the good tunes," has been a favorite conundrum with the fathers of the Church.

Notwithstanding the firmness with which the Church at Milan maintained the Ambrosian liturgy, in other provinces this conservatism failed; and within the next two centuries very great abuses crept in through the adoption of local secular melodies not yet divested of their profane associations. St. Gregory the Great (540-595), who was elected pope about 590, set himself to restore church music to its purity, or rather to restrict the introduction of profane melodies, and to establish certain limits beyond which the music should not be allowed to pass. St. Gregory himself was not a musician. He therefore contented himself with restoring the Ambrosian chants as far as possible; but the musical scales established by Ambrose he somewhat enlarged, adding to them four other scales called plagal. These were the Hypo-Dorian, la to la; Hypo-Phrygian, si to si; Hypo-Lydian, do to do; Hypo-Æolian, mi to mi. I do not understand that the terminal notes of these plagal scales of St. Gregory were used as key notes, but only that melodies instead of being restricted between the tonic and its octave, were permitted to pass below and above the tonic, coming back to that as a center; for we must remember that in the ancient music the tonality was purely arbitrary, and, so to say, accidental. While all kinds of keys used the series of tones known by the names do, re, mi, fa, so, la, si, do, it was within the choice of the composer to bring his melodies to a close upon any one of these tones, which, being thus emphasized, was regarded as the tonic of the melody. Whatever of color one key had differing from another was due therefore to the preponderance of some one tone of the scale in the course of the melody. The Plain Song of the Roman Church, and of the English Church as well, has been called Gregorian, from St. Gregory, and the majority of ecclesiastical amateurs suppose that the square note notation upon four lines was invented by St. Gregory. This, however, is not the case. The melody, very likely, may have come down to us with few alterations. The notation, however, has undergone several very important changes, of which there will be more particular mention in[ chapter XV]. The Gregorian notation of the sixth century was probably the Roman letters which we find in Hucbald, as will be seen farther on. Several of the tunes well known to Protestants have been arranged from the so-called Gregorian chants. They are "Boylston," "Olmutz" and "Hamburg." The eighth tone, from which "Olmutz" was arranged, has always been appropriated to the Magnificat ("My Soul doth Magnify the Lord").

The following are the ecclesiastical scales and names, as established by St. Gregory:

[Listen: [Dorian] [Phrygian] [ Lydian] [Mixo-Lydian]]