Page:The New International Encyclopædia 1st ed. v. 16.djvu/115

* PLAIN CHANT. 87 PLAIN CHANT. four authentic modes, which he selected from among the seven octave species of Ptolemj, be- cause these four most closeh' resembled tlie char- acter of the ancient psalm-tones. Although the four authentic modes correspond to the Greek Phiygian, Dorian. Hypo-Lydian, and Hypo-Phry- gian modes, the Greek names were discarded and the appellations protos, deuteros, tritos, and tetar- tos substituted. Saint Ambrose also composed a great number of original hymns, such as: Deus, creator oiniiiiim: JEt-erne reruin coiiditor; Vent, redemptor gentium: Jam siirgit hora tcrtia. See Ambro-sun Chaxt., After the death of Saint Ambrose the original purity of plain chant melodies was corrupted. When in 590 Gregory I. became Pope, church music was in a deplorable state. Kecognizing the fact that music is one of the greatest aids to religion. Gregory began bis reforms by establish- ing the <S'c/io/a Cantorum, which in a very short time rose to an institution of the highest impor- tance and for centuries preserved the ancient tra- ditions. Since the time of Saint Ambrose a laige number of new hymns had been composed. The old monotony of the chants had given place to a more varied melody, and this naturally led to an extension of the compass beyond the original fifth. The four original or authentic modes were no longer sufficient. Gregory is credited with having established the four plagal modes to meet the de- mands of the advanced art. Besides, he also se- lected the chants that were to be sung on every day throughout the Church year. The texts and melodies he ordered to be written in a book called Antiphoiwrium, which was de- clared to be the absolute authority in mat- tars of church music. The system of notation employed in this book is that known as Xcunies (q.v. ), consisting of various signs placed above the syllables without emplo-i-ment of a staff. After plain chant had thus been re- formed it spread with astonishing rapidity over al! Europe. Especially Charlemagne was instru- mental in promulgating this Cantus Romaiiiis: for at diets held at Aix-la-Chapelle in 803 and Diedenhofen in 805 he issued strict orders to in- troduce this manner of singing in all the dioceses of his empire, and established singing-schools in various cities, as Soissons. Ton!, Orleans. Cam- bray, Lyons, and Dijon. Even before the acces- sion of Charlemagne singing-schools had been founded at Fulda and Saint Gall, but as new hymns were constantly being written, the purity of the style was almost certain to suffer. Thus in 1.323 Pope .John XXII. was obliged to issue a bull restraining musicians from unlawful innova- tions. Acting upon the recommendation of the Council of Trent, Pope Gregory XIII. in 157B took active steps towards a pvirifi- cation of the style of church music. But by that time the art of music had made enormous strides: polyphonic music had arisen. Although the new music had never been officially sanctioned, it was not only tolerated, but was favored. Composers were in the habit of taking the old plain chant melodies as a cantus firmus for the tenor, against which the other voices were set contrapuntally. Many composers had little scruple in distorting the original melodies to suit their purpose. But a greater danger to church music arose from the fact that it became customary to substitute popu- lar secular melodies for the plain chant. At this time Palestrina established the true polyphonic church style. This is founded upon the church modes; simplicity and noble dignitj- are its fun- damental principles, as they ever have been the principles of plain chant. Since the time of Palestrina no new melodies have been added to the large stock of plain chant. Composers have de- voted tlieir talents to polyphonic music, but the old plain chant melodies have remained in con- stant use up to the present day. The custom at High ilass is to sing the Kyrie, Gloria, Credo, Saiictiis, and Agnus Dei in polyphonic or modern harmonic style with instrumental accompaniment. The Introit, Gradual. Tract (or Sequence). Otl'er- tory, and Communion, if sung by the choir, are sung in unison to the old plain chant melodies, to which the organ supplies the harmonics strict- ly in accordance with the rules governing the church modes. The Hiirsum corda. Preface, and Pater yioster are set to the ancient unvarying melodies. The advance of musical archeology during the past century has done much toward the restoration of the plain chant melodies to their original purity. Pope Pius IX. ordered the Sacred Congregation of Rites to revise and pub- lish, with the sanction of the Holy See, the en- tire treasure of plain chant melodies. The first volume appeared in Ratisbon in 1871. and within ten years the work of revision was completed. The discovery and study of old manuscripts during the last half of the nineteenth century has brought to light many facts formerly not known. Some scholars cast doubt upon the work common- ly ascribed to Gregory I. But the old tradition was not seriously shaken until the learned F. A. Gevaert in 1890 published his book, Les originfs dii chant Uturgique de Veglise latine, in which he attacks with weighty arguments the position ascribed to Gregory in the development of plain chant. But this was only the precursor of an- other book, La melopce antique dans le clmnt de I'cglise latine, which appeared in 1895. The first work had raised a host of opponents who were un- willing to surrender a thousand-year-old tradi- tion. In the second book, a work of stupendous learning. Gevaert meets all objections with proofs drawn from various ancient manuscripts and even strengthens his original statements. The impor- tant points brought out by the investigation of Gevaert are as follows : ( 1 ) The claims made by the adherents of tradition in favor of Gregory cannot be established on any historical grounds. ( 2 ) It is ' a legend that originated during the reign of Charlemagne or slightly earlier. (3) It was not generally accepted until the eleventh century. (4) The work of the compilation and composition of the chants of the Liturgy was in reality the work of the Greek popes that occupied the Papal chair at the end of the seventh and the beginning of the eighth century. (5) The melo- dies of the Antiphonale Missarum received tlicir final form between the accession of Leo II. (682) and that of Gregory II. (715). The Pope that was particularlv active in this work was Sergius L (687-701). "(6) The Antiplwnnte Officii had received its final shape during the pontificate of Agatho (678-081). Each of these points Gevaert establishes on the strength of ancient documents of unquestioned authenticity. For a technical exposition of the nature and history of plain chant, consult Gevaert's learned work alreadv cited, /.or nielnpee antique dans Ir chant de Veglise latine (Ghent. 1805). Other works are: Haberl, Magister Choralis (Rat-