Music in the History of the Western Church. Dickinson Edward

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СКАЧАТЬ The conception which is realized in the Gregorian chant, and which exclusively prevailed until the rise of the modern polyphonic system, is that of music in subjection to rite and liturgy, its own charms merged and, so far as conscious intention goes, lost in the paramount significance of text and action. It is for this reason, together with the historic relation of chant and liturgy, that the rulers of the Catholic Church have always labored so strenuously for uniformity in the liturgic chant as well as for its perpetuity. There are even churchmen at the present time who urge the abandonment of all the modern forms of harmonized music and the restoration of the unison chant to every detail of the service. A notion so ascetic and monastic can never prevail, but one who has fully entered into the spirit of the Plain Song melodies can at least sympathize with the reverence which such a reactionary attitude implies. There is a solemn unearthly sweetness in these tones which appeals irresistibly to those who have become habituated to them. They have maintained for centuries the inevitable comparison with every other form of melody, religious and secular, and there is reason to believe that they will continue to sustain all possible rivalry, until they at last outlive every other form of music now existing.

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      1

      Brinton, The Religions of Ancient Peoples.

      2

      Brown, The Fine Arts.

      3

      Spencer, Professional Institutions: Dancer and Musician.

      4

      Lang, Myth, Ritual, and Religion.

      5

      A full account of ancient Assyrian music, so far as known, may be found in Engel’s Music of the Most Ancient Nations.

      6

      “Long ago they [the Egyptians] appear to have recognized the principle that their young citizens must be habituated to forms and strains of virtue. These they fixed, and exhibited the patterns of them in their temples; and n

1

Brinton, The Religions of Ancient Peoples.

2

Brown, The Fine Arts.

3

Spencer, Professional Institutions: Dancer and Musician.

4

Lang, Myth, Ritual, and Religion.

5

A full account of ancient Assyrian music, so far as known, may be found in Engel’s Music of the Most Ancient Nations.

6

“Long ago they [the Egyptians] appear to have recognized the principle that their young citizens must be habituated to forms and strains of virtue. These they fixed, and exhibited the patterns of them in their temples; and no painter or artist is allowed to innovate upon them, or to leave the traditional forms and invent new ones. To this day no alteration is allowed either in these arts, or in music at all.” – Plato, Laws, Book II., Jowett’s translation.

7

Chappell, History of Music.

8

Erman, Life in Ancient Egypt, translated by Tirard.

9

See Plato, Republic, book iii.

10

Ambros, Geschichte der Musik.

11

Gen. xxxi. 27.

12

Ex. xix.

13

Jos. vi.

14

Num. x. 2-8.

15

2 Chron. v. 12, 13; xxix. 26-28.

16

2 Chron. xiii. 12, 14.

17

1 Sam. x. 5.

18

Chappell, History of Music, Introduction.

19

For extended descriptions of ancient musical instruments the reader is referred to Chappell, History of Music; Engel, The Music of the Most Ancient Nations; and Stainer, The Music of the Bible.

20

2 Sam. vi. 5.

21

2 Sam. vi. 14, 15.

22

1 Chron. xvi. 5, 6.

23

1 Chron. xxiii. 5.

24

1 Chron. xxv.; 2 Chron. v. 12. See also 2 Chron. v. 11-14.

25

2 Chron. xxix. 25-30.

26

Ezra iii. 10, 11.

27

Neh. xii.

28

Synagogue Music, by F. L. Cohen, in Papers read at the Anglo-Jewish Historical Exhibition, London, 1847.

29

Ps. cxiii-cxviii.

30

Eph. v. 19; Col. iii. 16.

31

1 Cor. xii. and xiv.

32

Schaff, History of the Christian Church, I. p. 234 f.; p. 435.

33

1 Cor. xiv. 27, 28.

34

Chappell, History of Music.

35

Among such supposed quotations are: Eph. v. 14; 1 Tim. iii. 16; 2 Tim. ii. 11; Rev. iv. 11; v. 9-13; xi. 15-18; xv. 3, 4.

36

Constitutions of the Apostles, book. ii. chap. 57.

37

Hefele, History of the Councils of the Church, translated by Oxenham.

38

St. Augustine, Confessions.

39

Klesewetter, Geschichte der europäich-abendländischen Musik.

40

For an exhaustive discussion of the history of the Te Deum see Julian’s Dictionary of Hymnology.

41

Hymns of the Eastern Church, translated, with notes and an introduction by J. M. Neale, D.D.

42

Lanciani, Pagan and Christian Rome.

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