New-York tribune., 1878-03-29
CHURCH MUSIC.
LECTURE BY PROFESSOR RITTER.

LECTURE B1 PROf ESSOk RIlIER.
MELODY IN IaE EARLY CHURCH sERvICEs-GREGO-
RIAN CUANTs-MUsIC IN LUTHERAN AND CAL
vINIsrIC NEUTRALITY-SUSPICIOUS. IN ENGLAND.
A small but deeply interested audience
gathered last evening steinway Hall, to listen to
lecture on Church Music by Professor Ritter of yassar
College He listened to throughout with the utmost
attention, and frequently appiauded. During the
lecture he gave practical illustrations of some ancient
church music, playing piano the music OF GregOrian
chants and Of hymn composed by Luther. 5. b. War
rem Dr. Pcarce A. Parsons and other well known organ
lists were present.
Every religious sect thinks 1t necessary. in Or
der TO work out its own salvation, to have Its own
peculiar views with regard to the manner OF singing IN
church, the form OF song to be admitted for such
practice Most OF the English Protestant secs like the
followers OF Calvin have considered such music as aims
in modest manner 10 be the product OF artistic
endeavor a dangerous element, full of worldly temp
tatons to the soul Since that memorable epoch when
Constantine the Great decreed that the Christian religion
should be the chief religion Of the whole Roman EN-
pre. music though early recognized as the nseparable
handmad Of religion, caused the heads Of the church
governments the deepest concern
st. Ambrose, Bishop OF Milan who truly appreciated
the efficacy OF melody when n0by associated with the
words OF hymns, selected among the melodies OF the
Greek Christians such he thought fit, and introduced
them in the church Of Milan 1--we judge OF this manner
Of singing during divine service ias organized 10y st.
Ambrose) by what the strict and orthodox ST. Angus
tine reports Of It, it must have been OF much power and
exercised great influence on tho hearer. How l
wept o. God" says st. Augustine, deeply touched by
the hymns and songs Of ases as uttered by the voices
Of the sweetly singing congregation The voices flowed
IN at my ears truth distilled in my heart. and the
affection OF piety 0yerfiowed in sweet tears OF Joy
1T. Gregory the Great reorganized and established
the musical part OF the liturgy, according to the higher
demands of a richer aud more powerful church. He
II -. An
them accepted and preserved by all churches IN
pure aud unaltered manner But the fact thal he had
rectOn. chained o the altar o st. Peter III order tat
churches might he able TO correct the chants when
corrupted by the unsklfu use OF ther singers proves
that the great Pope understood the changebenesS or
human nature i'm matters OF church music. The GREGG.
riau song however art song already Although still
mOnody yet IL Is based upon certain rules ana nAed
tonalies constructed according 10 the theory OF all
Greek music To execute the Gregorlap chant In all It's
intended purity aud iltursca significance, weIFtiaheu
choir singers are required Ii Is not peoples song out
ccclesascal song The faithful interpreter OF those
different emotions OF sacred life, as taught Dy the new
religion struck deep root In the church. and thus
bcrame nttng foundation for modern musical
la the OF the next centuries after ST. Gregory
factor began 10 impress It's influence on the form OF
church music and this Is harmony or the art OF sound
ing several "A simultaneous manner, according
10 certain rules These rules, IKE those that regulated
the melodous progression Of Gregoran m0n0dy. owed
their origin the old Greek musical theorists. This new
form was based upon the GregOran chant, and ny
means the skill aud inyentiyeness Of those inspired
minds the n, composers or the sixteenth centuryn II
impaired TO that clement power ana intensity OF
sacred mpression ideal meaning FAR more touching
than that il possessed IN It's simple, slender garb.
In the Lutheran Cnurc, music had To descend from It's
high pedestal. aud to become Ia the first centuries OF
Christian religion, again the simple sacred peoples song
II banisned from the churches, but 1t was made
To tako subordinate position. Luther loved
music dearly and cultivated it at home as means OF
recreation. and az On element of artistic edhcatOh Il
am OF the opinion said he, that through the Cos
pei all should TO banshed and driven away as some
zealois make us believe; but wish To see all
especially music IN the service OF HIM VINO made
and created them" In order Ia provide the Protestan
churches with suitable hymns. ne not only TRANSLATED
and paraplrased OF the most DchutlIu Oid Latln
hymns. bus also wrote new oues. Thus the Protestant
hymntune tho ChOrae, grew out oi thc uieeorian 20 M
melody The leaders OF the Lutheran churches were not
afraid music, art, would Interfere with their
religious WORK. The result OF this brcad-mnde1 appfe
ciaon OF music be sec In ITS glory III the works Oh
Eccnri H. schiiiz, i. :. Bach and Handel.
IN church service of the Cayinsts music became
reduced most simple form of expression The tunes
ati0ns, or arrangement or the psalms are a!s9 parry
formed in imitation of sono Gfegoran uleodies, anu
10 the more rigid and exclusive sense that became pre-
yalcnt the Cllynisc Church. with regard 10 art III
general these psalm tunes, once accepted were not e
changed, neither new melodies allowed TO DO set
to the psalms These melodies In the hands OF the
Calyniss. remained ON the whole barren with regard
TO the progress OF higher sacred musical ART TO the
musician William Franc has been attributed the merit
having either composed or arranged the psalm tunes.
But Louis Bourgeois also 10 have just claims to be
considered the writer Of some OF these tunes Gavin
Those songs aud melodies said no which are com,
posed for the mere pleasure OF the ear anu an ey e
ornamcnted music aud for four paris, do not bent
the majesty OF the church,and cannot lal hlenly W
displeaso God" But IN spite OF this vow artistic ln'
pruuity was not to entirely excl Ided French CON-
posers such Bourgeois, Goudmcl. Caudin lie Zeune
enriched the psalm tunes with harmonic art. . -,
In England at the time OF the Reformation, the
clerry's opinion, with regard to church music, was
sharply divided. While some recommended that the
sober discreet and deyOut singing, music anu paying
with organs used In the church IN the serVce Oh uou,
are ordained and stir the people To the sweet
ness OF Gods word, others declared that synSng ana
saying OF mass, mathis ana evensohg Is Dlt roIyhs,
bowling. wnystlyng, aud the PLAYING ~ tne organs 2
foolish vanity" Thus the conflict with regard 10 tue
musical liturgy In the English Church was fairly opened
and the fierce struggle lasted over century. Henry
" and oh Iran
thorlty and power choral service issued out OF the
former practice OF the Catholic service, while the Ds,
sener, and Purltans would not be satisfied untll
thing In church music bearing the casl reseui
blance the Catholic liturgy was entirely swept away
Next TO the Roman Catholic liturgy the Engish Ca-
thelral service ia the richest In musical sense Ample
provision made, at an early epoch r0r retaining as
much of the sacred art might be comfort ana edl-
cation TO people The principal feature or ths ser
vice that sort OF merical song called hc chaht Inese
chants for the English Church were hrst arranged p
Marbeck, who IN I550 published the inc BOOK . on
Common Prayer" The music or MarDeckS prayer
Book simply plain song ns selected from the Latln
service book II is therefore not originally composed as
asserted by writers on music but Is made up OF o
Gregoran melodies and chants slmplncd ana auaptcu
60 the English words OF the liturgy. One or TIE Ona-
ments, IN musical SENSE OF the Engls 1alheGi ser,
vice. Is tho Anthem. Tue Anthem. the Full servce ana
other liturgcal pieces written by Englsn chufcn
composers, belong emineDty TO the Engisn Cathedral
service aud these forms clam Win Eght ah manly
entirely harmony with the traditions of the Episcopal
Church. Indeed, the liturglcal arrangement Ol tne
choral service fail TO impress in the most lay0r
able manner the mind OF composer, 10 WhOm MUSICAL
art In all Its phases, Is matter OF deep concern An
admirable inner unity connects the whole structure,
admitting at the time desirable variety III pre-
hue opportunities to excite the powers or
true church composer And the admirable works OF the
COMPOSERS OF the Eizabethan ep0ch-wOrks upon which
the stamp OF classlSsm Is imprinted, ana Which ioI
the stock or the English National school OF music
give ample proof or what true composer might DO
when encouraged aud appreciated by those whose Dus,
ought TO be to that holy places are adorned
Inv works