The Kenosha telegraph. [volume] (Kenosha, Wis.) 1860-1888, 1884-12-19

nave made arrangements With Mr.. Raw
son for hints on the subject. He having
devoted, we may say, his life in that
direction, we take it for granted that
what he may have to say will be of in
terest to those, at least, who are at pres
ent studying the art.-ED.
Music, VOCAL AND INSTRUMENTAL.
Inasmuch as words are the language
of the understanding, while music is the
language of the feelings, Ihave no doubt
but that the subject will exhaust my
abilities, and have some to spare. The
earliest indications of vocal music that
we have is that of Christian song, spoken
Of in ST. Matthew XVI, 80:
" And hymn being said they went out unto Mount
Evidently the singing of psalms in the
Apostolic times was Christian practice
much thought Of The music used,
however, was of the simplest construc-
tion. Special regulations for the chant
ing of Psalms were made IA. D 367) by
Pope Damascus, he ordering, among
other things, that they should all ter
inmate with the "Gloria Patri." In the
latter part of the fourth century of the
Christian era, st, Ambrose, Bishop Of
Milan, introduced a system of tetrach-
ards, from which we have what is known
IN history as Ambrosian Chant. A. D.
59O-6O4, ST Gregory perfected the work
commenced by ST. Ambrose, and pub
lished all the existing chants in an i'm
proved form, adding many more to the
collection. st Gregory also published a
method of singing chants, and they be-
came fixed precepts for all Christian
churches To St. Gregory belongs the
honor for having produced the present
system of the octave and the simple
form of recognizing the seven sounds of
the scale by means of the first seven let
tiers of the alphabet
The system Of st. Gregory known as
Gregorian Chant is capable of being
cultivated to the highest degree, and
from it could have been derived a per-
feet method. Gregorian Chant flourish
ed universal A. D. 879-942, since which
time the good system has almost passed
into oblivion, except that it is yet used
in the CONAN Catholic services, and
from what [ know of the Gregorian
Chant | should say that it will continue
to be the music of that religion. A. D. |
1920 Guido, of Arezzo, Benedictine
monk, completed a simple practical
and introduced regular church |
singers The success Of Guido was COM |
pensated by Pope John the nineteenth, |
who invited him to Rome. Guido is I
the author of the solmi-sation method. |
having introduced the use of the |
syllables Ut, Re, Mi, &c. The particu-
airs in regard to the life of and the. cir
cumstances surrounding the works of
Guido all indicate that be is the restorer,
f not the inventor, of music. With the
of a change in the shape of
ome of the notes, and the addition oil
he syllable 81 for the seventh degree of
he scale, no change has been made since
lis time. In the early part Of the 18th
century, Palestrina introduced figured
liant which contained quantity of
effects, and he succeeded
n obtaining locus standf' in the
hurches for figured chant. Palestrina's
nusic, almost every production, shows,
n examination, that the melodies have
cen selected from chant. And by his J
1onderful application of the principles
+ counterpart, he has rendered his
'orks immortal. Sebastian Bach's
horals, On which he has constructed
lie most beautiful harmonies, are Of
regorian mode. Should | say much
lore under this head, my remarks
ould be confined to the general i'm
rovements in music that have been O
lade since the 18th century, which 2
ould require the use Of music type, &C., s
Of available at present. | may say, b
owever, that in Frescobaldi's Organ p
,hool, published at Rome, 1887, the a
-odern notation is employed with six 81
1es in the Treble staff, the G clef Il
aced on the second line. The Base Fl
aR consists of eight lines with the ciefl G
aced on the fourth line. The number g
lines to the staff obviates the necessity a