New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-07-31
ORIGIN OF GREGoR1AN MELODIES.

Touching the form OF the liturgy in the first four
centuries Of the Christian know next TO
nothing. stu less do know concerning the
construction Of the songs which were used in re
lglous worship. Save. perhaps. the Prefato
with the choral addendum, the Sanctus and a few
melodies for Ambrosian hymns composed IN the
syllable style OF the song pieces IN the rite
OF to-day to have come down TO us from
the fourth century. Nevertheless II is clear that
the East preceded the West IN the organization
Of the iturgic songs The Syrian Church. especial
~ its ancient metropolis. Antioch. the cradle Of
Christianity. had appointed singers at a time
when this side OF the religious service was wholly
undeveloped in Rome. We shall find the influence
of this Syrian church. which was half Greek half
Semitic. the development OF the Roman chant
also in later opochs.
The oldest record Of the first appearance OF the
church chant known TO is 10 be found in the
''Iiber Pontifcalis" that famous chronicle OF the
popes 30 admirably edited by Able Duchesnes.
There We learn that St. C1estin who Pope
from a. D. 422 to A d. 4S2, introduced the
tphonal performance of psalms into divine worship.
This manner of song which arose IN Antioch in
the middle Of the fourth century had been used
IN Milan about forty years having been introduced
by St Ambrose. author of the oldest genuine
hymns of the Western church. We have no such
information concerning the origin OF the respon-
serial songs yet they do not seem TO be any
younger than the antiphons of the Roman liturgy.
At the beginning OF the seventh century Bishop
over TO rs from Greek countries; the responses
came into use long ago in Italy We must there
fore, Gate that period OF musical productivity which
the origin OF the Roman Antiphonary from
about the year 425
II viii be more difficult 10 fix the time when the
work was brought TO conclusion since this latter
period has been postponed by traditions which are
centuries old. In order to proceed with certainty
and method We shall have to make sidewise
curson to extent, and place ourselves once
In the ninth century. where shall find the Oldest
writers Jh.s subject. who show the church
chant in the form preserved up 10 to-day. The first
OF these is Amalarius. Deacon of Metz under Louis
the Pious. who occupied himself chiefly with the
monk ia the cloister of Reome il Champaign about
A u. $50 classified the melodies according 10 the
eight church tones. The third Regime, abbot OF the
cciser of Prum in the diocese Of Treves toward the
Shd OF the ninth century gives in his ''Tonarius''
very comprehensive catalogue of antphons and
responses with notation In neumes (These neuraes
were klnd or mnemonic symbols developed out q.
me creek and Latin accents. They indicated tn.
progress OF the music. hut cid not fix the inter
fals- Latter day study Oh the part Of the ReDe-
dictnes has made them IN the ce+errni
HaiOh o. the character c. the ancient chant
something more definite about them will appear
, later IN these studies. H f. K) Finally. Hucbala
OF o. armand discusses in the most thorough nm
.er large number Of uturgicai melodies. When
THESE authors wrote the church chant had lo,r
, zen i"rfhcl%ted and sanctioned bu usage Posses
Sion lad been had Tor ages o., a official Ap.t,,h