New-York tribune., 1904-08-07
GREG0RIAN STUDIES.
Continued from first page.

such 1t was. at o0ce political social and religious,
IS accomplished amidst measureless misery and
misfortune, Rome. already imPoyavi=GeJ and de-
populated in consequence OF long and rurderous
warfare. falls into more and more complete decay
because of an UGeNamnIed series OF triaIs-tearfUi
foundations. iUcsSs2ut attacks from tu@ LonSo-
bards. finally a pestil1u-e which repeatedly raw
aged tie empire in the course OF a century and
more. IN this period. when all the powers of de-
structoH seemed 10 have sonspired 90 crush the
poor frasmenJary remains OF the great Roman
people 10 tha earth. there emo tho unfolding or
a force OF religious enthusiasm. Rome never
tho rise OF many churches ar this period.
Political life concentrated itself in these asyhiC's
OF peace The number OF cnurch festivals srew.
Public worship. led by the euchaIistic ~ite took
on more and more of pomp and grandeur. its mu-
sical portion steadily enriched and extended.
Everything tends TO show that the dark seventh
century-the century % Mahomet-broGsht the
church chant 10 its fun development
Now, as expression Of religious feeling in its
highest enthusiasm. the SonS Of the Byzantine
period is longer the simple syllable melody OF
tho earlier centuries. when word and tone We're
so intimately connected. Now the musical clemen;
takes precedence OF the vor5al The melodies ot
this second period belong TO the adorned style;
they shot through with melismatic figures
which often too elaborate which fire.
quenty vocalized without text Of any kind I'm
these sounding arabesqUes with their singUiaEIy
interviewer lines We readily recognize the influence
OF the Orient, influence which mighty in
Rome under the reign OF the eXarChS of kaVenua,
and made Itself felt in the domain Of the liturgy
IN other characteristics innovations. suCh the
frequent use OF the Greek language ana The in
PRODUCTION Of feasts which Were foreign TO the
Roman ritual The melodic motivi OF the various
classes of embeIIshej sons-responses, introits.
graduas. haIleluiahs. tracts offertories and COM
munions-are mostly taken from the primitive
Roman antiphonary; yet in certain kinds OF pieces
the composer gives free and ample rein his
fancy. Obviously We have in the seventh century
an already advanced art, consciously working
cordiug 10 principles and rules and following set
forms tor every class of composition
For music OK such character skilfUl Interpreters
are necessary. The syuodal regulations of 595
which forbade the singing of priests and deacors
brought with il the organization of special body
of church singers. composed of clercs of minor
orders, In this sense Gregory Is indeed entitled
to be called a founder of the Schola cantorum ana
perhaps the reports OF Johannes piacorUs in
cons9uanco with truth in this respect The Papai
singing school emerges from the semi-darkness OF
legend in the seventh century, and comes into
the light IN its duple capacity an educating and
performing body with its hierarchic constitution
and it's personnel of adult Clerics and boys des-
tined for the priestly orders. Nowhere we look
for the composers of the reSponsories OF the noe
turnal offices and th4 special songs of the mass
except among the officials OF the schOa and the
priests and Syrian monks who sought refuge in
Italy after the victorious campaigns OF Mahomet
Ga. D. 63Sl.
The popes OF the seventh century. who occuptad
themselves greatly with the organization and ft
ting out of the liturgy. certainly great care IN
the completion of the vocal portion OF the service
particularly the The majority of these popes
knew the caRtileua Romano from personal prs,.-
tice. and frequently this fact has special refer