This involved a new attention to music. The first centre of activity was Constantinople, where Greek' music was the established type of artistic song. Thus the tradition of the ancient unison melody was handed on to Italy and the West. The evolution that followed is only imperfectly traceable in detail, but in the end it provided the mediaeval Church with a large and striking body of melodies, fitted to a variety of prose texts and even to metrical poetry. We must suppose that these ritual melodies grew out of manifold experiments at different places, which were only gradually wrought into a general and uniform system, Even after the system was codified, its usages continued to accumulate, and from time to time considerable modifications in style appeared.
Tradition attributes particular steps in the process to certain popes, bishops and other ecclesiastics. Two names have been specially emphasized, Bishop Ambrose of Milan (d. 397) and Pope Gregory the Great (d ..604), the latter being constantly put forth as the founder and organizer of the whole style called' Gregorian.' But these traditions, as commonly stated, art at least doubtful. Many able scholars believe that the practical completion of the system was not earlier than the 8th century, perhaps under Gregory II. (d. 731) or Gregory III. (d. 741), and that the name , Gregorian' either came from them or was due to the mistaken zeal of those who sought to glorify the earlier Gregory. It should be remembered that the Gregorian style is the property of the Western or, more exactly, the Roman Church. In each of the other branches of the early Church there were analogous developments, but none of these, except to a very limited extent that of the Greek or Russian Church, has any significant connection with the story of modern music.
Since the Gregorian style originated for liturgical reasons, its home was the metropolitan cathedral or the monastic chapel, whence it spread to parish churches generally. Being cultivated only by ecclesiastics, to the common people it was remote and abstruse. Its.direct influence upon the general progress of music was therefore limited. To some extent there arose an antipathy between it and secular music, which was heightened by the fact that church song was always in Latin. In the general evolution of music it has always remained a somewhat peculiar specialty, representing the persistence for a particular purpose of a style which is essentially antique. Yet it must be confessed that in its ideal perfection, as it stood in the early Middle Ages, it was a remarkable example of melodic invention and beauty.
The Gregorian style is the only form of music prescribed for use in the Roman Church, though some other styles have been allowed or tolerated. It is supposed, however, that its extensive treasures represent several stages of production, and all are not of equal validity. In a general way, the over 600 melodies belonging to the Mass and certain other principal rites have the greatest antiquity, while the almost 3000 belonging to the Breviary are later, and those fitted to hymns or sequences later still. But during the Renaissance the whole series was treated with much freedom, especially in the matter of embellishments and ornate expansions, so that in the 16th century, when Gregory XIII. and Sixtus V. ordained the service-books since in use, the style was no longer pure. Recent enactments of Pius IX. (1869), Leo XIII. (1883) and especially Pius X. (1903) have aimed not only to enforce the rules enjoining the use of Gregorian music almost to the exclusion of other styles, but to correct many abuses in its habitual rendering and ultimately to recover and restore its typical forms. Especially under the lead of the monks of Solesmes (see sec. 227) fresh efforts are now being put forth to establish authentic texts and correct renderings.
Spiritual Quest the Core of Pilgrimage
