MEDIAEVAL MUSIC Bn Ibfstodcal Sftetcb. ROBERT CHARLES HOPE, F. S. A., F. R. S. L., ViV M A r, Ctiw ru i Lf iarfn v fnn bTtwfar if tk CtMiMitqfttw foist Ritfitttffi Ywkshh icnrrou OK HAHNAUIIC tjtnKjws JH HS AtJTUOtt OK 1 A il. OSSAKY OK MAtBCYAL W. ACK-NOMMNCl. ATOKK AN 1NVKNTORV OK T1IK C1UJHCU IJ. ATK IN MUTl. AMV TUK UOKK IN iCNtll-ANl, UNtiUStt CiOUWMITiW, TtllC ItOLV WHI. I. S OK ICNtlLANT, KTC, W1H1, LONDON ELLIOT STOCK, 62, PATBRNOSTEK ROW, E. G. 1894, PREFACE. IN compiling this elementary treatise on Mediaeval Music many and great diffi culties have had to be coped with to solve them the best authorities have been appealed to, and, where such failed to supply the particular infor mation sought for, that opinion which on mature consideration appeared most feasible has been given, The difficulties in the treatment of the subject have been largely increased by the amount of prejudices and ignorance displayed by many especially papistical writers on musical subjects, who have never troubled themselves independently either to trace out or follow up the history of the very interesting subject of Mediaeval Music. 5 The short chapter on Harmonic or Monodic Music IKIS been inserted with the object of showing in. as clear and concise a manner as vi Preface possible the development the science of harmony had attained by the end of the sixteenth and beginning of the seventeenth centuries. Any attempt to elucidate a complex and neg lected subject like the present one, must of necessity call forth criticism both from those who are capable, and from those whose blind prejudice renders them incapable of expressing an opinion on the subject. That this elementary work is perfect is not for onemoment claimed, the writer being painfully aware of the inadequacy of his efforts to attain to such a desired result the kind indulgence of the press and of the music-loving public for all shortcomings on his part, with a sincere desire to have made a contribution as accurate as possible on a little known subject, is the desire of the writer, who, in conclusion, tenders his grateful thanks to Mr. T. L. Southgate and to Dr. Wickham Legg, F. S. A., for looking over certain proof sheets, and to the former for supply ing valuable notes on the Music of Egypt and of the East generally, and to the latter for much learned information and advice on Liturgical matters generally, CONTENTS. CHA1TKR PAGE PREFACE V INTRODUCTION I 1. MUSIC OF THE EARLY GREEKS -, - - 14 II. THE MUSIC OF ANCIENT EGYPT, AND OF THE EAST - - - - - GENERALLY–20 III. PYTHAGOREAN SYSTEMS 25 IV. THE CHRISTIAN ERA. PTOLEMYS IMPROVE MENTS. SECOND CENTURY 36 V. THE CHRISTIAN ERA. CLAUDIUS PTOLEMY TO ST, GREGORY THE GREAT, BISHOP OF ROME 596-604 42 VI. ST. GREGORY THE GREATr-HIS INDIFFERENCE TO MUSIC 48 VII. INTRODUCTION OF THE ORGAN ITS EFFECT ON MEDIEVAL MUSIC, A. D. 150-1350 - - 59 VIII. MEDIEVAL SYSTEM OF MUSIC, EIGHTH TO TENTH CENTURIES 74 viii Contents IX. USES OF THE ROMAN, MILANESE AND MOZA RABIC LITURGIES, EIGHTH TO ELEVENTH CENTURIES 92 X. TETRACHORDAL AND HEXACHORDAL SYSTEMS OF HUCBALD AND GUIDO ARETINO TENTH TO THIRTEENTH CENTURIES 99 XI. MEASURABLE MUSIC. ELEVENTH TO SIX TEENTH CENTURIES 114 XII. POLYPHON MUSIC. ORGANUM, FABURDON, AND COuWjERPOINT 137 XIII. MONODIC OR HARMONIC MUSIC 137 NOTES 158 A. INDEX RERUM 1 66 B. NOMINUM 173 C. LOCORUM 177 D. BIBLIOGRAPHICAL 178 Mediaeval Music INTRODUCTION, THE Romans had nomusical system of their own they adopted that of Greece, but so misapplied the Greek terms, that to-day they are one of the chief causes of the difficulty in the way of a right understanding and appreciation of the Greek system. Greek music, therefore, cannot be effectually learnt from Roman writers. One who, perhaps more than any other, has made con fusion worse confounded, is Boethius, born in Rome 470, died 526 A. D…