After all, it is but a fruitless exercise to attempt to trace out the line of demarcation between the music of England, Ireland, Scotland, and Wales, even at any known period, much more to observe their curved and zigzag course; their extension and contraction, as circumstances have operated in the current of history. Broils and sanguinary wars have been not unfrequent between them, especially in ages gone by. This, together with the reactions of emigrations, which would take place on the reverses of the fortunes of war between them, would lead us to imagine that the character of their music at no one time, can have been very dissimilar. It is true, during long intervals of peace, or when the people were able to keep their borders unbroken by a foreign foe, their music, with their other arts and customs, would acquire a nationality of character not speedily to be annihilated. No doubt, as time progressed through a series of ages, the features of nations, though at first alike, vary in their appearance. So, for instance, the German and English music compared together, may now appear rather distant relations.

CHAPTER V.

The Church contributed to the improvement of music—St. Ambrose-St. Gregory-their improvements—their system examined the organ first introduced into the ChurchAlfred the Great patronized music-Romish Church favourable in its constitution to the accomplishment of any object—bards and minstrels common in several nations-Ossian quoted— William the Conqueror― anecdotes of Taillefer, Master Henry the versifier-Chaucer referred to further account of minstrels -Spencer quoted-statute passed by Elizabeth for their suppression—Italian music--Gurdo Aretino's improvements— Palestrina, Scarletti, Corelli, Tartini, their improvements – Calvin, Luther, and Latimer referred to-Marbeck, Bull, Carey, Purcell, Pepusch, Handel, Haydn, Mozart, Beethoven. DURING several of the first ages of Christianity, music was indebted to the Church for its principal encouragement. It became, indeed, a part of the education of the clergy, under whose care it was generally placed. Many of them have stamped their names indelibly upon its history, as its chief contributors.

St. Ambrose, the celebrated bishop of Milan, who began his presidency over that See about the year 374, exerted himself greatly in improving and adapting music so as more effectually to aid public and private devotion. He excited others to the same regard for its interests both by example and precept, but especially pressed the matter of its encouragement upon the clergy under his care.

Among the many pieces said to have been composed by this distinguished bishop, one only remains to commemorate the reputed merits of its fellows fourteen hundred years ago. Indeed, his Te Deum is one of the most ancient pieces of ecclesiastical music extant. It is, after all, a matter of doubt with many, whether this composition has reached our hands in the same state in which St. Ambrose left it. This doubt is fostered by a full knowledge of the very imperfect state of notation at the time in which the piece is said to have been written, and which remained pretty much the same for ages after. They had but four lines in the staff, if, indeed, so many, for at times, it is certain, they had but two; no barrs, nor rests, nor notes, expressive of relative length of time. The music was generally fitted to certain words, which, like a piece of machinery, could not be separated with effect. But, with this precise adaptation of music and words, which would seem to remind each other of its duty, much must have been left to the taste and skill of the performer.

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St. Gregory, who flourished about 600 years after Christ, endeavoured to improve upon his predecessors. He established a singing school in Rome; and although he made the music of divine worship a part of the duty of the clergy, yet he excused them from its immediate labour in the hours of devotion; and he was the first of the popes who separated them from the choristers, or chanters,

H

in their public performances. The music of St. Ambrose was chiefly cast into four modes, or styles. They were made "according to the natural, or diatonic order of progression, without any accidental alteration of flats or sharps, that is, from D (the first mode) upwards to its octave above; from E, F, G, A, and B, in like manner, employing, in short, in all these scales, the same sounds as the moderns do in the scale of C major (which was also among the number,) but beginning the series from D, E, F, G, A, or B, according to the mode."* Pope Gregory extended the modes of St. Ambrose to eight. He not only gave extension, but variety to the Ambrosian music. He subsituted the Roman letters, instead of the complicated Greek characters the seven capital letters marking the notes in the lower or grave octave, and the seven small ones those of the upper octave. These, and other improvements, were effected by him. Still, in comparison of the present system of notation, it must have been very indefinite, confused, and perplexing. At that period, and for a length of time after, the number of lines in the staff amounted to ten, and even more. Sometimes the words of the psalm, or hymn were written within the staff, and the syllables disposed higher or lower, as the music was intended to run, which was further signified by the seven letters being placed at the

* Dun's Analysis.

commencement of the staff. And often the figure denoting the sound of the syllable was written over it, and joined together by ligatures. Besides these symbols, there were many other arbitrary characters, denoting the length and abbreviations of the notes, the depression and fullness of voice, and various other matters. The square and lozenge, appear to be the only figures of notes then used.

The organ was first introduced into the Romish church by Pope Vitalianus in 658; and soon after that time, St. Dunstan, a distinguished musician, made it welcome in the English churches and convents. The first organ seen in France was sent from Constantinople, in 757, by the Emperor Constantine IV. as a present to King Pepin.

Alfred the Great added to his many excellencies, and brilliant achievements, that of musician. The use which he made of his practical skill on one occasion, is well known to the readers of English history. He gave great encouragement to the art in various ways, but especially by founding a professorship at Oxford, and by sending over to Rome for the best singing master, that his people might have the best instruction, and the latest improvements. By the latter act, he caused the bland exciting charms of music, to blend with the open manliness, and rude integrity of the Saxon character; and by the former, he perpetuated the benefits for ages yet to come.

We might observe, that, prior to this period,