How Music Developed


Book Description




How Music Developed


Book Description




How Music Developed


Book Description

How Music Developed is a musicological book by W. J. Henderson. It delves into topics such as the beginning of modern music, harmony, notation, and measure, the birth of counterpoint, the golden age of church counterpoint, the progress of popular music and more.




How Music Developed: A Critical and Explanatory Account of the Growth of Modern Music


Book Description

IN reading any history of the development of music as an art one must ever bear in mind the fact that music was also developing at the same time as a popular mode of expression, and that the two processes were separate. The cultivation of modern music as an art was begun by the medieval priests of the Roman Catholic Church, who were endeavoring to arrange a liturgy for their service, and it is due to this fact that for several centuries the only artistic music was that of the Church, and that it was controlled by influences which barely touched the popular songs of the times. In the course of years the two kinds of music came together, and important changes were made. But any account of the development of modern music as an art is compelled to begin with the story of the medieval chant. In the beginning the chants of the Christian Church, from which the medieval chant was developed, were without system. They were a heterogeneous mass of music derived wholly from sources which chanced to be near at hand. The early Christians in Judea must naturally have borrowed their music from the worship of their forefathers, who were mostly Jews. The Christians in Greece naturally adapted Greek music to their requirements, while those in Rome made use of the Roman kithara (lyre) songs, which in their turn were borrowed from the Greeks. Christ and the apostles at the Last Supper chanted one of the old Hebrew psalms. Saint Paul speaks also of "hymns and spiritual songs," by one of which designations he certainly means the hymns of the early Christians founded on Roman lyre songs. It is also on record that the Christian communities of Alexandria as early as 180 A. D. were in the habit of repeating the chant of the Last Supper with an accompaniment of flutes, and Pliny, the Younger (62-110 A. D.), describes the custom of singing hymns to the glory of Christ.




How Music Developed


Book Description

Excerpt from How Music Developed: A Critical Ana Explanatory Account of the Growth of Modern Music The Organum of Hucbald - Use Of combinations disagree able to modern cars - Appearance of rhythm - Work of Franco, of Cologne - Establishment of Dual and Triple Measure - Introduction of notes to represent sounds of different duration. N the growth of modern music the second step was the introduction of harmony. The simultaneous sounding of notes of dif ferent pitch in combinations called Chords is so essential a part of the music of to-day that even the uneducated mind has difliculty in conceiving a tune as wholly dissociated from the coloring influences of Its harmony. Every schoolboy ls accustomed to hearing melodies with what he calls a bass (an accompani ment founded on chords), and in the common est music-hall son 3 the familiar harmonies are the results ofg centuries of experiment among the ecclesiastical fathers of modern music. It is difficult for us to understand that there was a time when harmony was un known to musicians, but such is the case. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.




HOW MUSIC DEVELOPED A CRITICAL


Book Description

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How Music Developed


Book Description

IN reading any history of the development of music as an art one must ever bear in mind the fact that music was also developing at the same time as a popular mode of expression, and that the two processes were separate. The cultivation of modern music as an art was begun by the medieval priests of the Roman Catholic Church, who were endeavoring to arrange a liturgy for their service, and it is due to this fact that for several centuries the only artistic music was that of the Church, and that it was controlled by influences which barely touched the popular songs of the times. In the course of years the two kinds of music came together, and important changes were made. But any account of the development of modern music as an art is compelled to begin with the story of the medieval chant. In the beginning the chants of the Christian Church, from which the medieval chant was developed, were without system. They were a heterogeneous mass of music derived wholly from sources which chanced to be near at hand. The early Christians in Judea must naturally have borrowed their music from the worship of their forefathers, who were mostly Jews. The Christians in Greece naturally adapted Greek music to their requirements, while those in Rome made use of the Roman kithara (lyre) songs, which in their turn were borrowed from the Greeks. Christ and the apostles at the Last Supper chanted one of the old Hebrew psalms. Saint Paul speaks also of "hymns and spiritual songs," by one of which designations he certainly means the hymns of the early Christians founded on Roman lyre songs. It is also on record that the Christian communities of Alexandria as early as 180 A. D. were in the habit of repeating the chant of the Last Supper with an accompaniment of flutes, and Pliny, the Younger (62-110 A. D.), describes the custom of singing hymns to the glory of Christ. The psalms in the early Church were chanted antiphonally; that is, one verse was sung by one part of the congregation and answered by another with the next verse, or they were chanted by priest and congregation alternately. Of course there could not have been any high artistic endeavor in such music, because it must have been within the capacity of the least skilled performers. There could not have been any fixed system in the Church until its various branches in the vast Roman empire were unified under a Christian emperor, Constantine (306-337 A. D.). Under him art and architecture began to serve the Church, and it is about this time that we begin to discover attempts at the formation of a system in church music. Four distinct steps are traceable: - First. A. D. 314.-Pope Sylvester founded singing-schools at Rome. Second. A. D. 350.-Flavian and Diodorus made antiphonal chanting of the psalms a required part of the church service at Antioch. Third. A. D. 367.-The Council of Laodicea forbade congregational singing, and confined the service to a trained choir. Fourth. A. D. 384 (about).-St. Ambrose brought together the inharmonious elements in the church liturgy and formulated a general system of chanting known as the Ambrosian chant. The foundation of singing-schools produced choristers who were able to meet the requirements of the improved music, for that was beyond the narrow powers of the early congregations. The reader will readily see how the first three steps toward the formation of a system were logical. But differences in practice naturally crept in, and the work of Ambrose appears to have been one of regulation.




How Music Developed


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Musical News


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