In the plain text version Italic text is denoted by _underscores_. Small caps are represented in UPPER CASE. The sign ^ represents a superscript; thus e^ represents the lower case letter “e” written immediately above the level of the previous character. The musical files for the musical examples discussed in the book have been provided by Jude Eylander. Those examples can be heard by clicking on the [Listen] tab. This is only possible in the HTML version of the book. The scores that appear in the original book have been included as “jpg” images. In some cases the scores that were used to generate the music files differ slightly from the original scores. Those differences are due to modifications that were made by the Music Transcriber during the process of creating the musical archives in order to make the music play accurately on modern musical transcribing programs. These scores are included as PNG images, and can be seen by clicking on the [PNG] tag in the HTML version of the book. Obvious punctuation and other printing errors have been corrected. New original cover art included with this eBook is granted to the public domain. * * * * * THE ART OF MUSIC The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians Editor-in-Chief DANIEL GREGORY MASON Columbia University Associate Editors EDWARD B. HILL LELAND HALL Harvard University Past Professor, Univ. of Wisconsin Managing Editor CÉSAR SAERCHINGER Modern Music Society of New York In Fourteen Volumes Profusely Illustrated [Illustration] NEW YORK THE NATIONAL SOCIETY OF MUSIC [Illustration: The Singing Angels] _Altar piece by Hubert and Jan van Eyck_ THE ART OF MUSIC: VOLUME SIX Choral and Church Music ROSSETTER GLEASON COLE, M.A. Introduction by FRANK DAMROSCH, Mus. Doc. Director Institute of Musical Art in the City of New York Conductor, Musical Art Society of New York, etc. [Illustration] NEW YORK THE NATIONAL SOCIETY OF MUSIC Copyright, 1915, by THE NATIONAL SOCIETY OF MUSIC, Inc. [All Rights Reserved] PREFATORY NOTE The field of choral and church music is so vast and the subject so inclusive that the author has felt the constant pressure of the necessity for sifting and abbreviating and condensing the voluminous material at hand in order not to go far beyond the prescribed limits of this volume. He has resolutely shut his eyes to the allurements of the many by-paths that constantly beckoned away from the historical highway he was appointed to tread; and he has endeavored to keep this object constantly in mind--to trace the development of the forces and tendencies from which have sprung the various musical forms that have gone to make up the literature of choral and church music as century followed century. In this volume, therefore, the great personalities of musical history will receive far less attention than the particular musical forms and art-tendencies that flowed from their, oft-times, combined creative activities. While a large number of choral and organ works of every class have been analyzed with much detail and a still larger number given definite classification, it is hoped that the historical summaries and the discussions of styles and periods, scattered throughout this volume, will be even more helpful to the reader in enabling him to place any given musical work in its true musical, as well as historical, perspective. It is a matter of some regret that from sheer lack of space several interesting and wholly relevant topics--such as hymnology, contemporaneous church music, the whole relation of music to the present-day church, etc.--must be left untouched. In the chapters on contemporaneous choral music, it was necessary...