an accompaniment to the second and third entries of the first theme; thus all the voices sing the various phrases, at different times and in different successions, as shown by the numbering of the phrases. In later times the principal phrases were sung _successively and transposed_ at the same time. This principle of Imitation is the very foundation of the later complicated polyphonic system. =The Motet=.—In the form of the Motet we note many peculiarities. Each voice had different words, though the Tenor or foundation of the composition used but _one_ single word throughout; also, the Tenor was composed of a certain metrical and melodic figure closely adhered to and built up out of some popular song. The words and the form were sacred in that they were used in worship. =The Men of the Time=.—There are many men who wrote in these forms but it is only necessary to examine those of importance. =Franco of Cologne= (1150-1220), (dates disputed), an organist, was probably the pioneer in the adoption of Measured Music. He first advocated the use of triple meter and classified the dissonances of major and minor thirds and sixths. He used his influence _against_ the use of _consecutive fourths_ and _fifths_, and _for_ the use of _contrary motion_. The result is in many ways shown in the following example: [Music] =Leonin= (about 1140) and =Perotin= (his pupil) were organists at Notre Dame in Paris. The former was noteworthy in the reform of notation, while the latter is known principally for his use of crude Imitation, and a tendency not to use consecutive fourths and fifths, though he never entirely succeeded in eradicating them. =Franco of Paris= (1150———), often confused with his namesake of Cologne, was a theoretician, improved notation, and wrote a treatise on Mensural Music. =Jean de Garlande= (1170-125—) not only wrote a very valuable treatise on Mensural Music, but was also a composer of note; his writings contained specimens of Double Counterpoint, though probably used without the intention of producing them. =Jerome de Moravie= (1260) wrote a scholarly treatise on Discant, and such was his ability that he illustrated it with his own compositions, making it one of the most valuable reference works in existence. It is worthy of mention that all of these men were churchmen in the sense that their work was all done in, or with the approval of, the Church, and was therefore influenced by the peculiar beliefs and customs then obtaining in that institution. This point must ever be kept in mind, for any prolonged contact with Folk-music must have changed the entire development of the art; therefore we must regard the Church as the dominant influence of early music.