§ 115.7. =Hymnology= (§ 104, 10).--The =Latin Church poetry= of the 14th and 15th centuries was far beneath that of the 12th and 13th. Only the mystics, _e.g._ Thomas à Kempis, still composed some beautiful hymns. We have now however the beginnings of =German= and =Bohemian= hymnology. The German flagellators sang German hymns (§ 116, 3), and so obtained much popular favour. The Hussite movement of the 15th century gave a great impulse to church song. Huss himself earnestly urged the practice of congregational singing in the language of the people, and himself composed Bohemian hymns. The Bohemian and Moravian Brethren were specially productive in this department (§ 119, 8). In many churches, at least on high festivals, German hymns were sung, and in some even at the celebration of mass and other parts of public worship. The spiritual songs of this period were of four kinds: some half German, half Latin; others translations of Latin hymns and sequences; others, original German compositions by monks and minstrels; and adaptations of secular songs to spiritual purposes. In the latter case the original melodies were also retained. Popular forms and melodies for sacred songs were now secured, and these were subsequently appropriated by the Reformers of the 16th century. § 115.8. =Church Music= (§ 104, 11).--Great improvements were made in organs by the invention of pedals, etc. =Church music= was also greatly developed by the introduction of harmony and counterpoint. The Dutch were pre-eminent in this department. Ockenheim, founder of the second Dutch school of music, at the end of the 15th century, was the inventor of the canon and the fugue. The greatest composer of this school was Jodocus Pratensis, about A.D. 1500, and next to him may be named the German, Adam of Fulda.