Systems are not completed in a day. Those writers on musical history who pass immediately from the labors of Franco to the Netherland masters ignore the long series of tentative works of the French composers who flourished between 1100 and 1370 A. D., and of the English composers who flourished between the same years. It is a well established fact that in England there were many writers who showed skill in the early contrapuntal forms. Johannes Tinctoris, a Netherlander, writing in 1460 A. D., went so far as to say that the source of counterpoint was among the English, of whom Dunstable was in his opinion the greatest light. Walter Odington, an Englishman, wrote a learned treatise on counterpoint in 1217, and some authorities accept him as the composer of the notable canonic composition, "Sumer is icumen in." It is pretty clearly established, however, that Odington was a disciple of the French school, while Dunstable, being a contemporary of Binchois, was of later birth than the early French composers. The writer of this paper is of the opinion that the line of contrapuntal development appears to join Flanders with France rather than with England, and he, therefore, prefers to consider chiefly the French school. The Frenchman, Jean Perotin, then, about 1130 A. D., employed imitation, and one of his immediate successors, Jean de Garlande, says in his treatise on music that double counterpoint was known before his time. He says it is the repetition of the same phrase by different voices at different times. It is impracticable in this article to review in detail the achievements of the French school, but a summary of its work is necessary to a comprehension of the Netherland school. The Frenchmen possessed three kinds of harmonic combinations: the Déchant (discant) or double, the triple and the quadruple, or in other words, contrapuntal compositions in two, three and four parts. Discants were of two kinds. In the first the cantus firmus, or fixed chant of the liturgy, was sung by one voice (called tenor--Latin, _teneo_, I hold--because it held the tune) while the other added a discant above it. In the second the discant was freely composed, and a lower part, or bass added.