We have now seen how melody, harmony, and rhythm entered the process of development of modern music. But I have already called attention to the fact that the early medieval composers had no conception of a tune founded on subservient harmony, such as is now familiar to every one. They got their ideas as to the plan of composition from the art of descant, which consisted, as I have tried to explain, in adding an ornamental part to a selected chant. It became an essential of music in those early days that this second part should be melodious in itself. When the early composers began to write in more than two parts, they still preferred the style in which every part was a melody in itself. In our modern music the parts which constitute the harmonic accompaniment of a melody are not necessarily melodious in themselves, as any one can easily see who listens to the accompaniment of a popular song. The early church composers knew nothing about that kind of writing. They did not have instrumental accompaniment at all. Even after the organ began to be used, it simply played the same notes that the voices sang. The compositions were written wholly for voices, and each voice part was a melody in itself, and all sounding together produced harmonious results. This kind of writing is still employed at times. For instance, in the finale of "Die Meistersinger" overture, five different melodies are heard at the same time. This method of composition is called "polyphonic;" and we have now reached the period at which the art of descant developed into the art of counterpoint, upon which polyphonic writing rests. Chapter III The Birth of Counterpoint The great French school of contrapuntists--What counterpoint is, and how it began--Canons and the famous "Sumer is icumen in"--Character of the French music--he masses of Machaut and Tournay--The Gallo-Belgic school and Dufay's improvements.