The hymns were harmonized in four parts. They were usually sung in unison (all singing the same thing) with the accompaniment of the organ or a group of instruments. This great change, or revolt, broke the backbone of polyphonic music, freed the spirit of the people, and first brought into use modern scales (major and minor, as we know them). Curiously enough, this Reformed Church Music also brought about the “Golden Age of Catholic Music” with Palestrina as its leading composer. PALESTRINA—PRINCE OF MUSIC Martin Luther had hoped to reform the Church but instead founded a new one (another example of Columbus seeking a passage to India). But this action of Luther’s was a challenge to the Mother-Church, and steps were taken to reform many customs and practices in the Church itself. As we have pointed out many times, popular tunes with vulgar words had crept into the Church services. These works composed for the Church were used to show the skill of the composer rather than to express the love of God. Questions dealing with the reforms for purifying the services of the Church were taken up by the Council of Trent, a gathering of the learned Church men and the Catholic kings. The council lasted for twenty years (1542 or 3–1562). Fancy that for a club meeting! Towards the end of its long session, the council decided that all music in the “impure mode” (in popular style), should be banished from the Church. They decided, and we cannot see why they waited so long, that the Mass with popular airs and words not approved by the Church fathers should be prohibited. Palestrina had both the genius and the understanding to meet the requirements, and his compositions for the Church are the highest achievement of the 16th century. You will read in many histories of music that Palestrina was asked to write three masses to be sung before a group of Cardinals, in order to find out whether or not any composer could write music fit for the Church. These three masses were considered so fine, that he was claimed as the one who saved Church music. This would have been a great honor, but it did not happen, and was only a legend to show Palestrina’s greatness. No doubt Palestrina wrote more carefully and beautifully on account of the decision of the Council of Trent, and was so great a composer that all vocal polyphonic music of the 16th century is said to be in the “Palestrinian” style.