Now compare a typical mass of the modern dramatic school and see how different is the conception. The music of Gloria and Credo revels in all the opportunities for change and contrast which the varied text supplies; the Dona nobis pacem dies away in strains of tender longing. Consider the mournful undertone that throbs through the Crucifixus of Schubert’s Mass in A flat, the terrifying crash that breaks into the Miserere nobis in the Gloria of Beethoven’s Mass in D, the tide of ecstasy that surges through the Sanctus of Gounod’s St. Cecilia Mass and the almost cloying sweetness of the Agnus Dei, the uproar of brass instruments in the Tuba mirum of Berlioz’s Requiem. Observe the strong similarity of style at many points between Verdi’s Requiem and his opera “Aïda.” In such works as these, which are fairly typical of the modern school, the composer writes under an independent impulse, with no thought of subordinating himself to ecclesiastical canons or liturgic usage. He attempts not only to depict his own state of mind as affected by the ideas of the text, but he also often aims to make his music picturesque according to dramatic methods. He does not seem to be aware that there is a distinction between religious concert music and church music. The classic example of this confusion is in the Dona nobis pacem of Beethoven’s Missa Solemnis, where the composer introduces a train of military music in order to suggest the contrasted horrors of war. This device, as Beethoven employs it, is exceedingly striking and beautiful, but it is precisely antagonistic to the meaning of the text and the whole spirit of the liturgy. The conception of a large amount of modern mass music seems to be, not that the ritual to which it belongs is prayer, but rather a splendid spectacle intended to excite the imagination and fascinate the sense. It is this altered conception, lying at the very basis of the larger part of modern church music, that leads such writers as Jakob to refuse even to notice the modern school in his sketch of the history of Catholic church music, just as Rio condemns Titian as the painter who mainly contributed to the decay of religious painting.