CHAPTER VII THE RISE OF THE LUTHERAN HYMNODY The music of the Protestant Church of Germany, while adopting many features from its great antagonist, presents certain points of contrast which are of the highest importance not only in the subsequent history of ecclesiastical song, but also as significant of certain national traits which were conspicuous among the causes of the schism of the sixteenth century. The musical system of the Catholic Church proceeded from the Gregorian chant, which is strictly a detail of the sacerdotal office. The Lutheran music, on the contrary, is primarily based on the congregational hymn. The one is clerical, the other laic; the one official, prescribed, liturgic, unalterable, the other free, spontaneous, and democratic. In these two forms and ideals we find reflected the same conceptions which especially characterize the doctrine, worship, and government of these oppugnant confessions. The Catholic Church, as we have seen, was consistent in withdrawing the office of song from the laity and assigning it to a separate company who were at first taken from the minor clergy, and who even in later periods were conceived as exercising a semi-clerical function. Congregational singing, although not officially and without exception discountenanced by the Catholic Church, has never been encouraged, and song, like prayer, is looked upon as essentially a liturgic office. In the Protestant Church the barrier of an intermediary priesthood between the believer and his God is broken down. The entire membership of the Christian body is recognized as a universal priesthood, with access to the Father through one mediator, Jesus Christ. This conception restores the offices of worship to the body of believers, and they in turn delegate their administration to certain officials, who, together with certain independent privileges attached to the office, share with the laity in the determination of matters of faith and polity.