Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient PeoplesDickinson, Edward
History
Music in the History of the Western Church: With an Introduction on Religious Music Among Primitive and Ancient Peoples
Dickinson, Edward
Church music
A notable instance of the transference of Oriental custom into the
Italian Church is to be found in the establishment of antiphonal chanting
in the Church of Milan, at the instance of St. Ambrose, bishop of that
city. St. Augustine, the pupil and friend of St. Ambrose, has given an
account of this event, of which he had personal knowledge. “It was about
a year, or not much more,” he relates, “since Justina, the mother of the
boy-emperor Justinian, persecuted thy servant Ambrose in the interest of
her heresy, to which she had been seduced by the Arians.” [This
persecution was to induce St. Ambrose to surrender some of the churches
of the city to the Arians.] “The pious people kept guard in the church,
prepared to die with their bishop, thy servant. At this time it was
instituted that, after the manner of the Eastern Church, hymns and psalms
should be sung, lest the people should pine away in the tediousness of
sorrow, which custom, retained from then till now, is imitated by
many—yea, by almost all of thy congregations throughout the rest of the
world.”[43]
The conflict of St. Ambrose with the Arians occurred in 386. Before the
introduction of the antiphonal chant the psalms were probably rendered in
a semi-musical recitation, similar to the usage mentioned by St.
Augustine as prevailing at Alexandria under St. Athanasius, “more
speaking than singing.” That a more elaborate and emotional style was in
use at Milan in St. Augustine’s time is proved by the very interesting
passage in the tenth book of the _Confessions_, in which he analyzes the
effect upon himself of the music of the Church, fearing lest its charm
had beguiled him from pious absorption in the sacred words into a purely
aesthetic gratification. He did not fail, however, to render the just
meed of honor to the music that so touched him: “How I wept at thy hymns
and canticles, pierced to the quick by the voices of thy melodious
Church! Those voices flowed into my ears, and the truth distilled into my
heart, and thence there streamed forth a devout emotion, and my tears ran
down, and happy was I therein.”[44]
Public-domain text, read in full here on John Shaqi.
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