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
It was, therefore, in the first six centuries, when the Church was
organizing and drilling her forces for her victorious conflicts, that the
final direction of her music, as of all her art, was consciously taken.
In rejecting the support of instruments and developing for the first time
an exclusively vocal art, and in breaking loose from the restrictions of
antique metre which in Greek and Greco-Roman music had forced melody to
keep step with strict prosodic measure, Christian music parted company
with pagan art, threw the burden of expression not, like Greek music,
upon rhythm, but upon melody, and found in this absolute vocal melody a
new art principle of which all the worship music of modern Christendom is
the natural fruit. More vital still than these special forms and
principles, comprehending and necessitating them, was the true ideal of
music, proclaimed once for all by the fathers of the liturgy. This ideal
is found in the distinction of the church style from the secular style,
the expression of the universal mood of prayer, rather than the
expression of individual, fluctuating, passionate emotion with which
secular music deals—that rapt, pervasive, exalted tone which makes no
attempt at detailed painting of events or superficial mental states, but
seems rather to symbolize the fundamental sentiments of humility, awe,
hope, and love which mingle all particular experiences in the common
offering that surges upward from the heart of the Church to its Lord and
Master. In this avoidance of an impassioned emphasis of details in favor
of an expression drawn from the large spirit of worship, church music
evades the peril of introducing an alien dramatic element into the holy
ceremony, and asserts its nobler power of creating an atmosphere from
which all worldly custom and association disappear. This grand conception
was early injected into the mind of the Church, and has been the parent
of all that has been most noble and edifying in the creations of
ecclesiastical music.
CHAPTER III
THE LITURGY OF THE CATHOLIC CHURCH
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