[1] Especially Gevaert, _La Mélopée antique dans le Chant de l’Église latine_. [2] The name ‘Sistine Chapel’ was not given to this organization until the Pontificate of Sixtus IV (1471-1484); it was derived from the _Cappella Sistina_ built by this pope. [3] Practically all the music of these ancient collections has been lost, excepting the Spanish or Mozarabic or Visigothic. Recent discoveries have disclosed a considerable portion of the music of this branch of the Church, so that we have some definite information concerning at least three ancient ecclesiastical dialects of ritual-music--the Gregorian, the Ambrosian, and the Visigothic or Mozarabic. In a few Spanish churches the Mozarabic rites and music still survive. [4] Pope Paul in 760 sent copies of the _Antiphonarium_ and _Responsoriale_ to King Pepin. [5] Alert teachers of ear-training have frequently observed that certain students will sing tones given them by dictation a fifth above or below the given tone under the impression that they are singing in unison with it. (See also Parry, ‘The Evolution of the Art of Music,’ Chap. 4.) [6] Such an expression of pleasure can be explained only when it is remembered that the monastic mind was thoroughly accustomed to being absolutely submissive to authority. Mediæval ecclesiastical authority dictated what was good or bad in musical theory and procedure, just as it did in the realms of morals, ethics, and religion; and authority decreed that only perfect intervals--fourths, fifths, and octaves--were usable, therefore they were pleasing. It took several centuries of the actual ‘practice’ of music to overcome the ban placed by ‘theory’ on the interval of the third in certain cadences. [7] The development of the technical material of composition, imitation, canon, fugue, etc., is fully described in Vol. I. [8] The melody of the celebrated ‘Lament’ over the death of Charlemagne, composed in 814 and sung by both Franks and Germans, is fortunately preserved to us. This remarkable melody (quoted by Naumann in his ‘History of Music,’ Vol. I, p. 199) has a compass of practically only three tones, yet in its simple outlines there is eloquent and dignified expression of the popular love for the great emperor. The melody of the more famous ‘Roland’s Song,’ also of Charlemagne’s time, has not survived, although it was sung as late as the battle of Poictiers in 1356. [9] Among the favorite forms were the _canzonet_ or _chanson_, a love-song addressed to some courtly dame, the _serenade_ or evening song, the _aubade_ or day song, the _servante_, extolling the virtues of some prince, the _tenzone_ or dialogue song, the _roundelay_, with the same refrain repeated again and again, and the _pastourelle_, descriptive of ‘Arcadian love in idyllic nature.’ [10] Chap. 8 of Vol. I is devoted to an unusually full and illuminating discussion of the whole secular song movement of this period.