But after the commencement of the tenth century many individuals, and especially poets, had invented rhythmical songs, which were entirely different from those of the Church. “Harmony formed by successions of various intervals,” as we are told by the author whom we have before quoted, “obtained in the eleventh century the name of _discantus_, in old French _déchant_. Francon de Cologne is the most ancient author who makes use of this word. During the whole course of the eleventh century the composition of melody was independent of harmony, and henceforth the composition of music was divided into two very distinct parts. The people, and poets and persons in high life, constructed the melody and the words; but being ignorant of the science of music, they resorted to a professional musician to have their inspirations written down. The first were very justly called _trouvères_ (_trobadori_), the others the _déchanteurs_, or harmonisers. Harmony was then only adapted for two voices--a combination of fifths, and of movements in unison. “In the twelfth century, the construction of melody continued to be in the hands of poets. The _déchanteurs_ or harmonisers were the professional musicians. Popular songs became very numerous. Troubadours multiplied all over Europe, and the greatest lords deemed it an honour to cultivate both poetry and music. Germany had her ‘master-singers,’ who were in request at every court. In France, the Châtelain de Coucy, the King of Navarre, the Comte de Béthune, the Comte d’Anjou, and a hundred others acquired a brilliant reputation by songs, of which they composed both the words and the melody. The most celebrated of these _trouvères_ was Adam de la Halle, who flourished in 1260.” In the fourteenth century, the name of _counterpoint_ was substituted for that of _déchant_; and in 1364, at the coronation of Charles V. at Rheims, a mass was sung which was written in four parts, composed by Guillaume de Machault, poet and musician. Among the ancients the number of musical instruments was considerable, but their names were even still more numerous, because derived from the shape, the material, the nature and character of the instruments, all of which varied infinitely, according to the whim of the maker or the musician. Added to this, every country had its national instruments; and as each in its own language designated them by descriptive names, the same instrument appeared under ten different denominations, and a similar name was applied to ten instruments. However, having nothing but monumental representation to guide us, and in the absence of the instruments themselves, an almost inextricable confusion arises.