We have, however, a question of more merit to discuss. If modern music has failed to meet the requirements of Catholic devotion, it will be not a little interesting to examine into the true cause of this failure. It will be found to lie in its melodic form (not in the use of harmony), which came into being with the introduction of the chord of the diminished seventh and the substitution of the instrumental, factitious scales called major and minor for the four natural vocal, authentic scales and their four correlative plagal scales. Like seeks like, and as this chord of the seventh was an inspiration of sentimental, languishing, passional feeling, the new music sought its language in poetry, and chiefly in lyric poetry, in which every sort of human passion finds smooth expression; and as this latter is divided into regular feet, with recurring emphasis and cadence, music soon found itself set to time. Its melody became measured. Pegasus found himself in harness. To express the sublime, the heroic, was only possible now by knocking down the bars, putting it all _ad libitum_, and calling the phrase _recitative_; and as the passage from the sublime to the ridiculous is proverbially short, the composition of many of these recitatives, in their leaping intervals and startling contrasts, vividly remind one of Pegasus let loose to scamper and roll unbridled in the open fields. The invention and perfection of musical instruments are coincident with the rise and progress of the system of melody known as “modern music,” the organ and piano holding the mastery. To these are due, in great measure, the universal cultivation of the modern tonality, and the consequent loss of appreciation of the tonality of the ecclesiastical modes. It is heard in the lullaby at the cradle’s side, whistled by boys in the streets, sung by children in popular melodies and hymns at school, confirmed by all the concerts given by orchestras in halls, theatres, and public meetings; every young lady strums it forth from her piano, every organist modulates it in church, while all bells, from thousands upon thousands of churches, jangle it forth from one end of Christendom to the other. That the church has been able to withstand the pressure of all this, and still dares to command her priests to chant “per omnia sæcula sæculorum” to her own ancient mode, is, even in that simple and significant sentence, a proof of her divine strength to resist the most alluring seductions and powerful onslaughts of the world, and a note of calm defiance to its “fashion which passeth away.”