“Make the soul dance a jig to heaven,” then, in the name of common sense, why shall Master Haydn be permitted to offer the church singers a musical jig? The truth of the matter is that such measured movements, added to the gymnastic feats of melody which characterize the phrasing of the greater number of modern “Masses,” are ignorantly supposed to faithfully express that Christian joy and triumph which plain chant is quite as ignorantly supposed to be unable to inspire. Let any one examine the church’s chant, and especially its movement, and he will not fail to be struck with its remarkable consonance with, and the sense of exact propriety of, its accompaniment to the movements and demeanor of the sacred ministers and of all who are appointed to assist them in carrying out the sacred functions of divine worship. How majestic and dignified, how modest and devout, are its measures! A sort of continuous procession of sound, resembling now the deep murmurings of the waves of the ocean, now the gentle breathings of the wind, now the prolonged echoes of distant thunder, now the soft whispering of the woods in summer! Always grave and decorous in its phrasing. Never indulging in trivial antics or in meretricious languishing and voluptuous undulations. Time and arithmetical measures do not straiten and confine its heavenly inspirations, for the thoughts of the soul, and chiefly the thoughts of prayer, do not move like clockwork. One does not adore five minutes, propitiate two minutes, supplicate half a minute, and give thanks ten seconds; and to do either in 2/4 3/4 or 6/8 time would be the height of the ridiculous. A friend tells us that the only time he ever had to do either at High Mass was during the performance of that part of the score called “_point d’orgue_.” Is it any wonder that music for the church is a failure, and that plain chant still holds its own?