In more outlying parts, it would seem that the regulation issued by Pius X insisting on the singing of the "proper"--introit, gradual, etc.--in some cases has had the opposite effect to that intended, and has caused many to give up the sung mass altogether; for although it may be urged that the "proper" can always be sung either in psalm tone, or at least monotone, in practice people will not attempt it; and indeed often when it is attempted, the difficulty of reading Latin to laymen who are not accustomed to it in a country where the language is so different in sound and rhythm produces a result the reverse of devotional. Then again restrictions on the class of music from a false reading of the well-known _Motu Proprio_ of Pius X has had the same effect. There is no document more frequently misquoted than this _Motu Proprio_. The lover of Gregorian music speaks as though universal plain chant was prescribed; the admirers of Palestrina quote it in favour of polyphonic music; while those who are opposed to the masses of Mozart and Haydn, once so popular, appeal to the _Motu Proprio_ as though it were a condemnation of this whole class of music. In point of fact if anyone will actually read the text, he will find it most broad in outlook. Undoubtedly the Pope extols plain chant as pre-eminently the music of the Church and calls for its restoration; but he also speaks highly of polyphonic music; and with respect to modern music, he only stipulates that it should not be theatrical in character. Those who are familiar with the very light and trumpery music in vogue in the Italian churches--which is the instance actually quoted by the Pope--will readily understand this restriction. That it condemns masses such as Haydn's Imperial may perhaps be fairly argued; but most of Mozart's masses would seem to come within the scope of what is allowed. A possible exception is the well-known No. XII, which many maintain to have been written not by Mozart at all, but by his pupils. At any rate it is of a distinctly more operatic character than the other Mozart masses. But even if Mozart and Haydn are excluded, there are plenty of simple masses often sung which are entirely within the line drawn. Indeed, on the important point emphasised by the Pope, of the words being sung so that the listeners can follow them, music of this kind is superior to polyphonic, in which the syllables in the different voices so overlap that it is often impossible to follow the words. It is true indeed that these masses sometimes include the "needless repetition" of the words of the liturgy which the Pope condemns; especially in the _Kyrie_, where the number of invocations is never the proper nine, and is simply adapted to the exigences of the music; and in the concluding phases of the _Gloria_ and _Credo_, in which the _Amen_ is often repeated many times; in the beginning of the _Gloria_ also, or in the _Sanctus_ or elsewhere some repetition is found; but