3J2 THE POPULAR SCIENCE MONTHLY. 



distinguished among the Scandinavians as " skalds " and among 

 the Anglo-Saxons as harpers and gleemen. Thus we read : 



"The gleemen added mimicry . . . dancing . . . tumbling, with sleights 

 of hand. ... It was therefore necessary for them to associate themselves 

 into companies." 



'' Soon after the conquest these musicians lost the ancient Saxon appel- 

 lation of gleemen and were called ministraulx, in English minstrels." 



Moreover in the old English period the minstrel "was sometimes 

 a household retainer of the chief whom he served, as we see in 

 the poem of Beowulf." And since it was the function of the min- 

 strel now to glorify his chief and now to glorify his chief's ances- 

 tors, we see that in the one capacity he lauded the living potentate 

 as a courtier, and in the other capacity he lauded the deceased 

 potentate as a priest lauds a deity. 



While, with the decay of the worship of the pagan gods, he- 

 roes, and ancestors, some music became secularized, other music 

 began to develop in connection with the substituted religion. 

 Among the Anglo-Saxons, "music was also cultivated with 

 ardor. . . . Permanent schools of music were finally established 

 in the monasteries, and a principal one at Canterbury. So, too, 

 was it under the Normans : " great attention was now paid to 

 Church music, and the clergy frequently composed pieces for the 

 use of their choirs." And then in the fifteenth century 



" Ecclesiastical mnsic was studied by the youths at the Universities, 

 with a view to the attainment of degrees as bacheloi'S and doctors in that 

 faculty or science, which generally secured preferment." 



But the best proof of the clerical origin of the musical professor 

 during Christian times, is furnished by the biographical notices 

 of early musicians throughout Europe. "We begin in the fourth 

 century with St. Ambrose, who set in order "the ecclesiastical 

 mode of saying and singing divine service ; " and then come to St. 

 Gregory who in 590 arranged the musical scales. The tenth cen- 

 tury yielded Hucbaldus, a monk who replaced the two-lined stave 

 by one of more lines ; and the eleventh century the monk Guido 

 d'Arezzo, who further developed the stave. A differentiation of 

 sacred into secular was commenced in the twelfth century by the 

 Minnesingers : " their melodies were founded on the Church 

 scales." Developed out of them, came the Meistersingers, who 

 usually performed in churches, and " had generally a sacred sub- 

 ject, and their tone was religious." " One of the first composers 

 who wrote in regular form" was Canon Dufay of the Cathedral 

 of Cambrai in 1474. The sixteenth century brought Lasso, who 

 wrote thirteen hundred musical compositions, but whose status is 

 not named; and then, showing a pronounced secularization, we 

 have, in the same century, Phillipus de Monte, Canon of Cambrai, 



