PROFESSIONAL INSTITUTIONS. 373 



who wrote thirty books of madrigals. About that time Luther, 

 too, " arranged the German mass." In the next century we have 

 the distinguished composer Palestrina who, though originally a 

 layman, was elected to priestly functions ; and the priest, Allegri, 

 a chorister and composer. At later dates lived Carissimi, chapel- 

 master and composer ; Scarlatti also maestro di capella. France 

 presently produced Rameau, church-organist ; and Germany two 

 of its greatest composers Handel first of all capellmeister in 

 Hanover and then in England ; and Bach, who was primarily an 

 organist, and who, " deeply religious," developed " the old Church 

 modes "into modern forms. Among other leading musicians of 

 the eighteenth century were Padre Martini, and Zingarelli, both 

 chapel-masters ; and there flourished during the same period the 

 Abbe' Vogler, and Cherubini, a chapel-master. To all which 

 cases abroad should be added the cases at home. Beginning in 

 1515 with Tallis "the father of English Cathedral Music," we find 

 him called "gentleman (chorister) of the Chapel Royal." In the 

 same century comes Morley, chorister," epistler," and "gospeller," 

 who, thus semi-priestly, composed secular music ; Byrd, a similar 

 functionary similarly characterized ; Farrant, also clerical in char- 

 acter; and a little later Gibbons, an organist but largely a writer 

 of secular music. In the next century we have Lawes, " epistler " 

 of the Chapel Royal composer of sacred music ; Child, chorister, 

 organist, and sacred composer ; and Blow, the same. Then come 

 the four generations of Purcells, all connected with the Church 

 as choristers and organists ; Hilton, organist and parish clerk, 

 and writer of secular as well as sacred music ; and Croft, organ- 

 ist, chief chorister, and composer, secular and sacred. And so 

 with later composers, Boyce, Cook, Webbe, Horsley, who, still in 

 part Church-functionaries, are chiefly known by their songs, glees, 

 and catches. 



We must not, however, ignore the fact that though out of the 

 cultivation of music for purposes of worship, music of the more 

 developed kinds originated, there independently grew up simple 

 popular music ; for from the earliest times emotions excited by 

 the various incidents of life have prompted spontaneous vocal ex- 

 pression. But recognition of this truth consists with assertion of 

 the larger truth that the higher developments of music in mod- 

 ern times, arose out of elaborated religious worship, and were for 

 a long time the productions of the priest-class; and that out of 

 this class, or semi-secularized members of it, there were eventu- 

 ally differentiated the composers and professors of secular music. 



One further differentiation which has accompanied the last 

 has to be noted. The musician's art, developed by the priestly 

 class in the service of the church, and gradually influencing the 

 simple secular music existing among the people, began to evolve 



