MUSIC OF PRIMITIVE PEOPLES PASTOR. 691 



Homes), and Fleischer recognized on one of them n player ^\^th a 

 four-stringed lyre which corresponded exactly with the form on the 

 Gallic coins. 



The further developmental histoiy of the northern lyre places us 

 in the fortunate position of being able to make some assertion regard- 

 ing the tuning of the strings. Fleischer has here already drawn the 

 necessary conclusions. The next higher type above the Marz form 

 we have in the celebrated Lupfenberg find dating from about the 

 fourth to the seventh centuiy of the Christian era and now in the 

 Berlin Museum. The instrument is no longer three-stringed, but 

 six-stringed. Tliis old German instrument is itself again the unmis- 

 takable link between the Marz type and the West European chrotta, 

 wliich was already mentioned by Venantius Fortunatus, and continued 

 in existence in Ireland, Wales, and Brittany until the beginning of 

 the nineteenth century. The thick strings of the chrotta are tuned 

 to the fundamental tone, the fourth, and the fifth of a lower and the 

 next higher octave. In the seven-stringed instruments the last 

 string repeats the fundamental tone higher up. On account of the 

 enduring persistence of folk customs there can be no doubt that 

 the three or four strings of the oldest northern zithers were tuned 

 in the same way. It is to be observed, further, according to Boethius, 

 that the oldest Greek zithers were likemse tuned to the fundamental 

 tone, fourth, fifth, and octave. They are the constant, unchanging 

 intervals of the entu'e European music system. 



The luren and lyres indicate such a distinct and purj)()seful music 

 that one can believe that the discovery of the crudest notation must 

 have insured for it the highest and quickest development. But it 

 did not reach this development until very late. An entirely stagnant 

 and musically sterile century intervenes between that first epoch of 

 the foundation and that other one of the development. In this 

 period the development of the vertical European music was inter- 

 rupted by something which in its kintl was remarkably similar to 

 certain musical developments of the South and East, namely, the 

 old church music. 



3. THE MUSICAL SENTIMENT OF EARLY EUROPEAN CHRISTIANITY. 



The words "church nuisic" liavc for us to-day a very beautiful sound. 

 We think of Palestrina or of Bach and the hundred-voiced choirs and 

 organ nnisic. All surge together in a mighty and majestic harmony, 

 a wonderfully sublime music, which at the sound of the church bell 

 dominates wide stretches of country. That so much beauty could not 

 come to us fully complete is clear without further explanation. The 

 foundations of the whole we owe to the church. We ai-e rc^miuded 

 here of an old and quaint misconception. Gustav Freytag gives the 



