By John Lambert, Esq. 315 
into the numerous musical systems of antiquity, so much as to the 
works which have emanated from the Commission instituted by the 
Archbishop of Malines, and assisted by the Belgian Government. 
It is always difficult to estimate with impartiality the merits of 
one’s friend; but, I cannot help saying, that if I were asked to 
name the person who, in addition to a perfect knowledge of Modern 
Music, possesses the most profound appreciation of the tonality and 
sentiment of the Gregorian Chant, I should at once fix upon 
M. Edmond Duval, of Enghien, the principal editor of the great 
Liturgical works which have just issued from M. Hanicq’s well- 
known press, at Malines. 
It may however be said that it is not to be wondered that, in the 
countries I have named, where Medizval Music still forms part of 
their religious services, such questions as those which I propose to 
lay before you on this occasion, should have an interest which they 
do not possess here, but I need not prove to you that the Archeologist 
is not a mere utilitarian; and if he were I should remind you that 
the Responses and some of the Chants of our Cathedrals are still 
the same as they always were, and that the great contrapuntal com- 
positions of our best masters, such as Tallis and Byrd are frequently 
founded upon the Gregorian Scales. 
What then is this Music of which I am about to treat, and what 
are its characteristics ? 
In order to answer these questions it will be necessary for me to 
say something: 
1. Of its History, 
2. Its Tonality, 
3. Its Notation, 
And 4thly, its mode of Execution. 
In the short space allotted to me it would be quite impossible to 
enter fully into either the principles or details of a subject so com- 
prehensive as that of the Music of antiquity. All I can hope to do 
is to excite your interest, and endeavour to induce you to enter 
upon a study, not only promising new discoveries and pleasures to 
the Archeologist, but offering to the modern musician a key to 
