212 PROFESSIONAL INSTITUTIONS. 



&quot;The gleemen added mimicry . . . dancing and tumbling, with 

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

 themselves into companies.&quot; 



&quot;Soon after the Conquest, these musicians lost the ancient Saxon 

 appellation of gleemen, and were called ministraulx, in English 

 minstrels.&quot; 



Moreover in the old English period the ministrel &quot; was 

 sometimes a household retainer of the chief whom he served, 

 as we see in the poem of Beowulf. 7 And since it w r as the 

 function of the minstrel now to glorify his chief and now to 

 glorify his chief s ancestors, 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, 

 heroes, and ancestors, some music became secularized, other 

 music began to develope in connexion with the substituted 

 religion. Among the Anglo-Saxons, &quot; music was also culti 

 vated with ardour . . . Permanent schools of music were 

 finally established at the monasteries, and a principal one 

 at Canterbury.&quot; 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.&quot; 

 Then in the 15th century 



&quot;Ecclesiastical music was studied by the youths at the Universities, 

 with a view to the attainment of degrees as bachelors and doctors in 

 that faculty or science, which generally secured preferment.&quot; 



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

 fessor during Christian times, is furnished by the biographi 

 cal notices of early musicians throughout Europe. AVe 

 begin in the 4th century with St. Ambrose, who set in order 

 &quot; the ecclesiastical mode of saying and singing divine ser 

 vice; &quot; and then come to St. Gregory who in 590 arranged 

 the musical scales. The 10th century yielded Hucbaldus, 

 a monk who replaced the two-lined stave by one of more 

 lines; and the llth century the monk Guido d Arezzo, who 

 further developed the stave. A differentiation of sacred 



