214 PROFESSIONAL INSTITUTIONS. 



century were Padre Martini, and Zingarelli, both chapel- 

 masters; and there flourished during the same period the 

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

 cases abroad should be added the cases at home. Beginning 

 early in the 16th century with Tallis &quot; the father of English 

 Cathedral Music/ we find him called &quot; gentleman (choris 

 ter) of the Chapel Royal.&quot; In the same century comes Mor- 

 ley, chorister, &quot; epistler,&quot; and &quot; gospeller, 7 who, thus semi- 

 priestly, composed secular music ; Byrd, a similar function 

 ary 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, &quot; epistler &quot; of the Chapel Royal, composer of sacred 

 music; Child, chorister, organist, and sacred composer; and 

 Blow, the same. Then come the four generations of Pur- 

 cells, all connected with the Church as choristers and organ 

 ists ; Hilton, organist and parish clerk, and writer of secular 

 as well as sacred music ; and Croft, organist, chief chorister, 

 and composer, secular and sacred. And so with later com 

 posers, 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 various developed kinds originated, there independently 

 grew up simple popular music. From the earliest times 

 emotions excited by the various incidents of life have 

 prompted spontaneous vocal expression. But recognition of 

 this truth consists with assertion of the larger truth that the 

 higher developments of music arose out of elaborated reli 

 gious worship, and Were for a long time the productions of 

 the priest-class; and that out of this class, or semi-secular 

 ized members of it, there were eventually differentiated the 

 composers and professors of secular music. 



One further differentiation, which has accompanied the 

 last, has to be noted. The clerically-developed musician s 



