book may be
considered as having been hitherto overlooked or rejected, while in the
alternative case it is to be understood that the original cast of the
melody has at some former time been altered (frequently to suit the
English common metre to which it was not at first conformable), and is
now restored.

The plain-song tunes, of which an account is given in the preface to the
notes, and the few other old tunes which do not fall into either of the
two above-mentioned classes, were included for the sake of their
settings.

With respect to the vocal settings in four parts it may be said that, in
the numerous cases in which such settings were not added by the composer
of the melody, the editors have done their best to supply the want in a
suitable manner, and with some attempt towards the particular qualities
of workmanship upon which much of the beauty of the old vocal
counterpoint depends; and this latter aim has also governed the
composition of the six tunes not derived from old sources which have been
included in the work.

This book is offered in no antiquarian spirit. The greater number of
these old tunes are, without question, of an excellence which sets them
above either the enhancement or the ruin of Time, and at present when so
much attention is given to music it is to be desired that such
masterpieces should not be hidden away from the public, or only put forth
in a corrupt and degraded form. The excellence of a nation in music can
have no other basis than the education and practice of the people; and
the quality of the music which is most universally sung must largely
determine the public taste for good or ill.

Since such information as might be looked for in an introduction is given
in the notes at the end of the volume, there is nothing to add here but a
list of the sources and composers in order of date, which should in the
eyes of musicians go far to justify this attempt.

SYNOPSIS OF THE MUSIC IN ORDER OF DATE

PLAIN-SONG MELODIES,
Sarum use, nine, Nos. 29. 30. 31. 32. 47. 48. 49. 75. 86.
Ambrosian, two, Nos. 91. 100.
Later plain-song, two, Nos. 44. 45.
HEINRICH ISAAC, 1490, one tune, Nos. 82 & 83.
From the Strasbourg Psalter, before 1540, two, Nos. 37. 72.
German of same date, one, No. 16.
LOUIS BOURGEOIS, 1550, thirteen, Nos. 3. 19. 20. 27. 58. 64. 67. 70. 74.
77. 79 & 80. 88. 99 & see 66 & 84.
CHRISTOPHER TYE, 1550, one, No. 15.
From Crespin's Psalters, circ. 1560, th