ales and names, as established
by St. Gregory:

[Music illustration:

_Dorian._

_Hypo-Dorian._

_Phrygian._

_Hypo-Phrygian._

_Lydian._

_Hypo-Lydian._

_Mixo-Lydian._

_Hypo-Mixo-Lydian._]

With the labors of St. Gregory the influence of the Church upon the
course of musical development by no means ceased. At various epochs in
its history synods, councils and popes have effected various reforms,
every reform consisting in barring out a certain amount of novelty
which had crept in, and in a supposed "restoration" of the service to
its pristine purity. The restoration, however, has never been
complete. Church music, like every other department of the art, has
gone on in increasing complexity from the beginning until now. The
main difference between the Church and the world in any century
consists in drawing the line of the permissible at a different point.
One of the latest reforms was that begun by Pope Marcellus and the
Council of Trent, which ordered from Palestrina an example of church
music as it should be.

Incidentally, in another direction, the Church has been of very great
influence upon the course of musical development. The great cathedrals
of the commercial centers of the world, in the effort to render their
service worthy of the congregation, have afforded support to talented
composers in all ages, and some of the most important movements in
music have been made by ecclesiastics or officials deriving support
from these sources. More extended particulars of this part of her
influence will be given later. It may suffice to mention the
cathedrals of Westminster and St. Paul in England, of Notre Dame in
Paris, to which we owe the old French school and the beginning of
polyphony; the cathedral at Strassburg, which supported important
musicians; Cologne, where the celebrated Franco lived; St. Mark's, at
Venice, where, from about 1350 to the end of the last century, an
extremely brilliant succession of musical directors found a field for
their activity.

CHAPTER XI.

THE DIDACTIC OF MUSIC FROM THE FIFTH CENTURY TO THE FOURTEENTH.

I.

There is very little in the Roman writers upon music that is of
interest. Macrobus, an expert grammarian and encyclopedist living at
Rome at the end of the fourth or beginning of the fifth century, wrote
a commentary upon the song of Scipio, in which he quotes from
Pythagoras concerning the music of the spheres: "What hear I? What is
it which fills m