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vm.--Mttsic in the , Church The scantiness of the early musical examples, the crude notation and gaps in the records make the study of the early phases of mediaeval music one _ -- ., - L A~L my“, “we" -__ -- of much difficulty. Even the best of modern writers do not alWays tol- dow the same lines or emphasize the same facts. In the early church all the music was vocal or choral; and devoid of any rhythm, quality or ex- pression. After the adoption of mu- sic in the Christian Church, it began to assert itself as the basis of certain new principles of design; but the first steps were slow and laboriously achieved under the influence of the ancient church. The singing was done by men; the simple fact that the men's voices were of different call- bres, some being deep basses, some high tenors, others between the two. It Was therefore difficult to' sing their plain song at the same pitch. Some could sing it high and some could sing it low, in extreme cases low basses and high tenors could sing an octave apart. To make it easier to sing together it was art'arur- .ed that some sing a 5th below, this combination producing the least form of discordance after the octave, and after that the fourth below was al'- ranged. It was many years before they were comfortable to this form‘ of singing. Then for a few centuries they experimented with the 3rd and 6th that are now so common with us; but they were a long time before they felt tree with it. All these years when men sang anything but pure melody in one line at a time, they doubled the melody at a 5th aboVe or a 4th below. This result at the present time would “seem hideous to our ears. When men began to move to real effects ot harmony, which means in place of the voices going in strict parallel at some definite interval apart, they began to mix up different intervals together. The first attempts were made by interchanging fifths, fourths, octaves and unisons, some- times hanging on one note as a sta- tionary note. It will take too much space to follow out the progress of these early centuries in detail; but composers developed their skill in adapting voice parts to one another, in course of time they even managed to write in four parts with some fa- cility, which was considered a won- derful teat of almost superhuman con- centration. Yet in these forms almost every elementary rule of art which a modern musician holds is broken in- cessantly, There are very few pieces by the most learned and intelligent musi- clans up to the 14th century that would not produce bewilderment and often irresistible laughter of the mod- ern musician. All this development naturally proceeded under the wing of the church. The early period from the 9th to the 15th century was, as, it were, the babyhood of music. In the 11th, 12th and 13th centuries, ornamental notes were found and used, they also learned to like the sound of the interval ot the 3rd. The church was like a careful mother watching over and regulating all that was done. From the 15th to the 17th century was the youth ot modern musie--a _ period most pure, ser- ene and innocent. The first singing schools were founded during the 15th l century. It was also necessary to transfer the office of song from the laity to the clericals on account of the sanctity of the service. The music of the Christian Church passed through three great typical divisions, each complete in itself. First the Plain Bong (unharmonized) up to the 11thl century.’ Second, the Contrapuntal unaccompanied chorus from the 12th to the 16th centuries. Third, the mixed solo and chorus music with free instrumental accompaniment (Modern Method.) Polyphonic singing consists of two or more voice parts enabling' two choirs each to sing different themes yet pr6ducing a harmonious effect. Antiphonal singing is a. system of singing the psalms by two alternat- ing choirs, the one choir men, the other-Avonlea or boys. Just a. few words regarding some‘ of the eminent theorists of this early epoch td the 14th century. l Hucbaldus Hucbaldus was a Benedictine Monk, author ind musician. Born in the year teo. To Hucbaldus is given the credit of having first used parallel lines,to indicate the rise and fall of tunes. Hucbaldus studied with his uncle. who, because of his nephew’s musical progress, became very jealous. Hucbaldus left him at the age of 20, and established a music school. There is more known of his works than his life. ; He wrote unimportant work on harmony grisung several examples. yet his harmony was chiefly an added part to a given melody of consecutive 4ths and 5ths which would be simply horrible to our ears. i _ V Guido of Arezzo A Guido was born in 990 and is sup- posed to be the inventor of the four- lined staff. He is regarded as the re- former- of musical notation. He greatly simplified music. inventing tlLe F and C clef. Before Guido the notes for singing were represented by the letters of the alphabet on a. single line. Guido also invented a system not unlike the sol-ta, consisting ot six syllables in a fixed order that could be applied to any key. f Franco of Cologne Franco was born in the 11th cen- tury. To Franco is credited the sys- Early Christian Music and Religion tent of measures, notes and rests of various shape to denote the length. His writings are the earliest known in which the subject of notation is treated. Franco was a monk, and was next after Guido to improve this rough kind of harmony. Walter Odington Odington was a monk of Evesham Abbey, England, born during the reign of Henry 111., about 1216. Od- ington wrote a, treatise on music. He was also a great scholar in astron- omy and science. His treatise deals with the study of music and har- mony, monochords and intervals, the science of stretched strings, organ pipes and bells, ayso sealing with spe- cial musical notation and plain songs introducing definitions and rules for writing certain forms. Adam de la. Hale is the best known l ot the French Troubedours or Ivan- dering Minstrels.' Born in 1240. He was afterward known as the Hunch- back of Arras. His works are the greatest value of his time and many are preserved and published as late as 1872. He is the author of the earliest known Comic Opera. He was a gifted poet and comqoscr. Guillaume Dufay Dufay was the great leader of the first Flemish school. He was born in the year 1380 and was a chorister in‘ the cathedral of Cambrai. IDutay made many more changes in notation' and invented the white or open notes. One writer states that in the vari- ous famous libraries in Rome may be found 150 compositions of Du- fay's, including Masses, Motettes, Magnificat chansons, and other church music. With Dufay the Ec- clesiastical music first took definite shape. Up to" this period music had been developing and had now ac- quired the modern form of music notation. Thus we see the various stages of development from the crudest method of singing and signs ot notation to the modern method Ihaving a sign for every requirement. "We are living to-day in the most creative, most formative and most sig- nificant hour in human history, a serious hour, an ominous hour fraught with weal or woe to humanity. an hour such as should send us to our knees in constant prayer, in search for anything and everything giving us a clue to our duty and the manner of its tuhnent," said Mr. J. Stitt Wilson in the Convocation sermon on "The Master' Task of the Age," which he made the introductory address ot his series. N Before we can adequately perform) our task we must find our latitude; and longtitude in history and time, was a declaration of the speaker. We may look behind but we cannot see far ahead, and it is only from history: we can obtain lessons and inspiration, 3 from the experiences of the past as: well as from the necessity of the pres- ent. We are at the close of a period 1 without parallel, one hundred yearss of popular education and inventiveI skill, of travel and intercommunica- tion, of evangelistic religion and rap- idly evolving democracy, all culmin- ating in a_tragie world war. This, warwas not the outcome alone of the ; assassination of an Austrian prince, or the mad ambition of a German rul- . ‘er, but of the inevitable convergence of conflicting world forces, which wise and intelligent statesmanship should have foreseen. But somebody was asleep at the switch-only a. few isolate voices gave hint ot impending peril, and the world was plunged into unspeakable misery, which some kind of wise men might have averted. This is the harvest-titne of the past and tho seed-time of the future. Only in the perspective of history can the age be understood, but we must realize that we are treading in paths fraught with unsearchable significance tor man- _ kind. Special Series of Articles on "There is then," went on the speak- er. " a great task confronting us ttf- day and in its supreme form it is for us as individuals in the democracy of ours to time, to reform. reorganize, or reconstruct our industrial, financial, commercial and business relations with each other so that we shall have established a juster world tor mankind l in securing their daily bread. This is the one imperative question which will not be postponed, the wonder being that any other question should re- ceive consideration, so imminent is it. Whatever we learn, the hour has come when the education and culture of the world should place its strong arm and noble mind undu- the burden of the _ masses of the point. ._.‘ in“ the load 1 of misery; from the heart of the _ world. 's PEtEsIiyATT--PAST-FUTURE 'rq'?rrtrfrSWiE PROF. C. C. LAUGHER MUSIC Adam do la Halo By ,WV ','5, It’s Often the Small Things that Count It H Golden text:--"The angel ot the' Lord encampeth round about them:, that fear him." - Ps. 34:7. l Time-A. D. 44. Fi'aier-jerusalern.) Exposition-l. Peter in Prison and) the Church Praying Unto .God tor Him, 5. f l Peter seemed to be in a very peri- l V Ions position-securely locked in a , Roman prison, bound with two chains, between two soldiers, guarded ‘by six- l teen soldiers, keepers before the . door guarding the prison. Peter's ene- , mies seemed 'to have taken every pre- ", caution, but they made one fatal mis- I take, they left God out of their calcu- . , lations. There is "nothing too hard I tor the Lord" nor for the church that links'itself on to God by prayer. God often withholds His deliverance' and _ answers prayer at the last moment. l What should the church do? There is but one thing to do-pray. t They appealed the case from "Herod the King" to God, the King of kings. Pe- ter seemed to have faith that he would be delivered, for he was calmly and very soundly sleeping. Just as soon as he was thoroughly awake he said; "Now I know of a truth that the Lord did send forth His angel (just as I have been asking Him to) and de- livered me." Verse 5 teaches us just how to pray (1) "Unto God." Much so-called ”prayer is not unto God. There is no real coming into the pres- ence of God and actually presenting our petition to Him. There are vol- umes in these two short words, "unto God." (2) "Without ceasing." The it. V. gives the thought, but not the I full thought. The Greek word menus, , literally "stretched-out-ed-ly." it. is u vivid pictorial word that represents the soul on a stretch with intensity of desire (cf. Jer, 29-13). It is the' Iword used of Christ‘s prayer in if/s', lgarden, when in the intensity of is prayer His sweat was as it were great drops of blood falling down to the ground (Lu. 22:14; cf. Horn. 15:30; L'ol. 4: 12, why.) (3) “or the , I church." There is power in the pray- ‘er of the individual but there is added V po'wer, yes multiplied power, in united -’1)rayer(Mat.18:19,20;Ac.1:14:4: W24, 31). (4) "For him." They did not l wander all over the world in their l prayers that night; they concentrated ' their prayer on Peter and on getting l him out of prison. II. Prayer Answered and Peter Free, 6-11. God's angels are most likely to ap- PETER DELIVERED FROM PRISON 7! E (THUG? 130:! 'tt'1'i2 i'Lii. 'ith' ft Sit t my it ffit [1 T The Sunday School Lesson A Jolly old sailor, there once used to be, Who years before this had retired from the sea; \Vho now for a living was plying each day, A Terry-boat 'cross a wide waterway. T His stock for his trade was exceedingly small Two oars and a boat, I. think that was all. He loved the salt water and ne'er got enough Of tobacco, and pipe, and pinches of snuff. Professors of music, milkmen, and their wives, And tallors, and preachers who never told lies; Then there were men who had riches, men who were slaves, Some men who were wise, and some men who were knaves; Some full of good laughter, and some with a frown, Home came from the country. and some from the town; I couldn't name half, tor' there were so many, He row'd all across for the, sum of a penny. A college professor' of some learning and note, By chance one day stepped 'board the tishetuhan's boat; And quite an unusual thing for to see, There were none in the 'boat but sailor and he. : He sat himself down in a seat by the side, While the oars in the water did swiftly slide; A long pull, a strong pull, the boat glided out, With professor, his knowledge, also his gout. In silence both sat for a minute or more, No sound could be heard but the splash of the oar, When the learn'd looked up, his fare to attend, "1 suppose you‘re‘not much of a student friend?" _ "Oh yes," cried the other, "I studies the sea, Its ebbs and its flows and its current, that we V May sail safely over, without any harm, Whether stormy, choppy or when a dead calm. That's well 'quote the other, but now don't you see, There's the grrat things in life for you and me; For instance, the great universe up above, The planets and meteors, the things that we love; Ot the animal world of which we're a part, The millions of atoms from which life doth start; The tadpole, the beetle, their wonderful lives, And even the bees that are kept in their hives. Now tell me, my good friend, did you never read, Of the Greeks and the Trojans, or that gallant deed, Of Horatus holding the bridge with two more, While an army, upon them, of thousands did pour? Then there's the legend which may not be all true, Of Medea, who mad, slew her children two, [ And how later on she was seen overhead, In chariot, with dragons and her rhildren dead. Oh how men can lire in such " crude state Is a thing that has puzzled my wisdom of late; Is he satisfied thus to row to and fro, And just watch the folks as they come and they go It's a crime, nothing less, I count men insane, Who allow to lie dormant a. good healthy brain; I tell you my friend if you be such a, one, Just consider that half of your life is gone. The sailor said nothing bht sat in his seat, His hat on his head, and his shoes on his feet; Occasionally giving a. nod with his head, While puffing his pipe till his face turned red. The professor, silent a minute or two, l Was just going to start his sermon anew, When a, mighty big wave o'erturned the old boat, The option was theirs now, to sink, swim or float. A moment of nothing, then up bobbed the head tot the jolly old sailor with face rather red; He still had his hat, on his crown it did sit, His pipe in his mouth, which, of course, was not lit. With a strong, steady stroke he struck out for shore, He loved the salt water, I told you before, But not to be in it too long, don't you see, Old men and salt water don't always agree. But just as he struck out, he turned round his head, For learned by this time, from fright was nigh dead, With arms stretching upwards, "I'm sinking," cried he, "1've been under once and on'e only goes three." "Hi, hi," called the sailor, "hang unto a planet, Or bring out your chariot with dragons to man it. Say, Caesar, did you ever learn how to swim?" l "No, no," came the answer, quite firmly but dim. "Then with, no more discussion, my dear-learned one, Consider that the whole of your life is gone. It's all very well tor to study the stars, And know all about the Greeks and Trojans, But before you had entered a boat, Mr. Jim, It'd just been as well had you learned how to swim." l C W. KENYON, Mt. Dennis, Srftru' i"tStt"t5tff WSP), £1 pear in times of greatest: need. A heavenly light shinedln the gloomy cell. A prison cell is a dark and dis- mal place, but no place is more Iumi-. nous than a prison cell when an an- gel of the Lord stands there. God's angels are very unceremonious. "He smote Peter on the side and awoke him." Sharp blows are.often more loving than gentle lullabys. It is fre- quently necessary to rudely awaken a. man before he can be delivered from his peril. God's orders demand prompt obedience (v. 7). Peter could not take his chains off from himself but he could' gird himself and bind on his sandals when the chains were off (v. 8). What Peter could do for himself he must himself do. Peter had trot- l ten so much into the habit of obeying God that‘he did it even in his sleep, or at least when he was only half awake. It Peter had been like many of us he would have stopped long be- fore they got to the iron gate and de- bated with the angel how they were to get through it. When he got to the gate it "opened of its own accord," but not until they got to it. If we just obey God difficulties will disap- pear when we get to them, and usu- ally not until we do get to them. When they got to the place where Peter could take care ot himself, "sraight- way the angel departed from him." At last Peter knew of a truth that it was all real and he was not dreaming. The Lord had taken a. hand in the matter. When the Lord does take a hand, men's devices come to nothing (Prov. 21: 30). The "hand of Herod" is weak indeed when the Lord takes a hand. "The expectation of the people of the Jews" was from the mighty king, but Peter's expectation was from the Lord (PS. 62: 5). T The company had come together to pray for Peter's deliverance. God, as might have been expected, heard their) prayer and sent the answer around to the meeting (ct. Isa. 65:' 24).' But they were completely bewildered by theranswer Then it came. They were sure that it could not be Peter. Rho- da, must be crazy. If Rhoda is not crazy‘ then it must be his ghost and not Peter himself (v. 15). Perhaps they thought he had been executed in the' night. But Rhoda had faith, she seems to have been expecting Pe- ter. As soon as there was a. rap at the door she was on her feet and at the door listening. The moment she heard Peter's voice she knew it was he, it was Just what she expected. III. Believing Rhoda and the Un believing Church, 12-17. M: WV 391-. Att/t "esnue" i'ii. E , Even though they told her she was crazy, she stuck to it still. She was only a. "maid" (R.V.), but she is the only one in that praying company whose name the Holy Spirit has thought worthy to put on record. She . 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