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with three comprehensive ideas of musical expression
which have succeeded each other chronologically, and
which divide the whole history of modern music into
clearly marked epochs. These epochs are those (1) of
the unison chant, (2) of unaccompanied chorus music,
and (3) of mixed solo and chorus with instrumental
accompaniment.
1. The period in which the unison chant was the
only form of church music extends from the found-
ing of the congregation of Rome to about the year
1100, and coincides with the centuries of missionary
labor among the Northern and Western nations, when
the Roman liturgy was triumphantly asserting its au-
thority over the various local uses.
2. The period of the unaccompanied contrapuntal
chorus, based on the mediæval key and melodic systems,
covers the era of the European sovereignty of the
Catholic Church, including also the period of the
Counter-Reformation of the sixteenth century. This
phase of art, culminating in the works of Palestrina in
Rome, Orlandus Lassus in Munich, and the Gabrielis
in Venice, suffered no decline, and gave way at last
to a style in sharp contrast with it only when it had
gained an impregnable historic position.
3. The style now dominant in the choir music of
the Catholic Church, viz., mixed solo and chorus music
with free instrumental accompaniment, based on the
modern transposing scales, arose in the seventeenth
century as an outcome of the Renaissance seculariza-
tion of art. It was taken up by the Catholic, Lutheran,
and Anglican Churches, and was moulded into its

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Publication Information: Book Title: Music in the History of the Western Church: With an Introduction on Religious Music among the Primitive and Ancient Peoples. Contributors: Edward Dickinson - author. Publisher: Charles Scribner's Sons. Place of Publication: New York. Publication Year: 1902. Page Number: 93.
    
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