entirely novel principle of tonality, containing vocal
solos as well as choruses, and supported by a free instru-
mental accompaniment. These two contrasted phases
of religious music seem to have nothing in common so
far as technical organization is concerned, and it is per-
fectly evident that the younger style could not have
been evolved out of the elder. Hardly less divergent
are they in respect to ideal of expression, the ancient
style never departing from a moderate, unimpassioned
uniformity, the modern abounding in variety and con-
trast, and continually striving after a sort of dramatic
portrayal of moods. To a representative of the old
school, this florid accompanied style would seem like an
intruder from quite an alien sphere of experience, and
the wonder grows when we discover that it sprung from
the same national soil as that in which its predecessor
ripened, and was likewise cherished by an institution
that has made immutability in all essentials a cardinal
principle. Whence came the impulse that effected so
sweeping a change in a great historic form of art,
where we might expect that liturgic necessities and
ecclesiastical tradition would decree a tenacious con-
servatism? What new conception had seized upon the
human mind so powerful that it could even revolution-
ize a large share of the musical system of the Catholic
Church? Had there been a long preparation for a
change that seems so sudden? Were there causes
working under the surface, antecedent stages, such
that the violation of the law of continuity is apparent
only, and not real? These questions are easily answered
if we abandon the useless attempt to find the parentage

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