Edward Dickinson - Music in the History of the Western Church

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Brinton, The Religions of Ancient Peoples.

Brown, The Fine Arts .

Spencer, Professional Institutions: Dancer and Musician .

Lang, Myth, Ritual, and Religion .

A full account of ancient Assyrian music, so far as known, may be found in Engel’s Music of the Most Ancient Nations .

“Long ago they [the Egyptians] appear to have recognized the principle that their young citizens must be habituated to forms and strains of virtue. These they fixed, and exhibited the patterns of them in their temples; and no painter or artist is allowed to innovate upon them, or to leave the traditional forms and invent new ones. To this day no alteration is allowed either in these arts, or in music at all.” – Plato, Laws , Book II., Jowett’s translation.

Chappell, History of Music .

Erman, Life in Ancient Egypt , translated by Tirard.

See Plato, Republic , book iii.

Ambros, Geschichte der Musik .

Gen. xxxi. 27.

Ex. xix.

Jos. vi.

Num. x. 2-8.

2 Chron. v. 12, 13; xxix. 26-28.

2 Chron. xiii. 12, 14.

1 Sam. x. 5.

Chappell, History of Music , Introduction.

For extended descriptions of ancient musical instruments the reader is referred to Chappell, History of Music ; Engel, The Music of the Most Ancient Nations ; and Stainer, The Music of the Bible .

2 Sam. vi. 5.

2 Sam. vi. 14, 15.

1 Chron. xvi. 5, 6.

1 Chron. xxiii. 5.

1 Chron. xxv.; 2 Chron. v. 12. See also 2 Chron. v. 11-14.

2 Chron. xxix. 25-30.

Ezra iii. 10, 11.

Neh. xii.

Synagogue Music , by F. L. Cohen, in Papers read at the Anglo-Jewish Historical Exhibition , London, 1847.

Ps. cxiii-cxviii.

Eph. v. 19; Col. iii. 16.

1 Cor. xii. and xiv.

Schaff, History of the Christian Church , I. p. 234 f.; p. 435.

1 Cor. xiv. 27, 28.

Chappell, History of Music .

Among such supposed quotations are: Eph. v. 14; 1 Tim. iii. 16; 2 Tim. ii. 11; Rev. iv. 11; v. 9-13; xi. 15-18; xv. 3, 4.

Constitutions of the Apostles , book. ii. chap. 57.

Hefele, History of the Councils of the Church , translated by Oxenham.

St. Augustine, Confessions .

Klesewetter, Geschichte der europäich-abendländischen Musik .

For an exhaustive discussion of the history of the Te Deum see Julian’s Dictionary of Hymnology .

Hymns of the Eastern Church , translated, with notes and an introduction by J. M. Neale, D.D.

Lanciani, Pagan and Christian Rome .

St. Augustine, Confessions , book ix. chap. 7.

St. Augustine, Confessions , book ix. chap. 6.

Gibbons, The Faith of our Fathers , chap. 24.

Caecilien Kalendar (Regensburg), 1879.

Wiseman, Four Lectures on the Offices and Ceremonies of Holy Week as performed in the Papal Chapels, delivered in Rome, 1837 .

Jakob, Die Kunst im Dienste der Kirche .

Sermon by Dr. Leonhard Kuhn, published in the Kirchenmusikalisches Jahrbuch (Regensburg), 1892.

O’Brien, History of the Mass .

Gibbons, The Faith of our Fathers .

The musical composition commonly called a Mass – such, for instance as the Imperial Mass of Haydn, the Mass in C by Beethoven, the St. Cecilia Mass by Gounod – is a musical setting of those portions of the office of the Mass that are invariable and that are sang by a choir. These portions are the Kyrie, Gloria, Credo, Sanctus and Benedictus, and Agnus Dei. The musical composition called Requiem, or Mass for the Dead, consists of the Introit – Requiem aeternam and Te decet hymnus, Kyrie eleison, Dies Irae, Offertory (Domine Jesu Christe), Communion – Lux aeterna, and sometimes with the addition of Libera me Domine. These choral Masses must always be distinguished from the larger office of the Mass of which they form a part.

It is worthy of note, as a singular instance of the exaltation of a comparatively unimportant word, that the word Mass, Lat. Missa, is taken from the ancient formula of dismissal, Ite, missa est.