who wrote thirty books of madrigals. About that time Luther, too, "arranged the German mass." In the next century we have the distinguished composer Palestrina who, though originally a layman, was elected to priestly functions; and the priest, Allegri, a chorister and composer. At later dates lived Carissimi, chapelmaster and composer; Scarlatti also maestro di capella. France presently produced Rameau, church-organist; and Germany two of its greatest composers—Handel first of all capellmeister in Hanover and then in England; and Bach, who was primarily an organist, and who, "deeply religious," developed "the old Church modes" into modern forms. Among other leading musicians of the eighteenth century were Padre Martini, and Zingarelli, both chapel-masters; and there flourished during the same period the Abbé Vogler, and Cherubini, a chapel-master. To all which cases abroad should be added the cases at home. Beginning in 1515 with Tallis "the father of English Cathedral Music," we find him called "gentleman (chorister) of the Chapel Royal." In the same century comes Morley, chorister, "epistler," and "gospeller," who, thus semi-priestly, composed secular music; Byrd, a similar functionary similarly characterized; Farrant, also clerical in character; and a little later Gibbons, an organist but largely a writer of secular music. In the next century we have Lawes, "epistler" of the Chapel Royal composer of sacred music; Child, chorister, organist, and sacred composer; and Blow, the same. Then come the four generations of Purcells, all connected with the Church as choristers and organists; Hilton, organist and parish clerk, and writer of secular as well as sacred music; and Croft, organist, chief chorister, and composer, secular and sacred. And so with later composers, Boyce, Cook, Webbe, Horsley, who, still in part Church-functionaries, are chiefly known by their songs, glees, and catches.
We must not, however, ignore the fact that though out of the cultivation of music for purposes of worship, music of the more developed kinds originated, there independently grew up simple popular music; for from the earliest times emotions excited by the various incidents of life have prompted spontaneous vocal expression. But recognition of this truth consists with assertion of the larger truth that the higher developments of music in modern times, arose out of elaborated religious worship, and were for a long time the productions of the priest-class; and that out of this class, or semi-secularized members of it, there were eventually differentiated the composers and professors of secular music.
One further differentiation which has accompanied the last has to be noted. The musician's art, developed by the priestly class in the service of the church, and gradually influencing the simple secular music existing among the people, began to evolve
