SACRED HEART. 410 SACRED MUSIC. languages and circviliiteil tlnoughout the world. Pius IX. granted the association many indul- gences and the Congregation of Bishops and Kegulars at Konie ai)provod of its statutes in 18(i(i. After this it grew very rajjidly. Leo XIII. revised its statutes in ISilU. At present there are througliout the world over 00.000 local cen- tres aggregated to the Apostleship of Prayer and its membership is estimated at 30.000.000. There are 0000 local centres in the United States and about 4,000,000 associates. The purpose of the organization is by prayer to unite with the ef- forts of missionaries throughout the world for the conversion of souls and for the betterment of true believers. A special director for each country is appointed and the Mcsxcngcr of the ^(icrcci Ilrarl appears in about thirty different editions, printed in fifteen languages. Consult: Manual of the Apostteship of Prayer (33d ed., New York, 1900) ; Rami6re, Apostlcship of Prayer (Kng. trans., ib., 1800). SACRED HEART OF JESXJS, Feast of the. A festival of the Kouiau Catholic Church cele- brated on the Friday after the octave of Corpus Christi. The feast of the Sacred Heart originated in the latter half of the seventeenth century, and ■was established because of certain revelations made to JIarguerite Marie Alacoque, a French nun of the Order of the Visitation, who lived at Parayle-Monial in Burgundy. She related that the Saviour appeared to lier on a numlicr of occa- sions, showed lier His wotmded heart, and liade her institute a new office in His honor. The devo- tion to the Sacred Heart was gradually propa- gated in France, and at length was approved by Pope Clement XII. in 1732 and more formally in 1730. and by Clement XIII. in 1765. The spread of the Apostleship of Prayer in League with the Sacred Heart of Jesus (see Sacked Heart, League of) lias given a fresh impulse in recent years to this devotion. In 1899 Leo XIII. lent the full weight of his supreme approbation to the devotion by consecrating the whole Chris- tian Church in a special manner to the Sacred Heart. Consult Gallifet, The Adorable Heart of Jesus (New York, 1887). SACRED MUSIC. From the very earliest times music has been connected with the religious cult of all nations. The part it has played in the religions of the Eg>-ptians, the Greeks, and the Hebrews is discussed under Egyptian Music, Greek Mosic, and Hebbew Music; the present article treats merely of sacred music as it is identified with Christianity. The early Christian Church adopted its music from the Hebrews. Be- sides the liturgy hymns were also used. When, tovi'ard the en(l of the fourth century, antiphonal singing was introduced in the rendering of the psalms, they were regarded as a class by them- selves, because two choruses answered each other; whereas in the hymns the entire chorus sang all the verses. Psalms were always pre- ceded by an antiphon. a sliort piece written in the same tone as the following psalm. Har- mony at that time was unknown and the music consisted of a kind of recitation known as 'plain chant.' About the end of the fourth century Saint Ambrose collected the various chants used in the Church, arranged them systematically and promulgated certain rules for their proper execu- tion. He is also credited with the introduction of the four authentic modes. (See jModes.) Afterwards the Hellenic popes added many new hymns and distributed the various chants so as to cover the services for the entire Chnrcli year. They likewise increased the modes by the addi- tion of the four plngal modes. When (lolyplionic music arose, composers selected their texts en- tirely from the liturg>' of the Church. The old jilain chant melodies became the cantus finnns. But soon popular melodies were introduced. The famous vesper canticle Magni/icat received its first polyphonic setting probably by .Josciuin dcs Pi?s (d. 1500). After the invention of the discant (see Music, Schools of Composi- tion) it was cu.stomary to sing the alternate verses in plain chant and fauxliourdon. Jnsquin and the earlier polyphonic masters, including even Palestrina, were intiuenced by this custom to such an extent that they retained the plain chant for the odd verses and composed only the even verses. Bach's Mass in B minor marks the modern method of the composition of masses. Modern masses no longer exhiliit cliaraeteristies of schools, but of individual composers. Although we have polypboiiie masses dating from the four- teenth century, the mass for the dead, the rcf/««Hi, attracted the attention of composers much later. The first great polyphonic requiem was written by Palestrina. The character of some modern reciuiems approaches that of the oratorio. In connection with the development of the mass wc find the form of the motet, first cultivated by Ue Vitry about 1300. The text was always Latin selected from the offices of the Church. When the school of the Netherlands (see Music, Schools of Composition) was at its height, every composer of note wrote one or more masses, each bearing the name of the popular melody which was used as a cantus. In the course of time this practice led to abuses, and seriously detracted fi-om the dignity of the Cliureh style, so that the Council of Trent appointed a commission of car- dinals and musicians of the Papal Chapel to re- store Church music to its original purity. At no time had the plain chant been discontinued. In fact, it was the only music that had ever been officially sanctioned by the Church. At this crisis Palestrina came forward and composed three masses in the polyphonic style. The com- mission decided that the contrapuntal art was not incompatible with the dignity and simplicity essential to Church music. Palestrina continued to comjiose masses in this style and also set to music the services used during Holj' Week, the Lamentation and Improperia. All these works of Palestrina and the other masters of the Ro- man school were written strictly a capclla. i.e. without instrumental accompaniment. Tliis style has ever since been known as the Palestrina style. The masters of the Neopolitan school in- troduced the orchestra into the Churcli, and thus brought about a new style in which the individ- uality of the composers found greater freedom of expression. See Music, Schools of Composi- tion. The Reformation WTought a great change in the forms of Church music. The introduction of congregational singing gave rise to the chorale. At first popular melodies were taken and adapted to German words ; then composers began to write original melodies. In England Protestant com- posers took the form of the motet and wrote their music to English words. Thus arose the
