HYMN TUNES. The authentic history of hymn tunes begins with Hilary of Poitiers, who died in 36S. His music was simpler than that of the ordinary jubilations. each syllable of the text being given but one, or. at the most, two musical tones. Saint Ambrose (died 397) and, later. Pope Gregory the Great ((lied OH). in trodueed radical reforms in the style and singing of hymns (see ASIIIROSIAN CIIANT; ernEGORIAN CHANT), and the impetus given by them to the plain-chant (q.v.) carried that form along for centuries. It is noteworthy that, even so early, in many cases the author of the words also wrote the aceompanying melodies. With the growth of polyphonie music these old chants were used a, (-anti f( roll upon which the more elaborate forms of mnsses and motets were constructed. Under Pnlestrina (q.v., died 1594) the polyphonic hymn reached its highest development. Around the historic plain-chants he embroidered a wealth of contrnpuntal deviees, yet preserving throughout their original smoothness and beauty. The diffi culty of the music is the one objection against their more general use.
Meanwhile a reaction had arisen against the heavy, sombre music which had heretofore been the sole style of hymn tunes. Between the acts of Mystery Plays, and especially at those given at Christmas time, it was customary to sing, songs whose general trend was religious. but whose nmsie was light and popular. The Reformation was imminent and Luther appre ciated and seized the opportunity for an innova tion in Church musie. t.0 adapted sonic of these popular tunes to German translations of Latin hymns, wrote some original and the whole was set. for four. live. or six voices by Johannes Walther. Most important in ties connection is the fact that for the first time it the history of hymn tunes the music was rhythmic. Ibis was the beginning, of the chorale (q.v.), tcl u^h be came immediately and widely popular. Tin v •xt great period in Germany begins with :Johann 4 bastian Bach (16S5-1750), who. while ing the rhythmic element, at the same time Je veloped the structural side of the music. After him the decline was rapid.
In France Clement Marot (died 1544) and Theodore Beza (died 1605) wrote metrical psalms which were set to popular music. Goudi mel (1505-72), the earliest national composer, wrote many hymn tunes, but their difficulty ren dered negative their excellence, and they were supplanted by the simpler arrangements of Claudia le Jenne (died 1600). Of the later
French hymn-writers the most important was Cesar Malan. of Geneva (1787-1864), who com posed melodies to his own words. In England the history of hymn tunes follows much the same line as on the Continent. There were no hymns proper until the eighteenth century; before that time Tallis (died 1585), Byrd (died 1623), Par sons (died 1570). etc., set psalms to revised forms of old Continental tunes, and in 1621 "the Whole Booke of Psahnes" was published. The music of this edition was arranged largely by Thomas Ravenscroft. the tunes having been set by Bennet. Morley, Tallis. etc. With Orlando Gibbons (1583-1625) the polyphonic school in England came to an end, and the later composi tions of Carey (died 1743), Wainwright (1792 1854), and their successors were poor in com parison. The reforms of the Commonwealth did nothing for Church music, and it was not until Purcell (1658-95). the greatest native English composer, that a lighter, more varied note was introduced into hymn tunes. The hymns of Watts (1674-1748) marked the beginning of the popular epoch, and those of Charles Wesley (1757-1S34) its high-water mark. In recent years choral music and hymn tunes have drawn, more closely together, to the immeasurable ad vantage of the latter. In England especially. Dykes (1823-76), Barnby (1S38-96), Stainer (1840— ), and others have all written excellent music. At the same time, however, many hymns have been written in England and the United States whose music depends wholly for its suc cess on its catchy character. Most representative of this class are the hymns of Moody and Sankey. For a more detailed account of hymn tunes, con sult: Dickinson. Music in the History of the Western Church (New York, 1902), which con tains an exhaustive bibliography of the subject ; Mees, Choirs and Choral Music (New York, 1001) ; also Butterworth. Story of the Tunes (New York. 1890) : Love, Scottish Church Music (London. 1891) Curwen. Studies in Worship Music (London, 1894) ; Cowan and Love. Music of the Church, Hymnary and Psalter in Metre, Its Sources and Composers (London, 1901).