Several interesting points may be seen in this barbarous composition:
First, the imitation by the second tenor of the phrase given by the
first tenor. This is evidently intentional, as this phrase occurs three
times in the course of the composition and is imitated in the same
way every time. This same phrase occurs near the end of the bass part
(which is the theme or _Cantus_) and it _may_ have been chosen for
this very reason for use in the Discant parts. Secondly, the initial
and final chords, viz.: root, fifth and octave—are familiar to all
students of Strict Counterpoint. Writers as late as Cherubini call this
combination the best for beginning and ending Three Part Counterpoint.
=Development Determined by the Church=.—The Church and its beliefs
were responsible for this singular yet not illogical development.
Considering the peculiar monastic conditions, the evolution could not
be expected to occur along lines which it would have taken had it been
developed among the people and under the influence of the Folk-song.
The learning of these monks was largely in church lore, and this, with
a desire for a peculiar church music, led to the _discarding_ of the
natural and vivacious _melodies_ and _rhythms_ of the _people_, for the
scientific and ascetic music and discipline of monastic religion. The
one great advantage of this period to modern music was the constant
association with the principal intervals of the scale; an association
which may be partially responsible for our modern Tonic and Dominant
harmonies. On the whole, this period represents the marking out of the
lines of musical development for the eight centuries following, though
the men responsible for this beginning could hardly have known or
appreciated the impetus which was to be given polyphonic music by the
invention of their simple devices to accommodate voices of different
compass and to secure concerted singing.