(Vol. vi., pp. 99. 178.)
I have neither time nor inclination to expose all the errors and fallacies
of MR. MATTHEW COOKE'S article on "Gregorian Tones;" but I cannot resist
pointing out certain statements which are calculated to mislead the readers
of "N. & Q." in no trifling degree. The writer says:
"The most ancient account we have is, that St. Ambrose of Milan knew of
_four_ tones in his day, and that he added _four_ others to them; the
former being those termed authentic, the latter the plagal modes."
Now the fact is, that St. Ambrose, Bishop of Milan (A.D. 374 to 397), chose
from the ancient Greek modes four series or successions of notes, and
called them simply the first, second, third, and fourth tones; laying
completely aside the ancient heathen names of Doric, Phrygian, Lydian,
Ionic, &c. St. Gregory the Great, who governed the Christian Church from
A.D. 591 to 604, added the _four additional_ tones. These eight
ecclesiastical successions or scales, which still exist as such in the
music of the Roman Liturgy, are called Gregorian after their founder. Thus
the old Ambrosian chant is known at present only through the medium of the
Gregorian.