that either the organ was introduced to bellow the people down, or else the system was accepted and regulated; and to this is due the fauxbourdon. But in Italy and in the South of France it passed for a while beyond regulation. The musicians accepted it, and actually composed masses, in which the tenor alone sang the sacred words and the other parts performed folk-songs.
As Mr. Addington Symonds says:—
"The singers were allowed innumerable licences. Whilst the tenor sustained the Gregorian melody, the other voices indulged in extempore descant, regardless of the style of the main composition, violating time, and setting even the fundamental tone at defiance. The composers, to advance another step in the analysis of this strange medley, took particular delight in combining different sets of words, melodies of widely diverse character, antagonistic rhythms, and divergent systems of accentuation, in a single piece. They assigned these several ingredients to several parts, and for the further exhibition of their perverse skill, went even to the length of coupling themes in the major and the minor. The most obvious result of such practice was that it became impossible to understand what was being sung, and that instead of concord and order in the choir, a confused discord and anarchy of dinning sounds prevailed. What made the matter, from an ecclesiastical point of view, still worse, was that these
scholastically artificial compositions were frequently based on trivial and vulgar tunes, suggesting the tavern, the dancing-room, or even worse places, to worshippers assembled for the celebration of a Sacrament. Masses bore titles adopted from the popular airs on which they were founded; such, for example, as Adieu, mes amours, À l’ombre d’un buissonnet, Baise moi, Le vilain jaloux. Even the words of love ditties and obscene ballads were being squalled out by the tenor (treble?) while
