In those four steps you have the history of music up to the close of the sixteenth century. Away back in the twelfth century we saw as through a glass darkly a horde of students thronging the streets of Paris and swallowing, in wild eagerness, all kinds of learning in scraps and lumps, with little order and less system. The Cathedral of Notre Dame and the University of Paris, the former glorified throughout Europe as the rose of Christendom, the latter celebrated even by Pope Alexander I., as "a tree of life in an earthly paradise," were their cloister and their shrine. Out of this motley multitude there breaks upon our vision one sober, industrious musician, Jean Perotin, striving to find the secret of law and order for tones. Evidently a man of method, an orderly, peaceable, mechanical, plodding sort of person was this Perotin, and he left us "imitation." This his successors took up and in a few short years developed double counterpoint. Five more centuries rolled away and counterpoint had passed the period of mechanical development and reached the loftiest heights of ecclesiastical expression. Orlando Lasso and Palestrina built great Gothic temples of music that will stand longer than Westminster Abbey. But still counterpoint meant canon and fugue. Then came the birth of opera. The labors of the Netherlanders ended, and music saw that her mission was to sing not alone man's love of God, but his love of woman, his fear, his joy, his despair--in short the unspeakable emotions of his boundless soul.
So the old mathematical canon grew into a new kind of counterpoint, undreamed of by Ockeghem and Josquin, a free untrammeled counterpoint, which breaks upon us to-day in all varieties of works from the humblest to the greatest. Listen to Delibes' "Naila" waltz. There never was a truer piece of counterpoint written in the days of Josquin than that violoncello melody that glides in beneath the principal theme of the first strings, like a new dancer come upon the ball room floor. Turn to the wonderful prelude to "Die Meistersinger." Hear the melody that voices the love of Walter and Eva surging through the strings against the stiff and stately proclamation of the Masters' dignity by the bass. The two melodies proceed together. It is not canon, it is not fugue; but it is counterpoint--even Dr. Johannes de Muris, of the Paris University, would have passed it as _contrapunctus a penna_. But it is modern counterpoint, not for itself, but for an ulterior purpose, the one glorious purpose of modern music, to reveal the soul of man. The music of to-day could not sustain its existence through twenty consecutive measures had it not been for the labors of those cloistered scholiasts of the middle ages, building note against note, like ants heaping up sand. Like the artist that rounded St. Peter's dome, they builded better than they knew, and left an inheritance which grew to fabulous wealth in the hands of their giant heirs Bach, Handel, Haydn, Mozart and Beethoven. The very body of Wagner's music is counterpoint, free counterpoint, not canon and fugue. And it is counterpoint with a soul in it, for every time two or more themes sound simultaneously the orchestra becomes so eloquent with rich meanings that its utterance throbs through the air like the magnetism of love. It was a happy time for the tone art when in the Autumn days of the fifteenth century the folk-song wooed and won the fugue.