THE NEW SCHAFF-HERZOG
to be started by a solo voice, the choir then taking up the chant.
In so far as the Lutheran Church adopted psalmody, the traditional mode was followed to the extent that the antiphon was led by the choir master, or by boys (usually two) specially selected and trained. Then came the Psalm itself, rendered, as a rule, antiphonally verse by verse, the whole being concluded by the lesser doxology and the repetition of the antiphon in the choir. The singing was usually without organ accompaniment. Since psalmody thus became the function of the choir, it assumed the character of a performance in vocal music, rather than its proper place as an act of prayer in song on the part of the congregation. With the correct intuition that what the congregation prays in song must speak its own language by text and time alike, either versified psalters (Theodore Beza and Clement Marot in France, see Psalm Mf-looies, French; Burkhard Waldis, Ambrosius Lobwasser, and Kornelius Becker in Germany; Petrus Dathenus in Holland; William Damon, Xahum Tate, and Nicholas Brady in England; and Giovanni Diodati in Italy) or hymns of a popular character were prepared. In most Protestant regions these hymns came to be a substitute for psalmody, which was still further supplanted by simple reading of the Psalms for purposes of edification. See also Sacred Music. H. A. KosTLiNf.
Bibliography: On §§ 1-3: Early treatises are: Gennanus, De psalmodia; bono; Alcuin, De psalmorum usu; Teraldus, De varia psalmorum atque cantuum modulatione; Dionysius the Carthusian, De modo devote psallendi; J. Morinus, De psalmodicB bono (reproduced in Revue b&nMictine, xiv. 385 sqq., 1897); J. Bona, De divina psalmodia, chap. 19, Paris, 1663.
Consult further: A. H. Francke, Introduelio in Psalterium, Halle, 1734; J. van Iperen, Kerkelyke historie van het Psalm-gezang der Christenen, 2 vols., Amsterdam, 1777; G. McMaster, An Apology for the Book of Psalms, Philadelphia, 1818; A. Hahn, Bardesanes Gnosticus Syrorum primus hymnologus, Leipsic, 1819; F. Armknecht, Die heilige Psalmodie, Gottingen, 1855; F. J. Wolf, Ueber die Lais, Sequenzen und Leiche, Heidelberg, 1841; J. Holland, The Psalmists of Britain, 2 vols., London, 1843; G. Hood, A History of Music in New England; with biographical Sketches
. of Reformers and Psalmists, Boston, 1846; Otto Strauss, Der Psalter als Gesang- und Gebetbuch, Berlin, 1859; Joseph S. Cooper, ed., True Psalmody, Philadelphia, 1859; Austin Phelps, Hymns and Choirs, Andover, 1860; I. Taylor, The Spirit ofHeb'rew Poetry, London, 1861; F. E. C. Dietrich, De usu Psalterii in ecclesia Syriaca, Marburg, 1862; A. Hilgenfeld, Bardesanes der letzte Gnostiker, Leipsic, 1864;
N. Livingston, Scottish Metrical Psalter of 18S6, Glasgow, 1864; J. W. Macmeeken, History of the Scottish Metrical Psalters, Glasgow, 1872; F. Bo vet, Hietoire du Psautier des Jtglises rtformles, Neuchatel, 1872; J. J. Qoadby, Byepaths in Baptist History, London, 1871; E. O. Douen Clement Marot et le Psautier Huguenot, 2 vols., Paris, 1878-79; William Binnie, The Psalms: their History, Teachings and Use, London, 1870, new ed., 1886; J. S. Curwen, Studies in Worship- Music, 2 series, 3 vols., London, 1880-87; Mrs. A. M. Earle, The Sabbath in Puritan New England, New York, 1891; J. C. Haddon, Literary Materials of the First Scottish Psalter, in Scottish Review vii (1891), 1-32; C. G. McCrie, Public Worship in Presbyterian Scotland, Edinburgh, 1892; W. H. Parker, The Psalmody of the Church, its Authors, Singers and Uses, New York, 1892; R. Bell, The Story of the Scotch Psalms, in The Scotsman, new series, xix (1896-97), 234-40; J. W.Clokey, David's Harp in Song and Story, with Introduction by W. J. Robinson, a History of the Psalms in all Ages of the Church, Pittsburg, 1896; P. Wagner, Ueber den Psalmgesang im christlichen Altertum (in " Reports " of the International Scientific Congress of Catholics, at Freiburg, 1897); idem, Ursprung und Entwickelung der liturgischen Gesangsformen, Freiburg, 1901; P. Wagner, Ueber Psalmen und Psalmengesang im christlichen Altertum, in Romische Quartalschrift, xii (1898), 245-279; E. Soullier, Les Origines de la psalmodie, Paris, 1901; J. W. Thirtle, The Titles of the Psalms, 2d ed., London, 1905; idem, Old Testament Problems, ib. 1907; R. E. Prothero, The Psalms in Human Life, New York, 1905; C. A. Briggs, Commentary on the Psalms (introduction), ib. 1906; J. McNaugher (ed.), The Psalms in Worship, Convention Papers bearing upon the Place of the Psalms in the Worship of the Church, Pittsburg, 1907; D. F. Bonner, The Psalmody Question: An Examination of the alleged divine Appointment of the Book of Psalms as the exclusive Manual of Praise, New York, 1908; A. R. Whitham, Christian Use of the Psalter, London, 1908; T. Young, The Metrical Psalms and Paraphrases, ib., 1909.
On §§ 4-6, consult, besides the rather abundant literature cited under Sacred Music: G. G. Nivers, Dissertation sur le chant gregorien, chap, xiii., Paris, 1683; K. Calvor, De musica ac sigillatim de ecclesiastica eoque spectantibus organis, chap, iii., Leipsic, 1702; F. Armknecht, Die heilige Psalmodie, oder der psalmodierende Kbnig David, Gottingen, 1855; L. Schoberlein, Schatz des liturgischen Chor- und Gemeindegesangs, ib. 1865; J. W. Lyra, Die liturgischen Altarweisen des lutherischen II auptgottesdienstes, ib. 1873; idem, Andreas Ornithoparchus und dessen
Lehre von den Kirchenaccenten, pp. 19 sqq., 31 sqq., Gutersloh, 1877; idem. Dr. M. Luthers Deutsche Messe und Ordnung des Gottesdienstes in ihren liturgischen und musikalischen Bestandteilen, ib. 1904; R. Succo, Zehn Psalmen nach den Melodien der Psalmtone, ib. 1895; F. Hommel, Antiphonen und Psalmtone, ib. 1896; E. Clop des Sonrinieres, Le Chant dans I'ordre siraphique, Solesmes, 1900; A. J. Duclos, Introduction a Vexicution du chant gregorien d'apres les principles de Solesmes, Rome, 1904; C. Ginisty, Echos grigoriens des deux centenaires, Paris, 1904; R. Molitor, Der gregorianische Choral als LUuroie und Kunst, Frankfort, 1904; C. Vivell, Der gregorianische Gesang, Graz, 1904; G. Houdard, La Cantilene romaine, Paris, 1905.
I. Introduction. Names (§ 1). Classification (§ 2). II. Purpose.
Relation to Worship (§ 1). Original and Adapted Purpose
(§2). Varied Voices of the Psalms (§3). III. History of the ( 'ollection.
Indications of Early Smaller Collections (§ 1).