CHAPTER VI
THE FIFTEENTH CENTURY
42. In General.—We now turn back to the unfolding art of
polyphony, which, from about 1400, was at length thoroughly
mastered and fully applied to religious uses. From this time
the mere invention and sharpening of implements gave place
to positive artistic production. Though few of even the best
works of the 15th century remain in use now, simply because
the musical world has entered paths then quite unimagined,
their real importance remains unquestionable. No just view
of any art is possible without conceding all honor to its
pioneers.
While the growth of secular song from the 12th century was widespread, the conditions of society indicated that the chief application of music as an art must be first in the Church, which was the only social institution of general stability. The age was dominated to a peculiar degree by religion. All social life revolved about ecclesiastical observances, and the best thought took its stimulus and guidance thence. Music, like the other arts, remained emphatically the protégé and servitor of the Church.
But in the new developments we find the centre of interest shifted to the extreme west of Europe, where secular and sacred song had full opportunity to react upon each other.
43. The Netherlands the New Art-Centre.—The headquarters
of progress is now found in the region north of the Seine in
France and west of the Meuse—the provinces of Flanders and
Brabant, with part of Burgundy.
The reasons for the prominence of this little section were largely political—its
comparative peace and the wisdom of its rulers. But they
were also economic, its many populous towns being already launched on
that fascinating career of commercial prosperity that presently made their
people the merchant-princes of western Europe. The Netherlanders now
began to display a civic and national spirit like that of the best modern
nations, and their interest in music was simply a part of their general
enterprise and independence.
