expounds _organum_ or discant, nearly a hundred years before the
appearance of the _Scholia Enchiriadis_ and the _Musica Enchiriadis_.
He also wrote a commentary on Martianus Capella, now in a Paris MS.
of the ninth century.

The eulogy of Giraldus Cambrensis, or Gerald Barry, who came to
Ireland in 1183, on Irish harpers and minstrels is too well known to
be repeated, but Brompton and John of Salisbury are equally
enthusiastic. Ground bass, or pedal point, and singing in parts, as
well as bands of harpers and pipers, were in vogue in Ireland before
the coming of the English. Dante, quoted by Galilei, testifies to the
fact that Italy received the harp from Ireland; and, it may be added,
the Irish harp suggested the pianoforte. In the Anglo-Norman ballad,
"The Entrenchment of New Ross"--in 1265--allusion is made to pipes
and flutes, and carols and dancing. Another poem, dating from about
1320, refers to Irish dances in a flattering manner.

John Garland (1190-1264) wrote a treatise on _Organum_, and outlined
a scheme of dividing the interval, which developed into
ornamentation, passing notes, and grace notes. The Dublin _Troper_ of
the thirteenth century has a number of farced Kyries and Glorias,
also a collection of Sequences. A Dublin _Processionale_ of the
fourteenth century contains the most elaborate form of the _Officium
Sepulchri_, with musical notation on a four-line stave--the
foundation of the Miracle Play of the Resurrection. Another Dublin
_Troper_ dates from 1360 and was used in St. Patrick's Cathedral. It
contains the hymn, "Angelus ad Virginem", alluded to by Chaucer. The
Christ Church Psaltery, about 1370, has musical notation and is
exquisitely illuminated. Lionel Power, an Anglo-Irishman, wrote the
first English treatise on music in 1395. Exactly a century later, in