Alexander Guilmant and Andre Pirro brought to daylight the works of our
seventeenth and eighteenth century organists. Pierre Aubry studied
mediaeval music. The admirable publications of the Benedictines of
Solesmes awoke at the _Schola_ and in the world outside it a taste for
the study of religious music. Michel Brenet attacked all epochs of
musical history, and produced, by his solid learning, some fine work.
Julien Tiersot began the history of French folk-song, and rescued the
music of the Revolution from oblivion. The publisher Durand set to work
on his great editions of Rameau and Couperin. Towards 1893 the study of
Music was introduced at the Sorbonne by some young professors, who made
the subject the theses for their doctor's degree.[239]
[Footnote 239: The first three theses on Music accepted at the Sorbonne
were those of M. Jules Combarieu on _The Relationship of Poetry and
Music_, of M. Romain Holland on _The Beginnings of Opera before Lully
and Scarlatti_, and of M. Maurice Emmanuel on _Greek Orchestics_. There
followed, several years afterwards, M. Louis Laloy's _Aristoxenus of
Tarento and Greek Music_ and M. Jules Ecorcheville's _Musical
Aesthetics, from Lully to Rameau_ and _French Instrumental Music of the
Seventeenth Century_, M.
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