Ambrose
Music

Ambrose's writings extend past literature and into music, where he was an important innovator in early Christian hymnography. His contributions include the "successful invention of Christian Latin hymnody", while the hymnologist Guido Maria Dreves designated him to be "The Father of church hymnody". He was not the first to write Latin hymns; the Bishop Hilary of Poitiers had done so a few decades before. However, the hymns of Hilary are thought to have been largely inaccessible because of their complexity and length. Only fragments of hymns from Hilary's Liber hymnorum exist, making those of Ambrose the earliest extant complete Latin hymns. The assembling of Ambrose's surviving oeuvre remains controversial; the almost immediate popularity of his style quickly prompted imitations, some which may even date from his lifetime. There are four hymns for which Ambrose's authorship is universally accepted, as they are attributed to him by Augustine:

Each of these hymns has eight four-line stanzas and is written in strict iambic tetrameter (that is 4 × 2 syllables, each iamb being two syllables). Marked by dignified simplicity, they served as a fruitful model for later times. Scholars such as the theologian Brian P. Dunkle have argued for the authenticity of as many as thirteen other hymns, while the musicologist James McKinnon contends that further attributions could include "perhaps some ten others". Ambrose is traditionally credited but not actually known to have composed any of the repertory of Ambrosian chant also known simply as "antiphonal chant ", a method of chanting where one side of the choir alternately responds to the other. Although Ambrosian chant was named in his honour, no Ambrosian-chant melodies can be attributed to Ambrose. With Augustine, Ambrose was traditionally credited with composing the hymn " Te Deum ". Since the hymnologist Guido Maria Dreves in 1893, however, scholars have dismissed this attribution.
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