Why medieval cathedral singers were once treated like gravediggers

Schooling Singers in the Cathedrals - Professor Christopher Page · 47:25 · Video: Gresham College · Watch at the source

In short: In the great metropolitan churches of the West, the men voicing divine words occupied a surprisingly low social rung. While readers required formal induction and proof of character, singers often entered the choir without references or even a codified rite of admission.

In the early medieval period, the social status of a church singer was strikingly humble. According to Professor Christopher Page, a singer in a church of 450 to 650 people was appointed in much the same manner as a gravedigger. They were often considered too lowly to even merit the bishop's direct attention. While a reader's appointment involved a public ceremony and reports on their reputation for honest living, singers could be admitted without any formal references or official rites of induction.

This lack of status stood in stark contrast to the intellectual traditions of the era. In sixth-century Italy, the scholar Boethius viewed the study of music as a rational, noble pursuit, far superior to mere performance. To Boethius, those who simply sang or played instruments lacked any understanding of the intellectual basis of music theory.

He viewed such performers as being in a servile position; in many cases, the instrumentalists and singers he encountered were actually slaves, possessing no more legal standing than domestic property. Despite this social divide, the importance of musical practice grew within the Christian tradition. While the elite focused on the theory of music, the Church embraced the spiritual utility of psalmody. Early commentators noted that the sweetness of music could penetrate the heart and dispel the sternness of the Law. This practice fostered a 'psalmodising brotherhood,' where the surrender of individual voices to a common chorus served as a powerful symbol of the unity of the Church.

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