INDEX
[A] [B] [C] [D] [E] [F] [G] [H] [I] [J] [K] [L] [M] [N] [O] [P] Q [R] [S] [T] [U] [V] [W] X Y Z
A
Act of Supremacy, [325], [328], [329]. Agathon, pope, [110]. Agnus Dei, [90]. Ahle, [266]. Ainsworth, psalm-book of, [376]. Altenburg, [266]. Ambrose, St., [58]; introduces psalm singing into Milan, [66]. Anerios, the, [133], [168]. Anthem, Anglican, [346]; its different forms, [348]; periods and styles, [353]. Aria, Italian, origin of, [190]; its supremacy in the seventeenth and eighteenth centuries, [191]; its introduction into church music in Italy, [193], [269]; influence upon German church music, [267], [269], [318]; adoption into the cantata, [273]; into the Passion music, [276], [280]. Art, Catholic conception of religious, [70], [174]; Calvinist and Puritan hostility to art in connection with worship, [363], [369], [372]. Asor, [23]. Assyrians, religious music among the, [12]. Attwood, [354]. Augustine, missionary to England, [117]. Augustine, St., quoted, [51], [67]; traditional author, with St. Ambrose, of the Te Deum, [58]; effect of music upon, [372].
B
Bach, Johann Sebastian, his relation to German church music, [282], [287], [289]; the Bach family, [284]; Bach’s birth, education, and official positions, [286]; condition of German music in his early days, [287]; his organ music, [290], [292]; fugues, [292]; choral preludes, [295]; cantatas, [300]; style of his arias, [304]; of his choruses, [305]; Passion according to St. Matthew, [307]; compared with Händel’s “Messiah,” [307]; its formal arrangement and style, [308]; performance by Mendelssohn, [312]; the Mass in B minor, [204], [211], [312]; national and individual character of Bach’s genius, [314]; its universality, [316]; decline of his influence after his death, [317]. Bach Society, New, [322]. Bardi, [188]. Barnby, [355], [383]. Battishill, [354]. Beethoven, his Mass in D, [119], [200], [204], [210]. Behem, [229]. Benedictus, [88]. Bennett, [355]. Berlioz, his Requiem, [199], [200], [204]. Beza, [360]. Bisse, quoted, [338]. Boleyn, Anne, [326]. Bonar, [381]. Boniface, [118]. Bourgeois, [360]. Boyce, [354]. Brethren of the Common Life, [234]. Bridge, [355]. Buxtehude, [292]. Byrd, [350].
[420]
C
Caccini, [188], [189], [190]. Calvin, his hostility to forms in worship, [358], [363]; adopts the psalms of Marot and Beza, [360]. Canon of the Mass, [89]. Cantata, German church, [270], [272]; origin and development, [273]. See also Bach. Cartwright, his attack upon the established Church, [367]. Cary sisters, [381]. Cassell, quoted, [45]. Catherine, wife of Henry VIII., [326]. Celestine I., pope, [110]. Chalil, [22]. Chant, nature of, [40], [97]; the form of song in antiquity, [40]; its origin in the early Church, [51]; its systematic culture in the Roman Church, sixth century, [67]. Chant, Anglican, [336], [340]; Gregorian movement in the Church of England, [342]; first harmonized chants, [345]. Chant, Catholic ritual, epoch of, [93]; liturgic importance, [94], [99], [405]; general character, [95], [104]; different classes, [103]; rhythm, [105]; rules of performance, [105]; origin and development, [99], [109]; key system, [113]; mediaeval embellishment, [115]; extension over Europe, [117]; legends connected with, [122]; later neglect and revived modern study, [126]; use in the early Lutheran Church, [260]; “Gregorians” in the Church of England, [337], [341]. Charlemagne, his service to the Roman liturgy and chant, [118]. Charles II., king of England, his patronage of church music, [352]. Cherubini, mass music of, [204], [213]. Choral, German, sources of, [260]; at first not harmonized, [262]; later rhythmic alterations, [263]; its occasional adoption by Catholic churches, [264]; its condition in the seventeenth century, [265]; decline in the eighteenth century, [266]; choral tunes in the cantata, [274], [302]; in the Passion music, [280]; as an element in organ music, [290], [294]; use in Bach’s St. Matthew Passion, [308], [309], [311]. Choral, or Cathedral mode of performing the Anglican service, [333]. Clement of Alexandria, quoted, [54]; his song to the Logos, [56]. Clement VII., pope, [326]. Colet, [327]. Common Prayer, Book of, [328], [330]; musical setting by Marbecke, [337], [369]. Communion, [90]. Congregational singing, its decline in the early Church, [48]; vital place in Protestant worship, [223]; in Germany before the Reformation, [228] et seq.; not encouraged in the Catholic Church, [240]; in the Church of Luther, [242]; among the Puritans, [376]. Constantine, edicts of, [62]. Constitutions of the Apostles, [47]. Cosmas, St., [60]. Counterpoint, mediaeval, growth of, [140], [148]. Counter-Reformation, [156], [264]. Cowper, [381], [387]. Coxe, [381]. Cranmer, [328], [329], [331], [337]. Credo, [88]. Croce, [168]. Cromwell, [369], [371], [372]. Crotch, [354]. Crüger, [266]. Curwen, quoted, [343]. Cymbals, [24], [26].
[421]
D
Dance, religious, its prominence in primitive worship, [3]; twofold purpose, [5]; among the Egyptians, [6]; among the Greeks, [6]; in early Christian worship, [8]. David, his contribution to the Hebrew ritual, [24]. Day’s psalter, [345]. Deutsche Messe, Luther’s, [245], [247]. Dies Irae, [60]. Discant, first form of mediaeval part writing, [138]. Dubois, [217]. Durante, [213]. Dvořák, his Requiem, [204], [219]; Stabat Mater, [219]. Dykes, [383].
E
Eccard, [271]. Eckart, [229], [231]. Edward VI., king of England, [327], [328]. Egyptians, religious music among the, [12]. “Ein’ feste Burg,” [251], [252], [253], [259], [264], [302]. Ekkehard V., quoted, [121]. Elizabeth, queen of England, [327], [329], [332], [358]. Ellerton, [381]. Ephraem, [57]. Erasmus, [327]. Eybler, [207].
F
Faber, [381]. Faunce, quoted, [403]. Female voice not employed in ancient Hebrew worship, [29]; similar instances of exclusion in the modern Church, [30]. Festivals, primitive, [4]; in the early Church, [65]. Flagellants, [231]. Folk-song, as possible origin of some of the ancient psalm melodies, [31]; German religious, before the Reformation, [228] et seq.; German secular, transformed into religious, [232]; folk-tunes as sources of the Lutheran choral, [261]. Formula Missae, Luther’s, [245]. Franc, [360]. Franck, [218]. Frank, [266]. Frauenlob, [229]. Frescobaldi, [292]. Froberger, [292]. Fuller, quoted, [375].
G
Gabrieli, Giovanni, [170]. Gabrielis, the, [93], [133], [170]. Galilei, [188]. Garrett, [355]. Gerhardt, [266], [311]. Gevaert, works on the origins of the Gregorian chant, quoted, [109]. Gibbons, [350], [352]. Gibbons, Cardinal, quoted, [75], [84]. Gigout, [217]. Gloria in excelsis, [58], [87]. Glossolalia, [44]. Goss, [355]. Gottfried von Strassburg, [229]. Goudimel, [154], [360]. Gounod, mass music of, [199], [200], [213], [216]. Gradual, [88]. Greeks, religious music among the, [14], [19]; Greek influence upon early Christian worship, [42], [63], [65]; relation of Greek music to Christian, [52]. Green, quoted, [117]. Greene, [354]. Gregorian Chant, see Chant, Catholic ritual. Gregory I., pope, his traditional services to the ritual chant, [107]; objections to this tradition, [108]. Gregory II., pope, [113]. Gregory III., pope, [113]. Grell, [212], [321]. Guilmant, [217].
[422]
H
Händel, [279], [297], [306], [319], [323], [354]; the “Messiah,” [307]. Hammerschmidt, [266]. Harmony, virtually unknown in ancient music, [18]; beginnings in modern music, [130]; change from mediaeval to modern, [201]. Hartmann von Aue, [229]. Hasler, [271]. Hauptmann, [321]. Havert, [212]. Haydn, mass music of, [205], [208]; “The Creation” stimulates formation of choral societies in Germany, [319]. Haves, [354]. Hazozerah, [22]. Heber, [381]. Hebrews, did not assign a superhuman source to music, [14]; their employment of music, [20]; nature and uses of instruments, [21]; ritualistic developments under David and Solomon, [24]; psalms and the method of singing them, [27]. Henry VIII., king of England, declares himself head of the English Church, [325]; not the originator of the Reformation in England, [316]; changes in policy, [328]. Hervé, [122]. Hezekiah, restoration of the temple worship by, [25]. Holmes, [381]. Hooker, author of The Laws of Ecclesiastical Polity, his defence of the music and art of the established Church, [367], [404]. Hooper, [329]. Hopkins, [355], [383]. Horder, author of The Hymn Lover, [381 n]. Hucbald, [136]. Hus, founder of Bohemian hymnody, [233]. Hymn-books, early Bohemian, [233]; first Lutheran, [249]; Catholic German, [264]; recent American, [385]. See also Psalmody. Hymns, their first appearance in Christian literature and worship, [42], [46]; Greek hymns in the early Christian Church, [56]. Hymns, Bohemian, [233]. Hymns, English and American, [379] et seq.; “uninspired” hymns not permitted by Calvin and the Puritans, [361], [373]; hymns of Watts and the Wesleys, [379]; beauty and range of the later English and American hymnody, [380]. Hymns, Latin, [60], [235]. Hymns, Lutheran, historic importance of, [225], [303]; introduction into the liturgy, [247]; first hymn-books, [249]. See also Luther. Hymns, pre-Reformation German, their history and character, [228]; not liturgic, [240]. Hymns, Syrian, [57]. Hymn-tunes, English, [382]. Hymn-tunes, German, see Choral.
[423]
I
Ignatius, St., traditional introduction of chanting into the Church by, [48]. Ildefonso, St, [118]. Instruments, how first used in worship, [3], [10]; their use in Egyptian ceremonies, [12]; among the Greeks, [14]; among the Hebrews, [21], [32]; not used in the early Church, [54].
J
Jakob, quoted, [77], [175]. James, St., liturgy of, [49]. Jean de Muris, quoted, [146]. Jebb, quoted, [333], [335], [339]. Jews, see Hebrews. John Damascene, St., [60]. John the Deacon, author of a life of Gregory I., [108]. Jomelli, [213]. Joaquin des Prés, [133], [154].
K
Kahle, [376], [381]. Kiel, [212], [321]. Kinnor, [21]. Kretzschmar, quoted, [306]. Kunrad der Marner, [229]. Kyrie eleison, [57], [87]; popular use in Germany, [229].
L
Lanciani, quoted, [63]. Lang, Andrew, quoted, [7]. Laodicea, injunction in regard to singing by council of, [50], [51]. Lassus, [93], [133], [154], [167], [172]. Latimer, [329]. Lemaire, quoted, [116]. Leo I., pope, [110]. Lesueur, [214]. “Lining out,” [370]. Liszt, criticisms upon Paris church music, [206]; imagines a new style of religious music, [214]. Liturgy, Anglican, [329]; modes of rendering, [333] et seq.; intoning of prayers, [337]. Liturgy, Catholic, origin of, [81], [83]; language of, [82]; outline and components of, [87]; a musical liturgy, [92]. Liturgy, Luther’s, see Formula Missae, and Deutsche Messe. Liturgy of St. James, [49], [50]; of St. Mark, [49]. Longfellow, translation of “O gladsome light,” [58]. Lotti, [133]. Louis IX., king of France, [148]. Luther, his service to German hymnody, [226], [243], [248]; his reform of the liturgy, [244]; his theory of worship, [245]; origin of his hymns, [250]; their spirit and literary style, [251]; nature of his work for congregational music, [258]; Luther not a composer of tunes, [259]; quoted, [260]. Lyric poetry, two forms of, [27]. Lyte, [381].
[424]
M
Mackenzie, [355]. Marbecke, his musical setting of the English Prayer Book, [337]. Marot, psalm translations of, [359]. Martin, [355]. Mary, queen of England, reaction under, [329], [332]. Mass, theory of, [83], [91], [240]; different kinds of, [85]; in England, [328], [332]. See also Liturgy, Catholic. Milman, [381]. Milton, [365]. Mixed mode of performing the Anglican service, [335]. Monk, [355], [383]. Montgomery, [381].
N
Naninis, the, [168]. Neale, quoted on the Greek hymns, [59]. Nebel, [22]. Netherlanders, age of the, [149]. Neukomm, [207]. Newman, [381]. Newton, [381], [387]. Nicholas I., pope, [122]. Notker Balbulus, reputed founder of the Sequence, [121].
O
Oblation of the Host, [88]. Offertory, [88]. Opera, invention of, [186], [188]; ideal and form of early Italian, [190]; opera and church, [193]. Oratorio, its rise in Germany and effect on church music, [319]. Organ music, its beginnings in Venice, [169], [171]; in the German Protestant Church, [269], [270], [290]; Bach’s organ works, see Bach. Organs, Puritan hatred of, [365], [370]; destroyed by the Puritans, [371]. Organum, [136]. Osmund, bishop of Salisbury, [331].
P
Pachelbel, [292]. Palestrina, [93], [133], [151]; the Mass of Pope Marcellus, [152], [154]; myth of the rescue of church music by Palestrina, [152]; compared with Lassus, [173]. “Palestrina style,” [158]; tonality, [158]; construction, [159]; tone color, how produced, [166]; aesthetic and religious effect, [173], [177]; limits of characterization, [178]. Palmer, [381]. Parallelism in Hebrew poetry, [28]. Parochial mode of performing the Anglican service, [335]. Passion music, German, [270], [272]; origin and early development, [274]; from Schütz to Bach, Hamburg Passions, [280]. Passion play, [274]. Pater, quoted, [400]. Paul, St., his injunction in regard to song, [42]; allusion to the glossolalia, [44]. Pergolesi, [213]. Philo, [48]. Pietism, its effect on church music, [266], [319]. Plain Song, see Chant, Catholic ritual; also Chant, Anglican. Plato, his opinion of the purpose of music, [14]. Pliny, his report to Trajan concerning Christian singing, [47]. Plutarch on the function of music, [15]. “Pointing,” [341]. Post-Communion, [90]. Prayer Book, see Common Prayer, Book of. Preface, [88]. Psalmody, Puritan, [369], [373]; methods of singing, [377], [405]. Psalms, how sung in the ancient Hebrew worship, [27]; adopted by the Christians, [41]; antiphonal psalmody in Milan in the fourth century, [66]; in Rome in the fifth century, [67]; in the Church of England, see Chant, Anglican; metrical psalm versions, see Psalmody. Psalter, Geneva, origin of, [359]. Psaltery, [23]. Purcell, [347], [352]. Puritanism, [324], [327], [358], [364] et seq. Puritans, their hostility to artistic music, [365] et seq.; their attacks upon episcopacy and ritualism, [366], [369]; their ravages in the churches, [371]; their tenets and usages maintained after the Restoration, [372]; Puritan music in America, [390].
[425]
R
Recitative, [188]. Reformation in England, its nature, causes, and progress, [325] et seq. Reinken, [295]. Reinmar der Zweter, [229]. Renaissance, its influence upon musical development, [185], [187], [272]; parallel between Renaissance religious painting and Catholic Church music, [194]. Requiem Mass, [85]. Rheinberger, [212]. Richter, [321]. Ridley, [329]. Robert, king of France, [147]. Romanus, [119]. Rossini, religious music of, [207], [213].
S
Sachs, [229]. St. Cecilia Society, [180], [212]. St. Gall, convent of, as a musical centre, [118]. Saint-Säens, [217]. Sanctus, [88]. Savages, religious sentiment among, [2]; methods of religious expression, [3]. Schaff, quoted, [44]. Scheidt, [292]. Schleiermacher, [321]. Schola Cantorum, [181], [288 n]. Schop, [266]. Schubert, masses of, [199], [200], [211]. Schubiger, quoted, [119]. Schütz, greatest German composer before Bach and Händel, [277]; his education and musical methods, [277]; Symphoniae sacrae, [278]; dramatic religious works, [278]; Passion settings, [278]; his isolated musical position, [279]. Sechter, [207]. Seminaries, theological, and church music, [406]. Senfl, [264]. Sequence, [88]; origin and early character, [121]. “Service,” Anglican, [345]. Shairp, quoted, [398]. Shophar, [22]. Sistrum, [23]. Six Articles, [328]. Smart, [355], [383]. Spencer, Herbert, quoted, [5], [15]. Speratus, [249]. Spitta, quoted, [322]. Stainer, [355]; quoted, [342]. Stanford, [355]. Sternhold and Hopkins, psalm version of, [375], [377]. Stile famigliare, [151], [158], [159]. Sullivan, [355], [383]. Swelinck, [292]. Symbolism, in ancient music, [11], [14]. Synagogue, worship in the ancient, [33]; modified by the Christians, [41]. Synesius, [57].
[426]
T
Tallis, [168], [345], [350]. Tate and Brady, psalm version of, [376]. Tauler, [229], [231], [238]. Taylor, Bayard, quoted, [254]. Te Deum, [58]. Therapeutae, [48]. Thirty Years’ War, [264], [265], [285]. Thomas à Kempis, [224]. Tones, Gregorian, [100]. Tones, psalm, see Tones, Gregorian. Toph, [22]. Tours, [355]. Tractus, [88].
U
Ugab, [22].
V
Van Laun, quoted, [359]. Vehe, [264]. Venice, church music in, [168]. Verdi, his Requiem, [199], [200], [213], [218]. Vittoria, [133], [168].
W
Wackernagel’s collection of German pre-Reformation hymns, [228]. Wagner, P., quoted, [104]. Walther, Johann, [249], [259], [260], [264]. Walther von der Vogelweide, [229]. Watts, psalm version of, [376]; hymns, [379], [380], [387]. Wesley, Charles, [379], [381]. Wesley, John, [379]. Wesleyan movement, revival of hymn singing in the, [379]. Whittier, [381]. Wiclif, [327]. Willaert, [133], [168], [169]. Winterfeld, quoted, [170]. Wiseman, quoted, [76]. Witt, founder of St. Cecilia Society, [180]. Wrangham, [376].