INDEX FOR VOLUME I-III

Figures in italics indicate major references

Abel, Carl Friedrich, II. 62;
influence on Mozart, II. 102.
Abert, Joseph, III. [212], [257].
Ábrányi, E., III. [199].
Abt, Franz, III. [19].
Academicism, I. lx.
Académie de Musique. See Paris Opéra.
Academies. See Verona and Bologna.
Accidentals (origin of), I. 156.
Accompagnato. See Recitative (accompanied).
Accompanied recitative. See Recitative.
Accompaniment, I. xx, lii;
(instrumental, in polyphonic period), I. 246;
(in early vocal solos), I. 262;
(in madrigals), I. 281;
(in early Italian recitative), I. 332;
(17th cent.), I. 353f;
(in early Italian opera), I. 332f, 342f, 380ff;
(in early oratorio), I. 386;
(in early German opera), I. 424;
(in Händel oratorio), I. 439;
(in sacred music, 18 cent.), I. 453;
(Bach), I. 466, 470;
(in passion music), I. 480f;
(in Wolf's songs), III. [261]f;
(in Strauss' songs), III. [266].
Acoustics, I. 105ff.
Adam, Adolphe-Charles, II. 211f.
Adam de la Halle (or Hâle), I. 211, 213.
Adams, Stephen. See Maybrick, M.
Addison, Joseph, on Italian opera, I. 431.
Æolian mode, I. 137.
Æolian school (of Greek composition), I. 115.
Æschylus, I. 120, 329;
III. [149].
Africa, primitive music in, I. 27ff.
Agathon, and early church music, I. 147.
Agazzari, I. 379.
Agostini, Muzio, III. [394].
[d']Agoult, Countess, II. 250.
Agricola, II. 31.
Aimara Indians, I. 45.
Akerberg, Erik, III. [85].
Akimenko, Feodor, III. [160].
Albéniz, Isaac, III. [362]f, [404], [405]f.
[d']Albert, III. [viii], [243], [244], [268].
Albert V, Duke of Bavaria, I. 307ff.
Alberti, Domenico, II. 55, 56.
Albrechtsberger, Johann Georg, II. 63, 138.
Alfano, Franco, III. [389], [390].
Alfvén, III. [69], [75], [84].
Alkaios, I. 115.
Allan, Maud, III. [321].
Allegro (cantabile form of), II. 8.
Alleluia, the Hebrew, I. 149.
Allemande, I. 371f, 375.
Allitsen, Frances, III. [443].
Alpheraky, A., III. [136].
Amalarius, I. 137f.
Amani, A., III. [145].
Amati family, I. 362.
Ambros, A. W., quoted (on early Italian music), I. 263;
(on the frottola and madrigal), I. 271ff;
(on early church music), I. 315.
Ambrosian hymns, I. 135ff, 142f.
America (Tschaikowsky quoted on), III. [56];
(conditions in, for composers, compared to England), III. [435].
Amphion, I. 93f, 111.
Anakreon, I. 115f.
Ancient Civilized Nations, music of, I. 64ff.
Andamanese Islanders, I. 8, 41.
Anders, G. E., II. 405.
Andersen, Hans Christian, III. [71], [74].
Anerio, Felice and Giovanni, I. 321.
Anglican Church, III. [410].
Animal cries, I. 2, 6.
[d']Annunzio, Gabriele, III. [381], [389].
Anschütz, Carl, II. 134.
Anthem, English, I. 295, 390, 433.
Antiphonal psalmody, I. 142f.
Antiphonarium Romanum, I. 148.
Antiphons, I. 140.
Antiphony (in Greek music), I. 161.
Apel (author of 'Ghost Tales'), II. 374f.
Apollo, I. 122.
Appenzelder, Benedictus, I. 297.
Arabs (music of), I. 43, 52, 55, 63.
Arcadelt, Jacques, I. 273f, 305.
Arcadians, I. 95.
Archaism, intentional in modern music, III. [331], [334], [337].
Archangelsky, A. A., III. [143].
Archilei, Vittoria, I. 342.
Archilochos (Greek poet), I. 114f.
Architecture and music in 18th cent., II. 60.
Arensky, Anton Stephanovich, III. [28], [143], [146]ff.
[d']Arezzo, Guido. See Guido d'Arezzo.
Aria, I. liv;
(in early Italian opera), I. 341, 381f, 385, 393f, 428;
II. 3, 16;
(in church music), I. 453;
(Bach), I. 476, 480, 491;
(Mozart), II. 179.
Aria form, I. 1;
(in the sonata), II. 54;
(Beethoven's use in song), II. 278.
See also Da capo.
Arion, I. 118.
Arioso, II. 26, 431.
See also Recitative.
Ariosti (Attilio) and Händel, I. 435.
Ariosto, I. 328;
II. 27.
Aristides Quintilianus, compiler of musical tables, I. 91.
Aristotle, I. 89, 97.
Aristoxenus, I. 99, 110.
Arius, I. 141.
[d']Arneiro, III. [408].
Arnaud, Abbé, on Italian opera, II. 179.
Arnold, Matthew, quoted, III. [238].
Arnould, Sophie, II. 33.
Ars nova, I. 228ff, 257, 262ff.
Arts (plastic) and music, I. 64, 66;
(in Ital. Renaissance), I. 267f.
'Art and Revolution,' essay by Wagner, II. 415.
Art-song, the (before Schubert), II. 30, 269ff, 278;
(Schubert), II. 279ff;
(Schumann), II. 280ff;
(other romanticists), II. 289ff;
(Brahms), II. 465;
III. [259];
(modern development), I. lviii;
III. [xiv];
(minor Romantics), III. [18]ff, [24];
(Russians), III. [47], [51], [106], [119], [153], [154];
(Scandinavians), III. [79], [87], [89], [95], [99];
(Bohemians), III. [178];
(modern Germans), III. [257]ff;
(Wolf), III. [259]ff;
(modern French), III. [292]f, [309], [311], [328]f;
(modern Italian), III. [298]ff;
(English), III. [442].
'Art Work of the Future' (The), essay by Wagner, II. 415.
Arteaga, on Stamitz, II. 67.
Artificial sopranos, I. 426;
II. 10, 21, 26, 29.
Artusi, Giovanni Maria, on Monteverdi, I. 337f.
Ashantees, I. 29f.
Asia. See Oriental music.
Asor (Assyrian instrument), I. 65f, 78.
Assyria, I. 65ff;
II. 79, 83ff.
Attaignant, Pierre, I. 286.
Atmospheric school, III. [317]ff.
Aubade, I. 207, 218.
Auber, Daniel-François-Esprit, II. 210;
III. [278];
influence on Meyerbeer, II. 20.
Aubert, Louis, III. [363].
Auer (violinist), III. [148].
Augustus the Strong, II. 6, 12, 78.
Aulin, Tor, III. [85].
Aulos (Greek wind-instrument), I. 121ff.
Aurelian, on early church music, I. 145.
Australian aborigines, I. 7, 12;
(dance of), I. 18.
Austrian National Hymn, II. 91.
[d']Auvergne, Peire, I. 211.
Aztecs, music of, I. 44f, 52, 53, 55f.

Babylonians (ancient), I. 64ff, 73, 83.
Bach, August Wilhelm, III. [16], [95].
Bach, Bernard, I. 461.
Bach, Carl Philipp Emanuel, I. x, 471, 486;
II. 46, 56, 58ff, 139.
Bach, Johann Christian, II. 61f;
(influence on Mozart), II. 102.
Bach, Johann Christoph (uncle of J. S. Bach), I. 455.
Bach, Johann Christoph (brother of J. S. Bach), I. 456.
Bach, Johann Michael, I. 455.
Bach, Johann Sebastian, I. ix, 1, lii, 353, 416, 419, 449-491;
III. [vii], [2];
(compared with Händel), I. 419f, 445;
(his use of the ternary form), II. 56;
(in rel. to the song), II. 273;
(modern influence), III. [231], [235], [281].
Bach Society, II. 60.
Bach, Wilhelm Friedemann, I. 461, 468, 471, 483f;
II. 60f;
III. [vii].
Backer-Grondahl, Agathe, III. [99].
Baini (Abbate), quoted, I. 253.
Baker, Theodore (quoted), I. 37.
Balakireff, III. [xii], [xiv], [xvi], [107]f, [109]ff, [128], [319];
(and Tchaikovsky), III. 111 ([footnote]);
(and Rimsky-Korsakoff), III. [124];
(influence), III. [138].
Ballad opera, English, II. 9.
See Beggar's Opera.
Ballard family, I. 287.
Ballata, I. 264.
Ballet (early Italian intermedii), I. 327;
(in early Italian opera), I. 336, 382;
(in French and Italian opera), I. 384f;
(source of French opera), I. 402ff;
(Noverre's reforms), II. 13;
(in 19th-century French opera), II. 389ff;
(in modern music), III. [162]f, [321], [343], [360], [364].
Ballet-comique de la royne, II. 401ff.
Baltasarini, I. 401ff.
Bamboo drums, I. 16f.
Banchieri, Adriano, I. 279f, 281.
Bantock, Granville, III. [x], [xi], [xiv], [xix], [422], [424], [425].
Barbier (librettist), II. 205, 241.
Barbieri, Mario, III. [340].
Bardi, Giovanni, I. 329ff.
Barcelona, III. [404]f.
Barezzi, Margarita, II. 482.
Barezzi, patron of Verdi, II. 48.
Bargiel, Woldemar, III. [14].
Barnett, J. F., III. [91].
Barrie, J. M., III. [432].
Barry, Mme. du, II. 33.
Bartók, Béla, III. [xxi], [198].
Bass. See Figured bass; Ground-bass.
Bass clarinet, II. 341.
Bass drum, II. 342.
Bass voice, Russian, III. [144].
Bassano, I. 327f.
Basso continuo. See Figured bass.
Basso ostinato. See Ground-bass.
Bassoon, II. 340, 341, 343.
Bastille (capture of), II. 213.
Batteaux, on relation of arts, II. 24.
'Battle of the Huns,' II. 367.
'Battle of Vittoria,' II. 352.
Batten, Robert, III. [443].
Baudelaire, II. 418;
III. [293].
Bayreuth, II. 423.
Bax, A. E. T., III. [441].
Bazzini, II. 503 (footnote).
Beaujoyeulx, Baltasar de, I. 401ff.
Beaulieu (Sieur de), I. 401ff.
Beaumarchais, II. 182.
Beccari, I. 328.
Becker, Albert, III. [212].
Becker, Dietrich, I. 373.
Bedouins, I. 28.
Beecham, Godfrey Thomas, III. [422], [424], [443].
Beethoven, Ludwig van, I. xv, li, lix, lv, lvi, lviii, 471, 478, 487;
II. 54f, 115, 128ff, 227, 228f, 443, 444, 445;
III. [xi], [2], [95], [201], [202], [230], [282];
(influence of), III. [230], [281];
(influence on Wagner and Brahms), III. [207].
'Beggar's Opera,' II. 8.
Behrens, Johann D., III. [88].
Belgian school, rise of, I. 234ff.
Bell, W. H., III. [441].
Bellini, Vincenzo, II. 195f.
Belloc, Teresa, II. 185.
Bells, Assyrian, I. 67.
Benda, Franz, II. 7, 58.
Benda, Georg, II. 58, 168;
III. [168].
Bendix, Victor, III. [76].
Bendl, Karl, III. [180].
Benelli (manager of King's Theatre, London), II. 184.
Bennett, W. Sterndale, II. 263 (footnote), 322, 348f;
III. [414].
Bentwa (primitive instrument), I. 31f.
Berger, Wilhelm, III. [209], [211].
Berlin (Frederick the Great and his composers), II. 58, 78;
(Spontini), II. 198;
(Meyerbeer), II. 203;
(Mendelssohn), II. 261.
Berlin circle (19th cent.), III. [15]f.
Berlin Conservatory, III. [15].
Berlin Domchor, III. [15].
Berlin Hochschule für Musik, III. [15].
Berlin Neue Akademie für Tonkunst, III. [15].
Berlin school (18th cent.), II. 51, 57f.
Berlin Singakademie, III. [15].
Berlioz, Hector, I. xvii;
II. 253ff, 348, 352ff, 382ff;
III. [vii], [x], [xii], [2], [69], [204], [278], [282], [323];
quoted (on Chinese music), I. 48;
on Gluck, II. 29;
on French Revolution, 241.
Berselli (opera singer), I. 434.
Berwald, Franz, III. [78].
Bezzi, Giuseppe, III. [383].
Bianchi, Renzo, III. [383].
Bianchini, Guido, III. [400].
Bible, cited (on Assyrian music), I. 68;
(on musical instruments), I. 70ff.
'Biblical Sonatas' (Kuhnau), I. 416.
Bie, Oskar, quoted, on opera at Stuttgart, II. 13;
on Gluck, II. 17;
on Kreisleriana, II. 308ff;
on Viennese dilettante music, II. 312f;
on effect of Paganini on Liszt, II. 324.
Bihari, III. [188].
Billroth, [Dr.] Theodor, II. 455.
Binary form, I. xxi-f;
II. 55f.
Binchois, Giles, I. 244.
Birds, song of, I. 2, 6, 8.
Bis, Hippolyte (librettist), II. 188.
Bizet, Georges, II. 53, 390ff;
III. [7], [278], [283].
Björnsen, III. [87], [89].
Blaramberg, Paul Ivanovich, III. [135]f.
Blech, Leo, III. [249].
Bleichmann, J. I., III. [155].
Bloch, J., III. [196].
Blodek, Wilhelm, III. [180].
Blumenfeld, F., III. [145].
Boccherini, Luigi, II. 67, 68f, 97, 70;
III. [386];
influence on Mozart, II. 114.
Böcklin, Arnold, III. [152].
Boethius, I. 151.
Bohemia, III. [165];
(political aspects), III. [ 168].
Bohemian school (modern), III. [xv], [166]ff.
Bohemianism, III. [349].
Böhm, Georg, I. 451, 457.
Boieldieu, François-Adrien, II. 209;
III. [278].
Boïto, Arrigo, III. [93], [368]f;
Wagner assisted in Italy by, II. 440;
friend of Verdi, II. 478;
librettist for Verdi, II. 493, 500ff;
Mefistofele prod. by, II. 503.
Bologna, Philharmonic Academy of, II. 103.
Bonaparte, Jérome, II. 132.
Bonaparte, Napoléon. See Napoléon.
Bononcini, Giovanni Battista, I. 421, 434ff.
Borchmann, A. von, III. [155].
Bordes, Charles, III. [313].
Bordoni, Faustina. See Hasse.
Born, Bertrand de, I. 211.
Borodine, Alexander, III. [ix], [xi], [xiv], [xvi], [38], [107], [109], [112]ff, [319];
and Liszt, III. [112];
and Moussorgsky, III. [118];
(influence), III. [145].
Börreson, Hakon, III. [76].
Borsdorf, Oskar, III. [441].
Bortniansky, III. [107], [143].
Bossi, Marco Enrico, III. [397].
Boucheron, Raimondo, II. 503 (footnote).
Bouffes Parisiens, II. 393.
Bourgeois, Loys, I. 294.
Bourrée, I. 373.
Bowdich, T. A., quoted, I. 31, 32.
Bowen, York, III. [441].
Bowing, style of, in early violin music, I. 369.
Bradsky, Menzel, Theodore, III. [180].
Braganza, Duke of, II. 30.
Brahms, Johannes, I. lvii, 478;
II. 230, 437, 443-469;
III. [x], [xii], [xiii], [4], [69], [148], [201]f, [203], [206]f, [222], [258], [413];
(influence), III. [183], [184], [196], [231], [234], [245];
(influence in Italy), III. [387], [395];
(and Bruckner), III. [220]f;
(as song writer, compared to Wolf), III. [263]f.
Brass instruments, perfection of, II. 117, 340.
Braun, Baron von, II. 161.
Breitkopf and Härtel (music publishers), II. 139, 146, 147;
III. [11].
Brentano, Bettina, II. 139f, 145.
Breton folk-songs, use of, by Ropartz, III. [314].
Breuning, Stephan von, II. 133, 139, 142, 144.
Briard, Étienne, and music printing, I. 286.
Bridge, Frederick, III. [421], [422].
British folk-song. See Folk-song.
Broadwood (pianoforte maker), II. 163.
Brockes, B. H., I. 425, 433, 480.
Brogi, Renato, III. [383].
Bronsart, Hans von, III. [237].
Bronsart, Ingeborg von, III. [237].
Bruch, Max, III. [xii], [93], [207]f.
Bruckner, Anton, II. 438;
III. [viii], [x], [xiii], [201]f, [219]ff, [227];
influence of, III. [230].
Brüll, Ignaz, III. [256].
Bruneau, Alfred, III. [viii], [ix], [342]ff.
Brunswick, Countess von, II. 145.
Bücher, Karl, cited, I. 6, 96, 195.
Buck, Percy C., III. [429].
Budapest, III. [191].
Bull, John, I. 306.
Bull, Ole, III. [87], [91].
Bülow, Cosima von. See Wagner, Cosima, II. 422.
Bülow, Hans von, III. [18], [23], [235];
and Wagner, II. 422;
and Brahms, II. 455;
on Verdi's 'Requiem,' II. 498.
Bulwer-Lytton (Wagner's adaptation of Rienzi), II. 406.
Bungert, August, III. [viii], [240], [268].
Bürger, II. 223.
Burma, music in, I. 62.
Burney, Charles, quoted, I. 84f;
on 17th century opera, I. 377;
on madrigal by Festa, I. 276;
on relation of music to poetry, II. 27;
on Viennese musical supremacy, II. 50;
on Stamitz, II. 64, 67;
travels of, II. 76 (footnote);
description of Vienna, II. 80ff;
and Haydn, II. 89.
Burton, Frederick R., cited, I. 39.
Bushmen (Australian), dance of, I. 18.
Busnois, Antoine, I. 244, 245.
Busoni, Ferrucio, III. [xxi], [275].
Busser, III. [363].
Bussine, Romain, III. [284].
Bustini, Alessandro, III. [383].
Buttykay, A., III. [199].
Buva (Japanese lute), I. 53.
Buxtehude, Dietrich, I. 361, 451, 458, 471, 476.
Buzzola, Antonio, II. 503 (footnote).
Byrd, William, I. 305ff.
Byron, II. 155, 316.
Byzantine influence, I. 143, 146.

Caccia, I. 264.
Caccini, Francesca, I. 378.
Caccini, Giulio, I. 329ff, 333ff, 366;
(influence on Gluck), II. 26.
Cadences, I. liv, 229.
Cadenza, Rossini's use of, II. 186.
Cafaro, Pasquale, I. 400;
II. 6.
Caffarelli (sopranist), II. 4.
Cagnoni, Antonio, II. 503 (footnote).
Caldara, Antonio, I. 479.
Calvin, I. 294.
Calzabigi, Ranieri di, II. 18f, 26.
Cammarano (librettist for Verdi), II. 490.
Cambert, Robert, I. 405ff.
Cambodia, music of, I. 57f.
Cambodian scale, modern use of, III. [327].
Camerata, Florentine, I. 329ff.
Campion, Thomas, I. 385.
Camussi, Ezio, III. [383].
Cannabich, Christian, II. 67.
Canon (definition), I. 228;
(early English), I. 237f;
(early use of), I. 242ff, 247ff, 312;
(Bach), I. 474;
(modern 'reincarnation'), III. [282].
Cantata (sacred), I. 302, 387;
(secular), I. 393;
(Händel), I. 420;
(dramatic element in), I. 453;
(Bach), I. 478, 479, 490;
(Porpora), II. 4.
Cantori a liuto, I. 261, 266, 268.
Cantu, Agostino, III. [383].
Cantus firmus (in early church music), I. 312ff;
(Palestrina), I. 320.
Canzona, I. 207, 356f, 363ff.
Canzona da sonar, II. 54.
Canzonetta, II. 69.
Capocci, Filippo, III. [397].
Caribs, music of, I. 6, 8.
Carissimi, Giacomo, I. 386f.
Carlyle, II. 213.
Carré, II. 205.
Carse, A. von Ahn, III. [443].
Caruso, Enrico, III. [374].
Cascia, Giovanni da, I. 263, 266.
Casella, Alfred, III. [xxi].
Cassiodorus, cited, I. 135, 148.
Castanets, primitive, I. 14.
Castes, in relation to Egyptian music, I. 76.
Castillon, Alexis de, III. [xviii], [212]f.
Castrati. See Artificial sopranos.
Catalani, Angelica, II. 185.
Catharine, Empress of Russia, II. 15, 16, 40;
III. [41].
Catoire, George, III. [154].
Cavalieri, Emilio de', I. 328f, 334ff, 385.
Cavalli, Francesco, I. 346, 380ff, 407;
(and Rossini), II. 181.
Cavedagni (teacher of Rossini), II. 180.
Cavos, C, III. [41].
Celestine I, Pope, I. 143.
Cello. See Violoncello.
Celtic influence on early music, I. 196.
Ceremonies (in rel. to Indian music), I. 33;
(Oriental music), I. 45, 56;
(Hebrew), I. 74f.
Cesti, Marc'Antonio, I. 382f.
Chabrier, Emanuel, III. [viii], [ix], [xviii], [2], [268];
(influence), III. [341].
Chamber music, I. xviii, lviii;
(Bach's period), I. 462ff;
(Schobert), II. 68;
(Viennese period), II. 96ff, 114f, 165f, 167, 170;
(Romantic period), II. 293-333;
(modern Italian), III. [387];
(modern English), III. [442].
See also String Quartet, etc.
Chambonnières, Jacques Champion, I. 375.
Champfleury, II. 418.
Chandos, Duke of, I. 433f.
Chanson, of polyphonic period, I. 207, 230f, 245, 254;
(programmistic), I. 276f;
II. 69.
See also Art Song.
Chant. See Plain-chant.
Chants (Aztec), I. 55;
(Japanese), I. 60;
(exotic religious), I. 66f;
(kitharœdic), I. 132ff, 138;
(early Christian), I. 135ff, 480.
Chanteurs de Saint Gervaise, III. [285].
Characterization (in opera), II. 123, 377;
III. [326];
(in 17th cent. harpsichord music), I. 411f;
(in the song), III. [263]f;
(in chamber music), III. [274].
Charles VII, Emperor, II. 64.
Charles X, King of France, II. 188.
Charpentier, Gustave, II. 439;
III. [viii], [ix], [348]ff.
Charpentier, Marc Antoine, I. 410.
Chateaubriand, II. 184.
Chausson, Ernest, III. [viii], [ix], [xiii], [308].
Che (Chinese instrument), I. 53.
Cherubini, Luigi, II. 40ff.
Chesnikoff, P. G., III. [143].
Chevillard, Camille, III. [285], [363].
China, music in, I. 46ff, 56f;
(instruments), I. 52ff.
Chivalry, I. 215.
Chivalry (Age of). See Troubadours, Trouvères, Minnesinger.
Choirs (early church), I. 140;
(in Lutheran Church), I. 289, 291f;
(antiphonal), I. 299f;
(divided, of St. Mark's, Venice), I. 311.
Choir-training (Bach and), I. 464ff, 470.
Chopin, Frédéric, I. xvi, lvi;
II. 256ff, 291, 305, 314ff;
III. [vii], [xii], [49];
(influence), III. [157], [332].
Choral Dances, Greek, I. 116, 121.
Choral lyricism (Greek), I. 118f.
Choral ballad, rise of, III. [7].
Choral competitions, III. [434].
Choral music, I. xlviii.
See Chorus; Vocal Music.
Chorale, Protestant (origin), I. 225, 322, 360, 476;
(Bach's), I. 480ff;
(relation to song), II. 273, 274;
(modern 'reincarnation'), III. [282].
Chorale-fantasias (Bach), I. 451, 479.
Chorale-prelude (origin), I. 292, 360f;
(development by Bach), I. 451, 476, 490f.
Chord progressions (in early Italian music), I. 269f;
(in early choral music), I. 300;
(in early Protestant church music), I. 293;
(vs. old polyphony), I. 322;
(in early 17th cent. music), I. 352f;
(in Bach's music), I. 476f, 490.
Chords. See Harmony.
Chorley, Henry Fothergill, on Verdi, II. 485.
Chorus (in early Italian opera), I. 326, 336, 342, 378, 383f;
(in early oratorios), I. 386f;
(of Henry Purcell), I. 390;
(in early French ballet), I. 402f;
(of Lully), I. 408;
(in passion oratorio), I. 425f, 481;
(developed by Händel), I. 438, 441, 447;
(of Bach), I. 473, 482;
(in symphonic music), II. 171;
III. [228]f, [341].
Choruses, primitive, I. 17;
ancient (Assyrian), I. 68f;
(Greek), I. 118, 121.
Christian music, conflict with Pagan, I. 188f.
Christianity, music of early era of, I. 129ff.
Chromaticism, Wagner's use of, II. 433f.
'Chromatic school' (16th cent.), I. 301f.
Chrysander, Friedrich, quoted on Händel, I. 437, 444.
Church, Anglican, III. [410].
Church, Greek. See Church, Russian.
Church, Lutheran, II. 288ff, 479ff.
Church, Roman (suppression of folk-song), I. 202f;
(in rel. to early 17th cent. music), I. 348ff;
(influence on early opera and oratorio), I. 378f.
See also Church music; also Mass.
Church, Russian, III. [108]f.
Church modes. See Modes, ecclesiastical.
Church music, I. xii, xlvi, lviii;
(modern), I. liv;
(early), I. 129ff, 133ff, 187ff, 192;
(development of polyphony), I. 226ff;
(use of secular melodies), I. 283;
(Renaissance), I. 296f;
(Roman, before Palestrina), I. 312f;
(Palestrina period), I. 313ff;
(Monteverdi), I. 344;
(Bach), I. 452ff, 472;
(German Protestant), I. 478ff;
(Russian), III. [108]f, [130], [141]ff.
See also Church; Reformation.
Cicognani, Giuseppe, III. [383].
Cilea, Francesco, III. [369].
Cimarosa, Domenico, II. 15.
Clarke, Coningsby, III. [443].
Clarinet, II. 265, 339, 340, 341, 342.
Classicism, definitions of, II. 267.
Classic Period, foundations of, II. 45ff.
See Viennese classics.
Classicism (definition), II. 45;
(modern revival of), III. [5].
Clavecin. See Harpsichord.
Clavicembalo, II. 162.
See also Harpsichord.
Clavichord, I. 462, 485;
II. 162;
(description), II. 294.
Clavichord music. See Harpsichord music; Pianoforte music.
Clavier. See Clavichord; Harpsichord; Pianoforte, etc.
Clavier à lumière. See Light keyboard.
Clefs, metamorphosis of, I. 155.
Clemens, Jacob (Clemens non Papa), I. 304.
Clement of Alexandria, quoted, I. 141.
Clementi, Muzio, II. 106 (footnote), 163.
Coates, Eric, III. [443].
Coccia, Carlo, II. 503 (footnote).
Coda, II. 95.
Coffey, Charles, II. 8f.
Colbran, Isabella, II. 184f.
Coleridge-Taylor, Samuel, III. [437].
Collan, Karl, III. [100].
Colonne, Édouard, II. 439.
'Color,' (in early church music), I. 296;
(in early orchestral music), I. 341f;
(in instrumental works of Haydn and Mozart), II. 118.
See also Local color; Tone color, orchestral.
Color symbolism, III. [158].
Coloratura, II. 26, 390.
Coloristic school (16th cent.), I. 301f.
Combarieu, Jules, quoted, I. 410.
Combined rhythms, I. xlix.
Comedy, Greek, I. 120.
Comedy scenes, in early Roman opera, I. 379f;
in early Venetian opera, I. 382f.
Comic Opera. See Opera buffa; Opéra comique; Singspiel; Beggars' opera; Operetta; Musical comedy.
Commercialism, I. xxxii.
Concert des amateurs, II. 68.
Concertino, I. 394, 396, 482.
Composition (Schools of). See Schools of Composition.
Concerto (in Bach's period), I. 482;
(Bach), I. 490.
See also Pianoforte concerto, Violin concerto.
Concerto grosso (Corelli), I. 394ff.
Concerts du Conservatoire, III. [278].
Concerts Populaires, III. [278].
Concerts Spirituels, II. 65 (footnote), 68, 104.
Conflict of styles (in classic period), II. 62.
Congregational singing, in Lutheran Church, I. 289, 291f, 386.
Conservatoire de Musique (Paris), II. 42, 44, 254.
Conservatoire Populaire de Mimi Pinson, III. [350].
Conservatories (Berlin), III. [15];
(Cologne), III. [10];
(Leipzig), II. 261; III. [5];
(Naples), II. 7, 8, 11, 197;
(Paris), II. 42, 44, 254.
Conti, Prince, II. 68.
Continuo. See Figured bass.
Contrast, I. xxxviii, xlii;
(in sonata), I. xivf;
(germs of, in primitive music), I. 10;
(in Palestrina's music), I. 310;
(rhythmic, in sonata form), II. 52;
(rhythmic, between movements), II. 54f;
(intro. of principle in musical form), II. 63ff.
Conventions (in musical design), I. xxxv, xxxvii. lii.
Cook, James, I. 16f, 23.
Copenhagen, II. 40;
III. [62].
Coquard, Arthur, II. 471.
Corder, Frederic. III. [421].
Corea (musical instruments), I. 53.
Corelli, Arcangelo, I. 375, 394ff, 452;
II. 51;
III. [385];
(influence on Händel), II. 446;
(influence on Bach), II. 472.
Cornelius, Peter, II. 380f;
III. [viii], [235]f, [239], [245].
Cornet à pistons, II. 340, 341.
Corroborie dance, I. 13.
Corsi, Jacopo, I. 329ff.
Cortopassi, Domenico, III. [384].
Costa, P. Mario, III. [401].
Costumes, in early Italian opera, I. 336.
Cotto, Johannes, I. 172f.
Council of Trent, I. 312ff.
Counterpoint, I. xliii, xlvi, 227;
(in early Italian music), I. 269ff, 282f;
(reaction against), I. 311, 330;
(Palestrina), I. 319f;
(Monteverdi's violation of rules), I. 338ff;
(influence of harmony), I. 352ff;
(Mozart), II. 111.
See Polyphonic style.
Couperin, François, I. 398, 410ff, 485;
II. 60, 351.
Courante, I. 371f.
Courtney, W. L., III. [321].
Coward, Henry, III. [422].
Cowen, Frederic H., III. [xiv], [415], [418].
Crab canon, I. 248.
Cramer, Jean Baptiste, II. 259.
Cremona violins, I. 362.
Crescendo (intro. by Mannheim school), II. 12, 138;
(Jommelli's), II. 65;
(Rossini's), II. 181.
Croatian folk-song, Haydn's use of, II. 98.
Croche, Monsieur (pseudonym), III. [332].
Crotola (Egyptian instrument), I. 82.
Csermák, III. [188].
Cui, César, III. [xvi], [131]ff;
(on Scriabine), III. [157].
Cumberland festival (England), III. [434].
Curschmann, Friedrich, III. [19].
Cuscina, Alfredo, III. [384].
Cuzzoni, Francesca, I. 437.
Cycle. See Song Cycle, etc.
Cyclic form. See Sonata.
Czech music, characteristics of, III. [166]ff.
Czernohorsky, Bohuslav, II. 19.
Czerny, Carl, on Beethoven's playing, II. 162.

Da capo (in aria form), II. 3, 10;
(Gluck), II. 25;
(Haydn), II. 273.
Dale, B. J., III. [442].
Dampers (in the pianoforte), II. 297.
Damrosch, Leopold, III. [237].
Dance music, I. xliv, xlvii, xlviii.
See also Ballet; Suite.
Dance rhythms, III. [xv].
Dance song, I. 195f.
Dance tunes (as constituents of the suite), I. 369ff.
Dancing (primitive), I. 11f;
(Peruvian), I. 56;
(Oriental), I. 57ff;
(Egyptian), I. 84;
(Greek choral), I. 116ff, 121;
(mediæval), I. 195;
(Troubadours), I. 208f.
See also Ballet; also Folk-dances.
Dannreuther, Edward, III. [91], [430];
quot., II. 170, 174.
Dante (songs of), I. 260f, 264;
(Liszt's dramatic symphony), II. 259f.
Dargomijsky, Alexander Sergeyevitch, III. [ix], [xvi], [xix], [38], [42], [46]ff, [107], [121].
Darwin's theory of the origin of music, I. 4f.
Daudet (L'Arlésienne), II. 391.
Davey, Henry, III. [430].
David, Félicien, II. 390;
III. [7].
Davies, James A., cited, I. 40.
Davies, Walford. III. [426].
Day, C. R., cited, I. 49.
Debussy, Claude, I. xviii;
II. 439;
III. [ix], [xi], [xiv], [xviii], [250], [318]ff;
(quoted on Bruneau), III. [346];
(on modern French music), III. [333];
(influence of), III. [335], [336], [364];
(and Ravel), III. [341].
Declamation (in French opera), I. 408f;
(in song), III. [260].
Dehmel, Richard, III. [274].
Dehn, Siegfried, III. [16].
Délibes, Léo, II. 389;
III. [7], [278].
Delius, Frederick, III. [x], [xi], [xiv], [xix], [424]f.
Denmark (political aspects), III. [61]ff, [62];
(folk-song), III. [65];
(modern composers), III. [70]ff.
Dent, E. J., III. [431].
Denza, Luigi, III. [401].
Derepas, Gustave, quot. on Franck, II. 472.
Descant, I. 162, 235, 270.
See also Polyphony.
Descriptive color, in early music, I. 276f.
Després, or Desprez. See Josquin.
Devil dances, I. 58.
Diaghileff's Russian ballet, III. [331], [340].
Dialogue, musical. See Recitative.
Diaphony, I. 163ff, 237.
Diatonic scale (used by Egyptians), I. 86.
See Scales.
Dietrich, Albert, III. [14], [257];
(quot. on Brahms), II. 451.
Dietsch, Pierre, III. [291].
Dickinson, Edward, quoted on Beethoven, II. 130.
Dilettanti, Florentine, I. 329ff.
Discant. See Descant.
Dithyrambs, I. 119f.
Dittersdorf, Carl Ditters von, II. 2, 49, 63, 67, 71, 94, 114.
Doles, Johann Friedrich, II. 107.
Domchor, Berlin, III. [15].
Dohnányi, Ernst von, III. [195]f.
Doni Giovanni Battista, quoted, I. 335.
Donizetti, Gaetano, II. 187, 192ff.
Dorian mode, I. 100, 103, 113, 136.
Dorian school (of Greek composition), I. 117.
Dostoievsky, III. [40], [108].
Double-bass, II. 338.
Double-bassoon, I. 446;
II. 96, 341.
Double choir. See Choir (divided).
Double-stopping, in early violin music, I. 368.
Dowland, John, I. 306.
Draeseke, Felix, III. [235], [241].
Drama (Greek), I. 118ff, 329f;
(English, 17th cent.), I. 430;
(German, 18th cent.), II. 80f.
See Opera; Oratorio.
Dramatic element (in early madrigals), I. 277f, 281;
(in sacred music), I. 321f;
(in 17th cent. opera), I. 380ff, 384f;
(in 18th cent. opera), I. 428;
(in Händel's operas), I. 429, 435;
(in early oratorio), I. 386;
(in passion oratorio), I. 425, 480.
Drame lyrique, II. 209f, 390.
See Opera, French.
Dresden (early opera in), I. 384,416;
(in Hasse's period), II. 5, 78;
(Wagner), II. 406.
Drums (primitive), I. 15ff;
(Indian), I. 35;
(Aztec), I. 52;
(Assyrian), I. 67;
(Hebraic), I. 73f;
(modern), II. 265, 341.
See also Percussion, instruments of.
Drum-stick, II. 341.
Du Schwert an meiner Linken, II. 234.
Dubarry, Jeanne. See Barry, Mme. du.
Dubois, Théodore, III. [336].
Duchesne, cited, I. 146.
Ducis, Benedictus, I. 297.
Dudevant, Madame. See Sand, George.
Dudy (Czech instrument), III. [166].
Duet (in early passion oratorio), I. 425;
(in Italian opera), I. 427f.
Dufay, Guillaume, I. 235f, 240ff.
Dukas, Paul, III. [viii], [ix], [x], [xi], [xiv], [xviii], [321], [334], [357]ff.
Dulcimer, Assyrian, I. 66.
Dumas, Alexandre, fils, (Dame aux Camélias), II. 492.
Dumka (Czech dance), III. [166].
Dunhill, T. F., III. [442].
Duni, E. R., II. 24, 122.
Dunstable, John, I. 236, 239ff;
III. [409].
Duparc, Henri, III. [x], [xviii], [287], [311].
Duple rhythm (in early church music), I. 229.
Durante, Francesco, I. 400f;
II. 8, 11, 14.
Durazza, II. 31.
Durchkomponiertes Lied, II. 274, 280.
Dürnitz, Count von, II. 114.
Dussek, J. L., II. 90;
III. [165], [166].
Dvořák, Antonín, II. 455;
III. [xiv], [xv], [74], [165], [166], [175]ff, [181];
(influence of), III. [183], [184];
(influence in England), III. [437].

Ecclesiastical modes. See Modes, ecclesiastical.
Ecclesiastical music. See Church music.
Eckhardt, J. Gottfried, II. 67, 102.
Eclecticism, III. [viii], [xxii];
(in France), III. [25]ff;
(in Russia), III. [146]ff.
École de musique réligieuse, III. [279].
Egypt, music in, I. 65, 76ff;
(influence on Greece), I. 86;
(compared to Assyrian), I. 78, 82ff.
Egyptian Flutes, I. 26.
Ehlert, Louis, III. [20].
Eist, Diet von, I. 218.
Elgar, [Sir] Edward, II. 440;
III. [x], [xi], [xiv], [xviii], [415], [419].
Elling, Cath., III. [98].
Eloy, I. 244.
El'ud (Arabian instrument), I. 54.
Emotion, I. xxxiv, xliv, li, ixi;
(primitive, as the cause of music), I. 5;
(musical expression of, by Monteverdi), I. 345.
Empiricists (school of Greek composition), I. 109.
Engel, Carl, quoted, I. 13, 16, 70, 80.
England (folk-song), I. xliii; III. [422]f;
(minstrelsy), I. 200f;
(polyphonic period), I. 237ff, 257;
(Reformation), I. 295;
(16th-17th cent.), I. 305f, 369ff;
(17th cent. masque and opera), I. 385;
(Purcell's period), I. 388ff;
(18th cent.), I. 430ff;
(modern), III. [x], [xviii], [409]ff.
English horn, II. 341.
English language (use of, in opera), I. 438.
English Musical Renaissance (The), III. [409]-444.
English oratorio. See Oratorio (Händel).
'English suites,' of Bach, I. 490.
Enna, August, III. [73]f.

Ensemble, operatic, II. 10;
(development by Mozart), II. 179.

Epic, mediæval, I. 168ff, 190ff.
Ephorus, cited, I. 95.
Epringerie, I. 208.
Equal temperament, I. 483, 485ff.
Equilibrium (in art), I. xxxv.
Érard, Sébastien, II. 163, 198.
Erkel, Franz, III. [190].
Ernst, Wilhelm, I. 460.
Eskimos, I. 11.
Esposito, E., III. [155].
Estampida, I. 208f.
Esterhazy, Princes Anton and Nicolaus, II. 87.
Etruscans, I. 131.
Eumolpos, I. 111.
Euripides, I. 120.
Eusebius, bishop of Cesarea, I. 139f.
Exotic music, I. 42-63.
Exoticism, in modern music, II. 42f, 389f;
III. [199], [269], [279], [327].
Expression (vs. organization), I. xxxiv;
(in early church music), I. 242;
(in polyphonic period), I. 245.
Expressive style, in early Italian opera, I. 330ff, 335.

Fabo, III. [200].
Fagge, Arthur, III. [422].
Fanelli, Ernest, III. [361].
Farinelli, I. 436f, 398;
II. 4, 185.
Farkas, III. [200].
Fasch, Johann Friedrich, II. 7, 8, 52, 56.
Fauré, Gabriel, III. [ix], [xiv], [xviii], [2], [268], [285], [287], [291]ff, [325];
(influence of), III. [336], [341].
Faustina. See Hasse, Faustina.
Faux-bourdon, I. 235, 266.
Favart, II. 24, 31.
Feo, Francesco, I. 400f;
II. 6, 8, 11.
Feodor, Czar, III. [40].
Ferdinand, King of Naples and Sicily, II. 15, 197.
Ferrara (opera in), I. 327, 328.
Ferrata, Giuseppe, III. [397], [398].
Festa, Constanzo, works of, I. 273ff, 303f.
Festivals. See Music festivals.
Fétis, F. J., cited, I. 86f, 263.
Fibich, Zdenko, III. [181]ff.
Field, John, II. 258.
Fielitz, Alexander von, III. [20].
Figuration (in Chopin's music), II. 321.
Figured Bass (origin), I. 353ff;
(in early violin music), I. 368;
(Corelli), I. 375;
(in monody), II. 51;
(Stamitz), II. 12, 65ff;
(Haydn), II. 95.
Filtz, Anton, II. 67.
Finale (operatic), II. 10, 179;
(sonata), II. 54.
Finck, Heinrich, I. 304.
Fingering. See Keyboard Instruments.
Finland (political aspects), III. [61]ff;
(folk-music), III. [66]ff;
(modern composers), I. 100ff.
Flat (origin of), I. 156.
Flemish school, rise of, I. 234.
Floridia, Pietro, III. [392].
Florence (ars nova), I. 230, 263ff;
(national festival), I. 324f;
(early opera), I. 326, 330ff, 379.
Florentine camerata, I. 329ff.
Florimo, Franc., quoted, II. 16.
Flotow, Friedrich von, II. 380.
Flute (in early Germany), I. 198;
(in early Italian opera), I. 333;
(in Händel's orchestra), I. 424;
(modern), II. 117, 265, 335, 337ff, 341.
Flutes, primitive, I. 22ff;
(Indian), I. 36;
exotic, I. 54;
(in Mohammedan funeral services), I. 62;
ancient (Egyptian), I. 80f, 84
; (Greek), I. 121ff.
Flutists (Greek), I. 112.
Foerster, Christoph, II. 7.
Fokine, M., III. [340].
Folk-dances, III. [39];
(Bohemian), III. [166]f.
See also Dancing.
Folk-lore, II. 223.
Folk-music, I. xli, xlii-ff;
(Swedish), III. [65];
(Italian), III. [390]f, [391];
(negro), III. [179];
(Spanish), III. [404]f.
See also Folk-songs; Primitive music; Exotic music.
Folk-poetry, III. [61].
Folk-songs, I. xxxviii;
(in Middle Ages) I. 186ff;
(definition), I. 191ff;
(early French), I. 192ff;
(early German, etc.), I. 195ff;
(early English), I. 237f;
(used in the Mass), I. 242;
(Haydn's use of), II. 98;
(Schubert's use of), II. 273;
(Smetana's use of), III. [171]ff;
(in rel. to art-song), II. 274;
(general), III. [xv], [xvi], [39], [61];
(Danish), III. [65];
(Norwegian), III. [66];
(Finnish), III. [66]ff;
(Grieg's use of), III. [68];
(Swedish), III. [79];
(Russian), III. [139];
(Bohemian), III. [167];
(Magyar), III. [186];
(Hungarian), III. [198]ff;
(Breton), III. [314];
(Italian), III. [391];
(British), III. [422]f, [434], [437];
(Irish), III. [423].
Follino, quoted, I. 343.
Fontana, Giovanni Battista, I. 368.
Ford, Ernest, III. [430], [432].
Forkel, Nikolaus (opposition to Gluck), II. 31.
Form, I. xxiv-ff, xxxviii, lviii, 264, 350-376, 450;
II. 53ff;
III. [202]f;
(conflict with matter), III. [206].
See also Aria, Canzona; Sonata; Song form; Symphonic form, etc.
Fortunatus, I. 136f.
Four-movement form. See Symphonic form.
France (folk-song), I. xliii, xliv, 191ff;
(primitive instruments), I. 24f;
(mediæval minstrelsy), I. 202ff;
(Troubadours, etc.), I. 204ff;
(polyphonic period), I. 228ff, 242f, 266;
(Reformation), I. 294;
(17th cent. harpsichord music), I. 374ff;
(17th century opera and ballet), I. 384, 401ff;
(opera after Lully), I. 413f;
(18th cent.), II. 23;
(early 19th cent.), II. 199ff;
(Romantic period), II. 241f, 253ff, 350ff, 385ff, 469ff;
III. [7];
(modern), III. [ix], [xvii], [277]ff, [317-365];
(modern, influence on Spain), III. [406].
Franchetti, Alberto, III. [369], [392].
Francis I of Austria, II. 27.
Francis II of Austria, II. 91.
Franck, César, I. 478;
II. 439, 469ff, 471f;
III. [xi], [xii], [xiv], [xviii], [205], [279], [281]f;
(the followers of), III. [277]ff;
(pupils of, enumerated by d'Indy), III. [296];
(influence of), III. [301], [314];
(and Debussy), III. [319].
Francke, Kuno, quoted, II. 48.
Franco-Prussian war, III. [284].
Franz, Robert, II. 289ff;
III. [18], [257].
Frauenlob (minnesinger), I. 220, 222.
Frederick the Great, I. 468f;
II. 31, 48, 50, 58, 70, 78, 107, 204, 277.
Frederick William III of Prussia, II. 198.
Frederick William IV of Prussia, II. 261.
Fredkulla, M. A., III. [88].
Freemasons, II. 76.
Freischützbuch (Das), II. 375.
French Revolution. See Revolutions (French).
French schools, etc. See France.
Frescobaldi, Girolamo, I. 358ff;
III. [385].
Friskin, James, III. [442].
Froberger, John Jacob, I. 359f, 376.
Frontini, III. [394].
Frottola (the), I. 271, 326.
Fugue, I. xiii, xxxix, xli, lii;
(Dufay), I. 236;
(Sweelinck), I. 359;
(before Bach), I. 451, 476;
(Bach), I. 469, 473ff, 487, 489ff;
(after Bach), I. 478;
(modern), III. [282].
Fulda, Adam von, I. 304.
Fuller, Loie, III. [364].
Fuller-Maitland. See Maitland, J. A. Fuller.
Fumagalli, Polibio, III. [397].
Fürnberg (von), II. 86.
Furiant (Czech dance), III. [166].
Futurists, Italian, III. [392]f.
Fux, Johann Joseph, I. 416;
II. 62.
Fyffe, quoted, II. 232, 237ff.

Gabrieli, Andrea, I. 330, 356.
Gabrieli, Giovanni, I. 356.
Gade, Niels W., II. 263, 347;
III. [69], [72], [92].
Gagliano, Marco da, I. 335, 378;
(quoted), I. 333.
Galeotti, Cesare, III. [397].
Galilei, Vincenzo, I. 329f.
Galliard (the), I. 371f, 375.
Gallo-Belgian school, I. 234ff.
Galuppi, Baldassare, II. 15, 179.
Garcia, Manuel, II. 185.
Gardiner, Balfour, III. [422].
Garibaldi Hymn, II. 504.
Gassmann, F. L., II. 62.
Gaultier, Denys, I. 374f.
Gavotte (the), I. 372.
Gazette Musicale de Paris, II. 247.
Geisha dance, I. 58f.
Geistliche Lieder (Bach), II. 273.
Gelinek, Joseph, II. 161f.
Gellert, II. 49, 275.
Geminiani, Francesco, II. 51.
Generative theme, III. [282], [302], [314].
'Genre,' musical. See Miniature.
Genre symphony, III. [7].
George IV of England, II. 184.
Gerbert, Martin, I. 142;
II. 67.
German, Edward, III. [425], [426], [432].
German influence (on Jommelli), II. 12;
(in English music), III. [413]f.
'German Requiem' (Brahms), II. 455.
Germany (folk-song), I. xliii, 195ff;
(mediæval minstrelsy), I. 200ff;
(minnesingers), I. 214ff;
(Reformation), I. 288ff;
(15th-16th cent.), I. 304f;
(organ music, 16th-17th cent.), I. 359ff;
(instrumental music, 17th cent.), I. 371ff;
(harpsichord music, 17th cent.), I. 374ff;
(opera, oratorio, etc., 17th cent.), I. 384, 387;
(later 17th cent.), I. 414ff;
(opera, 18th cent.), I. 421ff;
(Bach), I. 448ff;
(reaction against Italian opera), II. 9;
(supremacy over Italy), II. 46;
(18th century, social and religious aspects), II. 48ff, 76ff;
(early classic period), II. 50ff;
(Viennese period), II. 75ff;
(Beethoven), II. 128ff;
(Romantic movement), II. 213ff;
(19th cent. national reawakening), II. 231ff;
(devel. of the lied), II. 269ff;
(pianoforte music, 19th cent.), II. 299ff;
(Romantic chamber music), II. 328;
(Romantic orchestral music), II. 343ff, 361ff;
(Romantic opera), II. 372ff;
(choral music of Rom. period), II. 394ff;
(Wagner), II. 401ff;
(neo-Romanticism), II. 443ff;
III. [1]ff;
(modern symphonists), III. [viii], [201]ff;
(modern opera), III. [238]ff;
(modern song), III. [257]ff;
(the ultra-moderns), III. [268]ff.
Gernsheim, Friedrich, III. [209]f.
Gesellschaft der Musikfreunde, II. 134.
Gesualdo, Carlo, I. 276.
Gevaert, F. A., quoted, I. 131, 135, 140, 144, 146f.
Gewandhaus (Leipzig), II. 261;
III. [5].
Giammaria (lutenist), I. 328.
Gibbons, Orlando, I. xlvii, 306.
Gigue (the), I. 371f, 375.
Gilman, Benjamin Ives, cited, I. 14, 40.
Gill, Allen, III. [422].
Giordano, Umberto, III. [369], [377].
Giorgione, I. 327.
Gipsies. See Gypsies.
Glazounoff, Alexander Constantinovitch, III. [x], [xi], [xii], [xiv], [xvii], [137]ff.
Glière, Reinhold, III. [xvii], [146], [150]f.
Glinka, III. [xvi], [38], [39], [42]ff, [107], [134].
Gluck, Christoph Willibald, II. 8, 17ff;
(quoted), II. 208.
Gnecchi, Vittorio, III. [382].
Gobbi, III. [200].
Godard, Benjamin, III. [35]f, [283].
Goethe, II. 49, 134, 140, 223, 232, 283;
III. [61], [267], [358].
Goetz. See Götz.
Gogol, III. [39], [108], [123], [136], [138].
Golden Spur, Order of, II. 23, 71, 103.
Goldicke, A., III. [155].
Goldmark, Karl, II. 455;
III. [viii], [x], [102], [241]f.
Goldschmidt, Adalbert, III. [241].
Golpin, F. W., III. [430].
Gombert, Nicolas, I. 296f.
Gomez, Carlo, III. [408].
Goodhart, A. M., III. [442].
Goosens, Eugène, Jr., III. [441].
Gossec, François Joseph, II. 41, 65, 68, 106.
Götz, Hermann, III. [viii], [209], [239], [245]f.
Goudimel, Claude, I. 294f.
Gounod, Charles, II. 207, 386ff, 438;
III. [7], [278].
Goura (African instrument), I. 28.
Grädener, Karl, III. [14].
Granados, Enrico, III. [406].
Grandmougin, Charles, III. [293].
Grammann, III. [256].
Graun, Joh. Gottlieb, II. 58.
Graun, Karl Heinrich, I. 416;
II. 58.
Gray, Alan, III. [442].
Greco, II. 8.
Greece (Ancient), music of, I. 84ff, 88-127;
(influence on Roman and early Christian music), I. 131ff, 136, 138, 151ff, 160, 165;
(influence in Italian renaissance), I. 329, 330, 332, 346.
Greek modes and scales. See Modes, Scales, Tetrachords.
Greene, Maurice, I. 432.
Greene, Plunket, III. [443].
Gregorian tones. See Plain-song.
Gregorian tradition, I. 145f.
Gregory I, Pope, I. 144ff, 151, 156.
Grell, Eduard August, III. [16].
Gretchaninoff, Alexander, III. [128], [143], [144]f.
Grétry, André E. M., II. 25, 41, 106.
Griboiedoff, III. [108].
Grieg, Edvard, II. 440;
III. [xiv], [xv], [xvi], [64], [68], [69], [70], [77], [89]ff, [96];
(quoted on Hartmann), III. [72];
(influence of), III. [99], [332].
Grillo, Giovanni Battista, I. 364f.
Grillparzer, II. 134;
III. [190].
Grimm, [Baron] Melchior, II. 24, 31, 102 (footnote).
Grimaldi, Niccolini, I. 432.
Grisar, Albert, II. 211.
Grisi, Giulia, II. 193.
Ground-bass, I. 367.
Grove, [Sir] George (citations, etc.), I. 313;
II. 143, 150, 157, 162, 166, 168f, 344.
Grove's Dictionary of Music and Musicians, III. [430].
Grovlez, Gabriel, III. [407].
Guarneri family, I. 362.
Guecco, II. 187.
Guerre des bouffons, I. 414f;
II. 24, 35.
Guglielmi, Pietro, II. 14.
Guicciardi, [Countess] Giulia, II. 141, 145.
Guidicioni, Laura, I. 328.
Guido d'Arezzo, I. 167ff.
Guidonian Hand, I. 171.
Guillaume (the troubadour), I. 205.
Guilmant, Alexandre, III. [36], [285].
Gui, Vittorio, III. [400].
Guy, Abbott of Chalis, I. 174f.
Gypsies, II. 250, 322;
III. [187], [319].

Haarklou, Johannes, III. [98].
Hadow, W. H., II. 98;
III. [430];
quoted (on Paësiello), II. 15;
(on Sarti), II. 40;
(on Bach's influence), II. 59;
(on musical patronage), II. 88;
(on Mozart's 'Paris symphony'), II. 104;
(on development of art forms), II. 110;
(on difference betw. Haydn and Mozart), II. 112;
(on Mozart's concertos), II. 115;
(on Schubert), II. 227.
Hägg, J. Adolph, III. [79].
Häle, Adam de la. See Adam.
Halévy, Jacques Fromental E., II. 207.
Halévy, Ludovic, II. 393.
Halle a.d. Saale, I. 360, 419ff, 422f, 463;
II. 289.
Hallé, Sir Charles, III. [411].
Hallén, Andreas, III. [80]f.
Halsley, Ernest, III. [442].
Hallström, Ivan, III. [79].
Halvorsen, Johann, III. [98].
Hamburg (17th century opera), I. 384, 414f, 422ff;
(Brahms), II. 454.
Hamerik, Asger, III. [73], [74]f.
Hammer-clavier. See Pianoforte.
Hammerschmidt, Andreas, I. 387.
Han, Ulrich, I. 285.
Hand-Clapping, I. 14, 69, 83.
Händel, George Frederick, I. 387, 393f, 397, 416f, 418ff, 463;
II. 8, 56;
III. [410].
Hanslick, Eduard, II. 436;
(quoted, on Grieg), II. 440.
Harmonic alteration of melodies, I. xlix.
Harmonic style, I. xlvii.
See also Monody.
Harmony, I. xxxix, xl, xlix, l, 43;
(traces of, in primitive music), I. 16, 18ff;
(Oriental meaning of the term), I. 48;
(supposed traces of, in ancient music), I. 69, 88, 97;
(Greek use of the term), I. 90;
(harmonic foundation of early folk-songs), I. 198;
(mediæval beginnings) I. 160ff;
(13th cent. example), I. 237;
(15th cent.), I. 269ff;
(16th cent.), I. 293f;
(musica ficta), I. 301f;
(Palestrina), I. 320, 322;
(Monteverdi, chromaticism), I. 341;
(development in 17th cent.), I. 352ff;
(German and English instrumentalists), I. 371f;
(Purcell), I. 389;
(A. Scarlatti), I. 393;
(Lully), I. 409;
(Rameau), I. 414;
(Händel), I. 441;
(Bach), I. 475ff, 487, 489ff;
(influence on form), I. 51ff;
(Haydn and Mozart), II. 111f;
(Beethoven), I. 167;
(Schubert), I. 227;
(Schumann), II. 285, 286, 307;
(influence of the pianoforte), II. 298;
(Chopin), II. 320f;
(Liszt), II. 324f;
(Wagner), II. 433ff;
(Brahms), II. 463;
(Franck), II. 471;
(modern innovations), III. [155]ff, [164], [198], [272], [275]f, [290], [295], [325].
Harps (African), I. 29;
(Assyrian), I. 66;
(Egyptian), I. 78ff;
(Greek), I. 85, 125;
(modern), II. 341.
Harpsichord (or clavier, in early opera), I. 333;
(in the operatic orchestra), I. 424;
(as basso continuo), I. 354;
(description), II. 60, 373ff;
II. 294.
Harpsichord music (early English), I. 306, 369;
(Chambonnières), I. 375;
(Froberger), I. 376;
(Purcell), I. 390;
(Domenico Scarlatti), I. 398f;
(Couperin), I. 411f;
(Händel), I. 445;
(Bach), I. 471f.
See also Pianoforte music.
Harpsichord playing, I. 375;
(J. S. Bach's), I. 461, 489;
(improved systems of fingering), I. 484ff;
(C. P. E. Bach's), II. 59.
Hartmann, Georges, III. [320].
Hartmann, J. P. E., II. 347;
III. [71]f, [73].
Hasse, Faustina (Bordoni), I. 416, 437;
II. 5ff.
Hasse, Joh. Adolph, I. 416, 427;
II. 5ff, 31.
Hauschka (author of Austrian national hymn), II. 91.
Hausegger, Siegmund von, III. [270].
Hawaiian Islands, I. 22f.
Hawley, Stanley, III. [441].
Haydn, Joseph, II. 49 (footnote), 55, 57, 68f, 83ff;
(and Mozart), II. 105ff, 114, 115, 116;
(and Beethoven), II. 138;
(as song composer), II. 273.
Haydn, Michael, II. 73ff;
(influence on Mozart), II. 102.
Health, in relation to music, I. 90ff.
Hebbel, II. 380.
Hebrews (ancient), I. 70ff.
Heidegger, I. 437.
Heiligenstadt testament (Beethoven's), II. 136, 158, 159, (illus. facing p. 158).
Heine, Heinrich, II. 224, 249, 288f.
Heinrich von Meissen. See Frauenlob.
Heise, Peter A., III. [73].
Helen, Grand Duchess of Russia, III. [49].
Helgaire, quoted, I. 189.
Heller, André, III. [321].
Heller, Stephen, II. 322;
III. [17].
Hemiolia, II. 461.
Henderson, W. J., quoted, I. 326;
II. 276, 282.
Henschel, Georg, III. [212].
Henselt, Adolf, II. 322;
III. [17].
Heptatonic scale, I. 46ff.
Herbeck, Johann, III. [212].
Herder, III. [61].
Hérold, L. J. F., II. 207, 211.
Herz, Henri, III. [18].
Hertzen, III. [108].
Herzogenberg, Heinrich von, III. [209], [210].
Hesiod, I. 92.
Hexachordal system, I. 167ff.
Heyden, Sebald, cited, I. 240.
Hierocles, quoted, I. 90, 109.
Hilarius, I. 142.
Hildburghausen, Prince Joseph of, II. 71 (footnote).
Hill, Aaron, I. 431, 438f.
Hiller, Ferdinand, II. 263 (footnote);
III. [9], [256].
Hiller, Johann Adam, II. 8, 191.
Himmel, Friedrich Heinrich, II. 152, 162.
Hindoos, I. 47ff, 59ff.
Hinton, Arthur, III. [427].
History. See Musical History.
Hobrecht, Jacob, I. 248, 251.
Hoffmann, E. T. A., II. 308ff, 379.
Hoffmann, Leopold, II. 63.
Hoffmeister (publisher), II. 109.
Hofmann, Heinrich, III. [20], [212], [257].
Holbrooke, Joseph, III. [viii], [ix], [x], [xi], [xix], [438].
Holmès, Augusta, III. [296].
Holstein, Franz von, III. [256].
Holtzbauer, Ignaz, II. 67.
Homer, I. 92.
Homophonic style, I. xiii. See also Monody.
Homophony (in Greek music), I. 161;
(and monody), I. 259.
See also Monody.
Honauer, Leonti, II. 102.
Hopi Indians, I. 38f.
Horns (primitive), I. 21;
(in mediæval Germany), I. 198, 218;
(in the classic orchestra), II. 65, 117, 335;
(in the Romantic period), II. 337ff;
(modern), II. 117, 265, 335, 337, 338, 340, 341;
(valve-horn), II. 340.
Hřimaly, Adalbert, III. [180].
Hubay, Jenő, III. [190], [194]f.
Huber, Hans, III. [212].
Hucbald, I. 162ff.
Hughes, Rupert (quot.), II. 331.
Hugo, Victor, II. 244, 486.
Hullah, John (quoted), I. 256.
Hummel, Johann Nepomuk, II. 259, 321.
Humor (in early polyphonic music), I. 254;
(in opera), see Opera buffa.
Humperdinck, Engelbert, II. 437;
III. [viii], [x], [238], [245], [247], [267]f.
Humfrey, Pelham, I. 385.

Huneker, James (quot.), II. 501.

Hungary,
(folk-song), I. xliii-f;
(political aspects), III. [186];
(early musical history), III. [187]ff;
(modern composers), III. [190];
(ultra-moderns), III. [197].
Hunold, C. F. See Menantes.
Hunting bow, I. 28.
Hurlstone, William Young, III. [437].
Hüttenbrenner, Anselm, II. 133.
Hyagnis, I. 112.
Hymns (early Christian), I. 135ff;
(early Protestant), I. 289ff;
(in passion music), I. 480f.

Iadmirault, III. [363].
Iastian mode, I. 136.
Ibsen, III. [77], [85], [87], [95].
Ibykos, I. 115f.
Idolatry (in relation to ancient music), I. 70, 77.
Illuminati, II. 76.
Iljinsky, Alexander A., III. [145].
Imitation (Greek meaning of term), I. 89;
(in hexachordal system), I. 169;
(free and strict, definition), I. 227f;
(in early polyphonic music), I. 231f, 243;
(early English example), I. 237ff;
(in madrigals), I. 276.
See also Canon; Counterpoint; Fugue.
Imitation of nature. See Program music.
Imperfections (in art), I. xxx-f.
Imperial Musical Society (Russian), III. [107].
Impressionism (suggestions of, in Liszt), II. 325;
(in Norwegian folk-music), III. [66];
(Grieg), III. [69], [89];
(Sinding), III. [97];
(Moussorgsky), III. [130];
(Reger), III. [231];
(French school) III. [317]ff;
(in modern piano music), III. [326]f;
(and realism), III. [342];
(Eric Satie), III. [361];
(Leo Ornstein), III. [393];
(Albéniz), III. [406].
Indians, American, I. 13, 33ff.
[d']Indy, Vincent, II. 439;
III. [viii], [ix], [xi], [xiii], [xiv], [xviii], [282], [284], [285], [287], [296]ff, [334];
(influence), III. [358].
Ingegneri, Marc' Antonio, I. 337.
Instrumental music, I. xliii, xlvii, xlviii, lviii, 305, 306;
(development in early 17th cent.), I. 355ff;
(Purcell), I. 390f;
(Bach), I. 452;
(Lully, Rameau, Couperin), I. 409f.
See also Accompaniments (instrumental); Chamber music; Harpsichord music; Pianoforte music; Orchestral music; Sonata; String quartet; Violin music, etc.
Instrumentation, I. liii;
(abuse of special effect), I. xxii, lv;
(Monteverdi), I. 337;
(tone-color), I. 481;
II. 12, 118, 266.
See also Orchestration.
Instruments (primitive), I. 14f, 20ff;
(Chinese), I. 48;
(Hindoo), I. 49;
(miscell. Exotic), I. 52ff;
(Assyrian), I. 65ff;
(Hebrew), I. 70ff;
(Egyptian), I. 78ff;
(Greek), I. 84f, 122ff;
(mediæval), I. 198, 211, 218;
(Renaissance), I. 261ff, 281;
(perfection of modern), II. 335ff.
See also Orchestra, Orchestration; String instruments; Wind instruments, and specific names of instruments.
Instruments of Percussion. See Drums.
Intermedii (Renaissance), I. 326.
Intermezzi. See Opera buffa.
Intervals (in primitive music), I. 7, 34, 40f;
(in the sounds of nature), I. 8;
(in Greek music), I. 99, 101ff;
(in plain-song), I. 154;
(in Italian ars nova), I. 264.
Inverted canon, I. 248.
Ippolitoff-Ivanoff, M. M., III. [128], [149].
Ireland (folk-song), I. xliii;
III. [423].
Ireland, J. N., III. [442].
Isaac, Heinrich, I. 269, 304f.
Ismail Pasha, Khedive of Egypt, II. 496.
Isouard, Niccolò, II. 183.
Italian influence (on early Lutheran music), I. 243;
(on German organ music), I. 358ff;
(in 17th cent.), I. 389, 451, 454f;
(on Händel), I. 427;
(on Bach), I. 471, 476, 479, 489, 490;
(on Gluck), II. 17;
(on J. C. Bach), II. 61;
(in 18th cent. Vienna), II. 80;
(on Mozart), II. 102, 105, 121f;
(on Meyerbeer), II. 199f;
(on Wagner), II. 404, 407.
Italian opera. See Opera (Italian).
Italian Renaissance. See Renaissance (the).
Italy (Renaissance), I. 258ff;
(ars nova), I. 262ff;
(15th cent.), I. 266ff;
(madrigal era), I. 272ff;
(Venetian school), I. 298;
(Palestrina), I. 311ff;
(Florentine monodists), I. 324ff;
(Monteverdi), I. 336ff;
(early organ music), I. 358ff;
(early violin music), I. 361ff;
(harpsichord music), I. 374;
(17th cent. opera), I. 380ff;
(oratorio), I. 386f;
(17th cent. instrumentalists), I. 391ff;
(early 18th cent.), I. 426ff;
(later 18th cent.), II. 1ff;
(political aspects), II. 47;
(sonata form), II. 52f;
(Boccherini), II. 70;
(early 19th cent.), II. 177ff;
(modern opera), III. [ix], [366]ff;
(modern renaissance of instr. music), III. [385]ff;
(modern song writers), III. [398];
(folk-song), III. [349].
See also Opera; also Renaissance.

Jadassohn, Salomon, III. [13].
Jahn, O. (quot.), II. 111, 115.
Jannequin, Clement, I. 276f, 306;
II. 351;
III. [354].
Japan, I. 47, 58f.
Japanese 'color,' III. [199].
Japanese instruments, I. 53.
Järnefelt, Armas, III. [101].
Jaspari (It. composer), II. 503 (footnote).
Java, I. 57.
Jennens, Charles, I. 442.
Jensen, Adolf, III. [18].
Jeremiaš, Jaroslav, III. [182].
Jeremiaš, Ottokar, III. [182].
Jérome Bonaparte, II. 132.
Joachim, Joseph, II. 413, 447.
John XXII (Pope), I. 232f.
John the Deacon, I. 145.
Johnson, Noel, III. [443].
Johnson, [Dr.] Samuel (cit. on Italian opera), I. 431.
Jommelli, Nicola, II. 11ff, 65.
Jongleurs, I. 203, 206, 210, 212.
See also Troubadours.
Joseph II, Emperor of Austria, II. 15, 22, 49 (footnote), 106, 124.
Josephine, Empress, II. 197.
Josquin des Prés, I. 252ff, 269, 288, 296, 298, 313.
Jouy, Étienne, II. 188, 197.
'Judaism in Music,' essay by Wagner, II. 415.
Junod, Henry A., cited, I. 8.

Káan-Albést, Heinrich von, III. [181].
Kaffirs, I. 31.
Kajanus, Robert, III. [100].
Kalbeck, Max, cit., II. 450;
friend of Brahms, II. 455.
Kalevala (the), III. [63], [67], [103].
Kallinikoff, Vasili Sergeievich, III. [140].
Kalliwoda, J. W., III. [168].
Kangaroo dance, I. 12.
Karatigin, W. G., III. [161].
Karel, Rudolf, III. [182].
Karl Eugen, Duke of Württemberg, II. 12.
Karl Theodor, Elector of the Palatinate, II. 64.
Kashkin, N. D., III. [53].
Kaskel, Karl von, III. [257].
Kastalsky, A. D., III. [143].
Katona, Josef, III. [190].
Kaunitz, Count, II. 18.
Kazachenko, G. A., III. [145].
Keats, I. xlv.
Keiser, Reinhard, I. 415, 422ff, 425, 452ff.
Keller, Maria Anna, II. 86.
Kerll, Kaspar, I. 384.
Kettle drum, II. 340, 341, 342.
Key, Ellen, III. [77].
Key relationships. See Modulation; Tonality.
Key signature, I. 230, 232.
See also Accidentals.
Keyboard instruments. See Clavichord; Harpsichord; Pianoforte; Organ, etc.
Keys, in Greek music, I. 105.
See also Scales; also Modulation.
Kieff, III. [150].
Kiel, Friedrich, III. [16].
Kienzl, Wilhelm, III. [243].
Kiesewetter, R. L., quoted, I. 249, 311.
Kietz, II. 405.
Kiober, II. 149.
Kin (Chinese instrument), I. 53.
Kind, Friedrich, II. 375.
King (Chinese instrument), I. 52f.
King, James, quoted, I. 16f.
Kinsky, Prince, II. 133, 152.
Kinsky, Count, II. 18.
Kirby, P. R., III. [441].
Kirchner, Theodor, III. [14].
Kirnberger, Joh. Philipp, II. 31.
Kissar (Nubian instrument), I. 69.
Kistler, Cyrill, III. [240].
Kithara (Greek instrument), I. 123f, 132f.
Kitharœdic chants, I. 132ff, 138, 141.
Kittl, J. F., III. [168].
Kjerulf, Halfdan, III. [87]f.
Kleffel, Arno, III. [20].
Klindworth, Karl, III. [18].
Klopstock, II. 30, 48, 49, 50, 153.
Klose, Friedrich, III. [269]f.
Klughardt, August, III. [236].
[Des] Knaben Wunderhorn, German folk-lore collection, II. 223f.
Kock, Paul de, II. 211.
Kodály, Z., III. [xxi], [198].
Koenig, III. [200].
Koessler, Hans, III. [197], [211].
Kokin (Japanese instrument), I. 53.
Kopyloff, A., III. [146].
Korestschenko, A. N., III. [153].
Korngold, Erich, III. [271].
Körner, Theodor, II. 234.
Krehbiel, H. E., quot., II. 311.
Koss, Henning von, III. [268].
Koto (Japanese instrument), I. 53.
Kousmin, III. [161].
Kovařovic, Karl, III. [181].
Kreisler, Kapellmeister, II. 308.
Kretschmer, Edmund, III. [256].
Kretzschmar, Herman, cit., II. 121.
Kreutzer, Conradin, II. 379.
Kricka, K., III. [182].
Krysjanowsky, J., III. [155].
Kuhac, F. X., II. 98.
Kuhnau, Johann, I. 415f, 453;
II. 58.
Kullak, Theodor, III. [15], [17]f.

Lablache, Luigi, II. 185, 193.
Labor, as incentive to song, I. 6f.
Lachner, Franz, III. [8]ff.
Lagerlöf, Selma, III. [77].
La Harpe, II. 35.
Lalo, Edouard, III. [viii], [xiii], [xviii], [24], [33]ff, [279], [280]f, [287]f.
Lambert, Frank, III. [443].
Lamennais, II. 247.
Lament, primitive, I. 8.
La Mettrie, II. 76.
Lamoureux (conductor), II. 439;
III. [285].
Landi, Stefano, I. 379, 385f.
Landino, Francesco, I. 263f.
Lange-Müller, P. E., III. [73], [75].
Langhans, Wilhelm, quoted, II. 228, 229.
Languages, confusion of (in opera), I. 424.
Languedoc, I. 205.
Langue d'Oïl and langue d'Oc, I. 205.
Lanier, Nicholas, I. 385.
Laparra, Raoul, III. [407].
La Pouplinière, II. 65 (footnote), 68.
Larivée, II. 33.
Lasina, II. 490.
Lassen, Eduard, III. [18], [19], [24], [213], [235].
Lasso, Orlando di, I. 306ff, 320, 353.
Lassus. See Lasso.
Lavigna, Vincenzo, II. 481.
Lavotta, III. [188], [195].
Lawes, Henry, I. 385.
Leading motives. See Leit-motif.
Leading-tone, I. 301.
Le Bé (Le Bec), Guillaume, I. 286f.
Le Blanc du Roullet, II. 31ff.
Legendary song. See Folk-song.
Legras, II. 33.
Legrenzi, Giovanni, I. 346, 365, 384.
Le Gros, II. 65.
Lehmann, Liza, III. [443].
Leibnitz, II. 48.
Leipzig, battle of, II. 234.
Leipzig, I. 262f, 467f, 479;
II. 261ff;
III. [5]f.
Leipzig circle of composers, III. [5], [15].
Leipzig school, I. 262.
Leit-motif, I. liii;
(Berlioz), II. 351, 353f;
(Bizet), II. 391;
(Liszt), II. 399;
(Wagner), II. 430f;
(after Wagner), III. [205];
(Chabrier), III. [288];
(d'Indy), III. [305];
(Bruneau), III. [343];
(Perosi), III. [396].
See also Motives.
Lekeu, Guillaume, III. [xviii], [311].
Lendway, E., III. [199].
Lenz, Wilhelm von, on Beethoven, II. 165.
Leo (or Leonin, Leoninus), I. 184.
Leo, Leonardo, I. 400f;
II. 11, 14.
Leo the Great, I. 143.
Léonard (founder of Théâtre Feydeau), II. 42.
Leoncavallo, Ruggiero, I. xviii;
III. [ix], [369], [371]f, [384].
Leoni, Franco, III. [384], [432].
Leopold, Prince of Anhalt-Cöthen, I. 461f, 468.
Lermontov, III. [108].
Leroy, Adrian, I. 286f.
Lessing, II. 48, 81, 129.
Lesueur, Jean François, II. 44, 352;
III. [vii].
Leva, Enrico de, III. [401].
Levasseur, Nicolas Prosper, II. 185.
Lewes, George Henry, quoted, II. 75ff.
Liadoff, Anatol Constantinovich, III. [128], [139].
Liapounoff, Sergei Mikhailovich, III. [xii], [xiv], [139]f.
Librettists. See Calzabigi, Metastasio, Rinuccini, Rossi, Scribe, etc.
Libretto (operatic) (in 18th cent.), II. 3, 26.
Lichnowsky, Prince, II. 107, 132, 152.
Lie, Sigurd, III. [98].
Lied. See Art-song.
Lieven, Madame de, II. 184.
Light opera. See Comic opera.
Light keyboard, III. [158].
Lind, Jenny, II. 204;
III. [80].
Lindblad, Adolph Frederik, III. [80].
Lindblad, Otto, III. [80].
Ling-Lenu (inventor of Chinese scale), I. 46.
Lisle, Leconte de, III. [284], [293].
Lisle-Adam, Villiers de, III. [293].
Lissenko, N. V., III. [136].
Liszt, Franz, I. xvii;
II. 245ff;
(songs), II. 291;
III. [257]f;
(as virtuoso), II. 305, 323ff;
(symphonist), II. 358ff, 361ff;
(rel. to Wagner), II. 412ff;
(rel. to Brahms), II. 447;
(influence), III. [vii], [x], [69], [212];
(general), III. [111], [157], [190], [192], [202], [203]f, [228], [282];
(rel. to Sgambati), III. [386].
Literary movements (influence on modern music). See Impressionism, Realism, Symbolism, etc.
Liturgical plays, III. [324].
Liturgy (the), I. 138ff, 148ff.
See also Plain-song; also Church music.
Lobkowitz, Prince, II. 18, 133, 141.
Local color,
(in early madrigals), I. 276ff, 281;
(Breton), III. [314];
(Spanish), III. [287], [331], [338], [349], [406];
(Italian), III. [349];
(Parisian), III. [353], [354].
See also Exoticism in modern music.
Locatelli, Pietro, II. 51, 56.
Locle, Camille du, II. 495.
Locke, Matthew, I. 373, 385.
Loder, E. J., III. [414].
Loeffler, Charles Martin, III. [335].
Logau, Friedrich von, II. 48.
Logroscino, Nicolo, II. 8 (footnote), 10.
Löhr, Hermann, III. [443].
Lollio, Alberto, I. 328.
Lomakin, III. [108].
London (Händel period), I. 430ff;
II. 8;
(18th cent.), II. 15, 79;
(J. C. Bach), II. 61;
(subscr. concerts est.), II. 62;
(Haydn's visit), II. 89;
(Rossini), II. 184;
(Wagner), II. 415;
(Verdi), II. 458ff;
(present conditions), III. [421]f.
London Philharmonic Society, II. 142, 415.
London Symphony Orchestra, III. [422].
Lönnrot, Elias, III. [63].
Lorenzo de' Medici (the Magnificent), I. 267f, 325.
Lortzing, Albert, II. 379;
III. [20]f.
Loti, Pierre, III. [314].
Lotti, Antonio, I. 346, 479.
Louis II, King of Hungary, III. [18].
Louis XIV, I. 405, 410;
II. 47.
Louis XVIII, II. 198.
Louis Philippe, King of France, II. 190.
Love (as primitive cause of music), I. 4f, 36.
Love song (in exotic music), I. 51;
(in Middle Ages), I. 202ff.
Löwe, Carl, II. 284.
Löwen, Johann Jacob, I. 373.
Ludwig, King of Württemberg, II. 235.
Ludwig II, King of Bavaria, II. 419.
Ludwigslust, II. 12.
Luis, infante of Spain, II. 70.
Lulli. See Lully.
Lully, Jean Baptiste, I. 382, 406ff, 414;
II. 21;
(influence on German composers), I. 415, 426;
II. 52.
Lute (primitive), I. 43;
(description), I. 261;
(in 17th cent.), I. 374f.
Lute music, I. 370.
Lutenists (Renaissance), I. 261f.
Luther, Martin, I. 255, 288ff.
Lutheran Church, I. 224f, 478ff.
Lydian mode, I. 100, 103.
Lyon, James, III. [442].
Lyre (Assyrian), I. 66;
(Egyptian), I. 80;
(Hebrew), I. 70, 73;
(Greek), I. 85, 110, 111, 123f.
Lyric drama. See Drame lyrique.
Lyric poetry, I. xlv;
II. 269ff.
Lyvovsky, G. F., III. [143].

Mabellini, Teodulo, II. 503 (footnote).
Macabrun (the troubadour), I. 211.
MacCunn, Hamish, III. [425]f.
MacDowell, Edward, II. 347.
McGeoch, Daisey, III. [443].
McEwen, John Blackwood, III. [428].
Machault, Guillaume de, I. 231.
Mackenzie, Alexander Campbell, III. [415], [416], [432].
Macpherson, Stewart, III. [429].
Macran, H. S., III. [431].
Macusi Indians, I. 11.
Madrigal, I. xliii;
(14th cent.), I. 261, 264f, 266;
(16th cent.), I. 272ff;
II. 52;
(English), I. 306;
(Monteverdi), I. 338ff, 345.
Maeterlinck, III. [105], [145], [199], [322], [359].
Maffei, Andrea, II. 489.
Magadis (Greek instrument), I. 124.
Magadizing, I. 161.
Maggi (Italian May festivals), I. 324.
Maggini, Paolo, I. 362.
Magnard, Alberic, III. [315], [363].
Mahler, Gustav, III. [x], [xii], [xiii], [226]ff, [266];
(influence), III. [196].
Maillart, Aimé, II. 212.
Maitland, J. A. Fuller, III. [430];
(quoted on Händel), I. 447.
Majorca, II. 257.
Malays, I. 28.
Male soprano. See Artificial soprano.
Malfatti, Therese, II. 140, 145, 150, 159.
Malibran, Maria (Garcia), II. 185, 187, 312.
Malichevsky, W., III. [155].
Malling, Otto, III. [76].
Malvezzi, Christoforo, I. 329.
Mancinelli, Luigi, III. [378], [389], [392].
Manet, Édouard, III. [287].
Mannheim orchestra, II. 338.
Mannheim school, I. 481;
II. 12, 57, 63ff, 67, 138.
Mantua, I. 326.
Manzoni, Cardinal, II. 498.
Maoris of New Zealand, I. 13.
Marcello, Benedetto, II. 6.
Marchand, Louis, I. 460f.
Marenzio, Luca, I. 275f, 329f.
Maria Theresa, Empress of Austria, II. 22, 72.
Marie, Galti (Mme.), II. 388.
Marie Antoinette, II. 32.
Marienklagen, I. 324.
Marignan, battle of, II. 351.
Marinetti, III. [392].
Marini, Biagio, I. 367; II. 54.
Marinuzzi, Gino, III. [389], [391].
Mario, Giuseppe, II. 193.
Marmontel, II. 24, 33.
Marot, Clément, I. 294.
Mars, Mlle., II. 242.
Marschner, Heinrich (as song writer), II. 283;
(as opera composer), II. 279.
Marseillaise, III. [328].
Marsyas, I. 122.
Martin, George, III. [421].
Martini, Padre G. B., II. 11, 101.
Martucci, Giuseppe, III. [387]f.
Marty y Tollens, Francesco, I. 125f.
Marx, Joseph, III. [266].
Mascagni, Pietro, I. xviii;
III. [ix], [369], [370]f.
Masini (dir. of Società Filodrammatica, Milan), II. 483.
Masque (17th cent.), I. 385.
Mass, I. 242f, 244, 247f, 312f;
(Palestrina), I. 318ff.
See also Liturgy.
Massé, Victor, II. 212.
Massenet, Jules, II. 438;
III. [viii], [24], [25]ff, [278], [283]f;
(influence of), III. [343], [351].
Mastersingers. See Meistersinger.
Mathias I, King of Hungary, III. [187].
Mattei, Padre P. S., II. 180.
Mattheson, Johann, I. 415, 423, 452ff.
Maurus, Rhabanus, I. 137.
Maxner, J., III. [182].
May festivals (Italian), I. 324.
Maybrick, M. (Stephen Adams), III. [443].
Mayr, Simon, II. 180.
Mc. See Mac.
Measured music, I. 175ff, 183ff, 229.
Mensural composition, forms of, I. 183ff.
See also Measured music.
Meck, Mme. von, III. [56].
Medicine men (Indian), I. 29.
Medtner, Nicholas, III. [xii], [154].
Méhul, Étienne, II. 41ff.
Meilhac, II. 393.
Meiningen court orchestra, III. [211].
Meistersinger, I. 222ff; II. 421.
Melartin, Erik, III. [101].
Melgounoff, J. N., III. [136].
Melodic minor scale, I. 301.
Melody, styles of (Greek music), I. 98;
(plain-chant), I. 144, 153;
(of early French folk-song), I. 193f;
(early German folk-song), I. 197;
(Netherland schools), I. 245, 269, 333;
(Italian madrigalists), I. 212;
(Palestrina), I. 320ff;
(Florentine monodists), I. 332;
(early instrumental music), I. 368f, 373;
(early Italian opera), I. 380f, 392;
(Purcell), I. 389;
(Lully), I. 408;
(Bach), I. 474ff;
(Pergolesi), II. 8;
(Gluck), II. 26;
(classic period), II. 51;
(Mozart and Haydn), II. 111, 118ff;
(Beethoven), II. 171f;
(Rossini), II. 185f;
(Schubert), II. 227;
(lyric quality), II. 272ff;
(modern pianoforte), II. 297f, 320f, 323;
(modern symphonic), II. 357ff, 364ff;
(Wagner), II. 411, 431f, 433;
(Brahms), II. 462f;
(César Franck), II. 471.
Melzi, Prince, II. 19.
Menantes, I. 480.
Mendelssohn-Bartholdi, Felix, I. xvi, lvii, 318, 478;
II. 200, 260ff, 290, 311ff, 344, 349ff, 395ff;
III. [2];
(influence), III. [9]ff, [69], [79], [92].
Mendelssohn-Schumann school, III. [4].
Mendès, Catulle, III. [288], [306].
Mensural system. See Measured music.
Merbecke, John, I. 305.
Mercadente, Saverio, II. 187, 196.
Mercure de France, quoted, II. 35, 68.
Merelli, Bartolomeo, II. 483.
Merikanto, Oscar, III. [101].
Merino, Gabriel, I. 328.
Merula, Tarquinio, I. 368.
Merulo, Claudio, I. 356.
Méry (librettist), II. 495.
Messager, André, III. [287], [363].
Messmer, Dr., II. 76, 103.
Metastasio, Pietro, II. 3, 5, 26, 31, 85.
Methods, technical (in musical composition), I. xxxvii.
Metternich, Prince, II. 184.
Mexicans, ancient, I. 16.
Meyerbeer, Giacomo, II. 199, 244;
III. [x], [278].
Michelangelo, III. [110].
Mielck, Ernst, III. [101].
Mihailovsky, III. [108].
Mihálovich, Ödön, III. [190], [191].
Milder, Anna, II. 152.
Millöcker, Karl, III. [22].
Milton, I. xlv.
'Mimi Pinson,' III. [350]f.
Mingotti, Pietro, II. 21.
Miniature (musical forms), III. [6]ff.
Minnesinger, I. 214ff.
Minor scales (harmonic and melodic), I. 301.
Minstrels, wandering (in Middle Ages), I. 200ff.
See also Jongleurs; Minnesinger; Troubadours; Trouvères.
Minuet, I. 372, 375;
(in classic sonata, etc.), II. 54, 116, 120, 170f.
Mockler-Ferryman, A. F., I. 11.
Modal harmony (in modern music), II. 463;
III. [xx], [295], [325].
Modern music (Bach's influence on), I. 477, 488, 490f;
(accepted meanings of the term), III. [1]ff.
Modes (in Greek music), I. 100ff.
Modes, ecclesiastical, I. xxvxiii, 152ff;
(reaction of modern harmony), I. 270, 322, 352f, 360, 371;
(in Palestrina's music), I. 320.
See also Modal harmony; also Keys; Scales.
Modulation, I. lix;
(in Greek music), I. 102;
(polyphonic period), I. 246, 352;
(Monteverdi), I. 341;
(in aria form), I. 381;
(D. Scarlatti), I. 399;
(Bach), I. 487, 490;
(in classic sonata), II. 55f;
(Haydn and Mozart), II. 111;
(Beethoven), II. 167;
(Schubert, enharmonic), II. 229;
(Chopin), II. 321;
(Wagner), II. 411, 434;
(Brahms), II. 463.
See also Harmony (modern innovations).
Mohács, battle of, III. [187].
Mohammedan music, I. 47, 50, 59ff.
Molière, I. 407, 410;
('Le Bourgeois gentilhomme' quoted), I. 208.
Molnár, Géza, III. [200].
Monckton, Lionel, III. [433].
Monochord, I. 109, 124.
Monodia. See Monody.
Monodic style. See Monody.
Monody (in 14th cent.), I. 262ff;
(in 15th cent.), I. 231, 326, 368f;
(in 17th cent.), I. 282, 330;
II. 52;
(in early instr. music), I. 366, 367f.
Monro, D. B., III. [431].
Monsigny, Pierre Alexandre, II. 24, 41, 106.
Montemezzi, Italo, III. [ix], [378].
Monteverdi, Claudio, I. 275, 338ff, 376, 379f, 382;
II. 27;
III. [vii], [307].
Monteviti, II. 11.
Mood painting, I. lxi.
Moody-Manners, III. [443].
Moór, Emanuel, III. [196].
Moore's Irish Melodies, III. [423].
Morlacchi, Francesco, II. 180.
Morley, Thomas, I. xlvii, 306, 369f.
Morpurgo, Alfredo, III. [400].
Morzin, Count, II. 86.
Moscherosch, II. 48.
Moscow Conservatory, III. [148].
Moscow Private Opera, III. [149].
Mosonyi, M., III. [190].
Moszkowski, Maurice, III. [212].
Motet (early), I. 185;
(16th cent. Italian), I. 270;
(Bach), I. 480.
Motives (Debussy's use of), III. [225];
(Charpentier), III. [355];
(Dukas), III. [359].
See Leit-motif.
Motta, Jose Vianna da, III. [408].
Mottl, Felix, II. 382.
Moussorgsky, Modeste, III. [x], [xiv], [xvi], [38], [107], [109], [116]ff, [250];
(and Rimsky-Korsakoff), III. [125];
(influence of, on modern French music), III. [286], [320];
(and Debussy), III. [320].
Mouton, Jean, works by, I. 297f.
Movement plan. See Form; Sonata; Suite; etc.
Mozart, Leopold, II. 65, 72ff, 114f;
(influence on W. A. Mozart), II. 101ff.
Mozart, Wolfgang Amadeus, I. xlix, 478;
II. 3, 9, 13, 49, 55, 59, 67, 76 (footnote), 100ff, 106 (footnote), 163 (footnote);
III. [110], [334];
(and Haydn), II. 111ff;
(as symphonist), II. 115ff;
(operas), II. 121ff;
(rel. to Beethoven), II. 137f;
(influence on Rossini), II. 185;
(comp. with Schubert), II. 227;
(precursor of Weber), II. 240, 373, 377;
(influence on Wagner), II. 404.
Müller, Wilhelm, II. 283.
Munich, early opera in, I. 384.
Murger, Henri, III. [374].
Muris, Jean de, I. 299.
Music drama. See Opera.
Music Festivals, III. [434].
'Music of the Future' (Wagner), II. 401.
Music printing, I. 271, 284.
Musica ficta, I. 301, 302.
Musical comedy (English), III. [415]f, [422]ff, [431]ff.
Musical history, English writers of, III. [430].
Musical notation. See Notation.
Musical instruments. See Instruments.
Mysliveczek, Joseph, III. [165].
Mystery plays, I. 289.
See Sacred representations.
Mysticism, III. [229], [361].

Nägeli, Hans Georg, II. 147.
Nanino, Giovanni, I. 321.
Naples, II. 5, 8, 11, 182, 494.
Naples, development of opera in, I. 383f;
school of opera in, I. 391f;
decline of opera in, I. 400f.
Napoleon I, II. 15, 156, 181, 238ff.
Napoleon III, II. 210, 493.
Napravnik, Edward Franzovitch, III. [134]f.
National Society of French Music. See Société Nationale.
Nationalism (influence on German classics), II. 48f;
(in Romantic movement), II. 218f;
(German romanticism), II. 230ff, 236;
(in modern music), III. [viii], [xv], [59]ff;
see also Folk-song;
(in Russian music), III. [38], [107]ff;
(in Scandinavian music), III. [60]ff;
(in French music), III. [277]ff;
(in English music), III. [411]ff.
Nationalistic Schools (rise of), II. 216.
Nature, imitation of. See Program music.
Nature, music in, I. 1ff, 8.
Naumann, Emil, cited, I. 245, 302.
Navrátil, Karl, III. [181].
Neapolitan School. See Opera.
Nedbal, III. [181].
Needham, Alicia A., III. [443].
Neefe, Christian Gottlieb, II. 131, 137, 138.
Negro music, III. [179].
Neitzel, Otto, III. [249].
Neo-Romanticism, II. 443-476;
(German), III. [1]ff;
(French), III. [24]ff;
(Russian), III. [47]ff.
See also New German school.
Neo-Russians, III. [xvi], [107]ff;
(influence in Russia), III. [137];
(influence on modern French schools), III. [286], [332], [337].
Neri, Filippo, I. 334f.
Nero, I. 132.
Nessler, Victor, III. [21].
Nesvadba, Joseph, III. [180].
Netherland schools, I. 226-257, 296, 311;
(influence on Palestrina), I. 320.
Neue Zeitschrift für Musik, II. 264f, 447.
Neupert, Edmund, III. [88].
New German school, III. [4], [22].
See also Germany (modern).
New Guinea, I. 24.
Newman, Ernest, III. [431].
New South Wales, I. 13.
New Symphony Orchestra (London), III. [422].
New York (Metropolitan Opera House), II. 428.
New Zealand, aborigines of, I. 8, 13, 20.
Nibelungenlied (the), II. 424;
III. [63].
Niccolò. See Isquard.
Nicodé Jean Louis, III. [268].
Nicolai, Otto, II. 379.
Nielsen, Carl, III. [73], [75]f.
Nielson, Ludolf, III. [76].
Niemann, Walter, cited, II. 429, 458.
Nietzsche, II. 422;
III. [84].
Nijinsky (Russian dancer), III. [321].
Nini, Alessandro, It. composer, II. 503 (footnote).
Nithart von Riuwenthal (Minnesinger), I. 219.
Noble, T. Tertius, III. [442].
Nocturne (origin of form), II. 13.
Nofre (Egyptian instrument), I. 80.
Nogueras, Costa, III. [407].
Noise-making instruments, I. 14.
Noises, musical, I. 2.
Norfolk festival (U. S.), III. [434].
Nordraak, Richard, III. [xv], [92].
Normann, Ludwig, III. [69], [79].
Norway (political aspects), III. [61]ff;
(folk-song), III. [66], [99];
(modern composers), III. [86]ff.
Nose-flute, I. 26.
Notation (Arabic), I. 51;
(Assyrian), I. 69;
(Greek), I. 125f, 133;
(neumes), I. 154f;
(early staff), I. 155;
(Guido d'Arezzo), I. 171f;
(measured music), I. 175, 176ff;
(Minnesingers), I. 223;
(Netherland schools), I. 228, 229ff, 232f.
See also Tablatures.
Notker Balbulus, I. 149f.
Nottebohm, Gustav, quoted, II. 140, 158.
Nourrit, Adolphe, II. 185.
Novák, Viteslav, III. [182], [183]ff.
Noverre, Jean Georges, II. 13, 104.
Novotny, B., III. [182].

Oblique motion (in polyphony), I. 165f.
Oboe, I. 29, 402, 424;
II. 117, 265, 335, 337, 338, 339, 341.
Obrecht. See Hobrecht.
Octatonic scale, I. 114, 165.
Octave transposition, in Greek music, I. 103ff.
Odington, Walter, I. 228.
Offenbach, Jacques, II. 392ff.
Okeghem, Johannes, I. 244, 246ff, 250, 256.
Okenheim. See Okeghem.
Olenin, III. [161].
Ollivier, II. 418.
Olsen, Ole, III. [98].
Olympus, I. 112ff.
Ongaro, III. [188].
Opera, I. lviii;
(schools), I. xviii, 409;
(beginnings, Florence), I. 324ff;
(Monteverdi), I. 336ff;
(17th cent.), I. 350f, 376ff;
(Neapolitan school), I. 391ff, 400f;
(intro. in France), I. 405;
(infl. in 17th cent. Germany), I. 414f;
(Händel), I. 426ff;
(in England), I. 430ff, 434ff;
(18th cent.), II. 2ff;
(Gluck's reform), II. 17ff;
(Mozart), II. 103, 121ff;
(early 19th cent.), II. 177ff;
(Rossini), II. 183ff;
(Donizetti-Bellini period), II. 192ff;
(Meyerbeer), II. 200.
See also Opera, English; Opera, French; Opera, German; Opera, Spanish; Opéra bouffon; Opera buffa; Opéra comique; Operetta; Singspiel.
Opera, English (17th cent. masques), I. 385;
(Purcell), I. 388ff, 430;
(ballad opera), II. 8;
(Sullivan), III. [415]f;
(modern), III. [426];
(musical comedy), III. [432]f.
Opera, French (origin and early development), I. 401ff;
(Lully), I. 406ff;
(Rameau), I. 413f;
(Gluck), II. 31ff;
(Rossini), II. 188;
(grand historical opera), II. 197ff;
(Berlioz), II. 381ff;
(drame lyrique), II. 385;
(Franck), II. 475;
(Massenet), III. [27]ff;
(Saint-Saëns, Lalo, etc.), III. [32]f;
(modern), III. [278], [288], [310], [314];
(d'Indy), III. [304];
(impressionists), III. [324], [339];
(realists), III. [342], [350], [354];
(Dukas), III. [359].
See also Opéra comique; Operetta (French).
Opera German (17th cent.), I. 414f, 421f;
(Händel), I. 423ff;
(Mozart), II. 106, 123f;
(Beethoven), II. 60f;
(Weber), II. 225ff;
(Romantic opera), II. 372-381;
(Wagner), II. 401-442;
(after Wagner), III. [238]-257.
See also Singspiel.
Opera, Italian. See Opera.
Opera, Spanish, III. [403]ff.
Opéra bouffe. See Operetta.
Opéra bouffon, II. 25, 31.
See also Opéra comique.
Opera buffa,
(forerunner), I. 278;
(18th cent.), II. 8ff, 24;
(Mozart), II. 122ff;
(Rossini), II. 183ff, 186;
(Donizetti), II. 193f;
(modern revival), III. [339].
Opéra comique, II. 23, 36;
(18th cent.), II. 41ff, 68;
(19th cent.), II. 122, 178, 193, 207, 209ff;
(influence on drame lyrique), II. 392.
Opéra Comique (Paris theatre), II. 43.
'Opera and Drama' (essay by Wagner), II. 415.
Opera houses. See Bouffes Parisiens, Hamburg (17th cent. opera), Opéra Comique, Paris Opéra, Salle Favart, [La] Scala, St. Petersburg Opera, Stuttgart, Théâtre des Italiens, Théâtre Feydeau, Venice (opera houses), Vienna.
Opera seria. See Opera.
Opera singers, early Italian, I. 383f.
Operatic convention (18th cent.), I. 427.
Operatic style, I. lviii;
(influence of Italian, on Passion music), I. 480, 490.
Operetta (French), II. 393f;
(Viennese), III. [21].
Ophicleide, II. 341, 352.
Oratorio (beginnings), I. 324ff;
(influence on early Italian opera), I. 378f;
(early development, Carissimi), I. 385ff;
(Händel), I. 425f, 429, 433f, 437ff;
(Bach), I. 453f, 472;
(Haydn), II. 91f;
(Romantic period), II. 395ff;
(modern English), III. [420], [434].
See also Passion oratorio.
Orchestra (in Greek drama), I. 120f;
(incipient), I. 354;
(in Italy, 16th cent.), I. 282;
(of earliest operas), I. 333;
(of Monteverdi), I. 341f, 345;
(of Hamburg opera), I. 424;
(of Händel), I. 440;
(for Bach's church music), I. 466;
(for Bach's concertos), I. 482;
(Mannheim), II. 65;
(development, 18th cent.) II. 96;
(Mozart), II. 117;
(Rossini and Meyerbeer), II. 208;
(Berlioz), II. 225;
(development, 19th cent.), II. 334ff.
See also Instruments.
Orchestral accompaniment. See Accompaniment.
Orchestral music (instrumental madrigals, 16th cent.), I. 281f;
(Corelli), I. 394, 396;
(in France, 16th cent.), I. 402;
(Lully), I. 409;
(Händel), I. 433, 445;
(Bach), I. 481ff;
(Mannheim school), II. 12f, 65ff;
(Gluck), II. 25;
(classic period), II. 59, 61, 74, 81, 93ff;
(Haydn), II. 94;
(Mozart), II. 115ff;
(Beethoven), II. 157ff;
(Romantic period), II. 343ff;
(Brahms), II. 456, 466;
(Franck), II. 474f;
(modern), III. [x-ff], [201]ff.
See also names of specific modern composers. See also Instrumental music.
Orchestral polyphony. See Polyphony (orchestral).
Orchestral style, I. lviii.
Orchestral tremolo. See Tremolo.
Orchestration, I. liii;
(classic), II. 28, 40, 65, 117;
(modern development), II. 339f, 342f;
III. [411], [418], [466];
(impressionistic), III. [334].
Order (principle of), I. xxix, xxxii.
Orefice, Giacomo, III. [378].
Organ (early history), I. 156f;
(in 16th-17th cent.), I. 292, 355;
(18th cent.), I. 450.
Organ music, I. lviii;
(16th-17th cent.), I. 355ff;
(Bach period), I. 450ff, 472, 476, 489, 490;
(modern French), II. 472; III. [36];
(modern), III. [397], [442].
Organistrum, I. 211.
Organists, famous (Landino), I. 264;
(16th-17th cent.), I. 356ff;
(18th cent.), I. 450, 461, 467f.
Organization (principle of), I. xxx, xxxiii-f, xxxvii, lv.
Organum, I. 162ff, 172, 181ff.
Oriental color in European music, I. 42f, 52, 63f;
III. [42]f.
Oriental folk-songs, I. xliii.
Oriental music, I. 42ff.
Origin of music, theories of, I. 3.
Orlando di Lasso. See Lasso.
Orloff, V. C., III. [143].
Ornstein, Leo, III. [393].
Orpheus, I. 92f, 111.
Osiander, Lukas, I. 291.
'Ossian,' II. 129, 139, 223.
Ostřcil, O., III. [182].
Ostrovsky, III. [108].
Ostroglazoff, M., III. [155].
Overture (Italian), I. 336, 341, 393;
(French, in 16th cent.), I. 402;
(French, Lully), I. 409;
(Bach), I. 482f;
(Gluck), II. 28;
(concert overture), II. 347ff.
Ovid, II. 71.
Oxford History of Music, III. [420], [430];
quoted, II. 112, 166.

Pachelbel, Johann, I. 361, 451.
Pacino, Giovanni, II. 196.
Pacius, Frederick, III. [100].
Paër, Ferdinando, II. 181.
Paganini, II. 76 (footnote), 249, 323.
Paësiello, Giovanni, II. 15, 181, 182.
Painting (art of), I. xxix.
Paladilhe, Émile, II. 207.
Palestrina, Giovanni Pierluigi da, I. 243, 314ff, 353, 480;
II. 477;
III. [385].
Palmgren, Selim, III. [101].
Parabasco, Girolamo, I. 328.
Paracataloge, I. 115.
Parallel motion (in descant), I. 165.
Paris (14th cent. musical supremacy), I. 228;
(ars nova), I. 230, 231f, 265;
(16th cent. ballet), I. 401;
(early opera), I. 406ff;
(Guerre des bouffons), II. 32ff;
(18th cent. composers), II. 16, 79;
(Gluck), II. 32ff;
(early symphonic concerts), II. 65, 68;
(Mozart), II. 104, 116;
(Rossini), II. 188;
(Berlioz), II. 241ff;
(Meyerbeer), II. 200ff;
(revolutionary era), II. 213, 218;
(Chopin), II. 257ff, 313ff;
(Wagner), II. 405, 418;
(orchestra concerts, modern), III. [285];
(musical glorification of), III. [354];
(Bohemianism), III. [349].
Paris Conservatory, II. 42, 254;
III. [291], [336].
Paris Opéra (establishment), I. 406, 407;
(Gluck), II. 32, 34, 35, 39;
(Spontini), II. 197;
(Auber), II. 210;
(Wagner), II. 418.
Paris Opéra Comique, II. 41, 193, 391.
Parlando recitative, I. 115;
II. 26.
See Recitative.
Parratt, Walter, III. [421].
Parry, [Sir] C. Hubert H., III. [xii], [xiv], [415], [416]f;
(on evolution of music), I. xxix-lxi;
quoted, I. 476;
II. 164.
Part-songs (modern), II. 53.
Pasdeloup, Jules, III. [278].
Passamezzo, III. [188].
Passion oratorio (origin and development in Germany), I. 424f, 480f;
(dramatic element introduced), I. 453;
(Bach), I. 472, 477ff.
Passions. See Emotions.
Pasta, Giuditta (Negri), II. 185, 187, 194, 195.
Pasticcio, II. 20.
Pastoral plays, I. 325, 327f, 405.
Pastoral songs. See Pastourelle.
Pastourelle, I. 203, 207f, 264.
Paul, Jean. See Richter, Jean Paul.
Pavan, I. 371, 375.
Pedrell, Felippe, III. [404].
Pedrotti, Carlo, II. 503 (footnote).
Pelissier, Olympe, II. 191.
Pepusch, John, I. 430.
Pentatonic scale, I. 45ff, 49, 69, 164;
III. [179].
Percussion, instruments of (primitive), I. 23f;
(Oriental), I. 52ff;
(Assyrian), I. 67;
(Egyptian), I. 82.
See also Drums; Instruments.
Perfect immutable system (Greek music), I. 102ff.
Percy, Bishop, II. 129, 223.
Pergin, Marianna, II. 22.
Pergolesi, Giovanni Battista, II. 7, 8, 52, 55f;
(influence on Mozart), II. 125.
Peri, Jacopo, I. 329ff, 343, 378;
II. 26, 27.
Periods. See Classic Period, Romantic Period.
Perosi, Don Lorenzo, III. [395]f.
Perotin, I. 184.
Perrin, Pierre, I. 405f.
Persiani, Fanny, II. 185.
Personal expression, I. li-f, lxi.
Peru, I. 24.
Peruvians (ancient), I. 44f, 52, 56.
Pesaro, II. 191.
Peter the Great, III. [40].
['Le] Petit prophète de Boehmischbroda,' II. 24.
Petersen-Berger, Wilhelm, III. [80], [81]ff.
Petrella, Enrico, II. 503 (footnote).
Petrograd. See St. Petersburg.
Petrucci, Ott. dei, I. 245, 271, 285f.
Pfitzner, Hans, III. [viii], [243], [247]f.
Philammon, I. 111.
Philidor, François-André-Danican, II. 24, 41, 65 (footnote).
Phillips, Montague, III. [443].
Phillips, Stephen, III. [135].
Phrygian mode, I. 100, 103, 113.
Pianoforte (mechanical development), II. 162, 296f.
Pianoforte concerto, II. 72;
(Mozart), II. 115;
(Beethoven), II. 165, 167;
(Weber), II. 303;
(romantic composers), II. 330f;
(Chopin), II. 314, 319;
(Liszt), II. 327;
(Brahms), II. 466;
(Franck), II. 474f;
(Tschaikowsky), III. [50];
(Grieg), III. [70];
(Saint-Saëns), III. [280].
Pianoforte music (Kuhnau), I. 415f;
(J. S. Bach), I. 474ff, 483ff, 487, 490f;
(C. P. E. Bach), II. 59;
(Mozart), II. 114;
(Beethoven), II. 163ff;
(romantic period), II. 293-333;
(neo-romantic), II. 464f, 472ff;
('genre' forms), III. [17];
(impressionistic school), III. [326]f, [340], [405];
(modern Italian), III. [393]f.
See also Harpsichord music; also Pianoforte sonata.
Pianoforte sonata (D. Scarlatti), I. 399;
II. 51;
(Kuhnau), I. 416;
II. 58;
(C. P. E. Bach), II. 59f;
(Mozart), II. 114;
(Beethoven), II. 165, 167, 170, 173f;
(Schubert), II. 300;
(Weber), II. 302;
(Schumann), II. 310;
(Chopin), II. 319;
(Brahms), II. 453, 464.
Pianoforte style, I. xx, xxi, 399;
II. 60, 163, 297;
III. [333].
Piave (librettist), II. 488.
Piccini, Nicola, II. 14f, 35, 37;
(influence on Mozart), II. 122.
Piccolo, II. 341.
Pictorialism, in Wolf's songs, III. [267].
See also Program music; Impressionism; Realism.
Pierné, Gabriel, III. [xiv], [285], [361], [362].
Pierson, H. H., III. [414].
Pietà, Monte di, II. 481.
Pindar, I. 118f.
Piombo, Sebastiano del, I. 327f.
Pipes (primitive), I. 21ff;
(Assyrian), I. 66f;
(Egyptian), I. 80f.
Plagal modes, I. 151ff.
Plagiarism (in 18th cent.), I. 434, 441f.
Plain-chant. See Plain-song.
Plain-song, I. xlvi, 157, 183, 320, 349;
III. [299].
See also Church music (early Christian); Liturgy.
Plain-song, the age of, I. 127-159.
Planer, Minna, II. 405.
Planquette, Robert, III. [363] (footnote).
Platania, Pietro, II. 503 (footnote).
Plato, I. 77, 89f.
Plautus, I. 325f.
Play instinct (the) in rel. to music, I. 5f.
Pleyel, Ignaz, II. 90.
Plutarch, I. 114.
Poe, Edgar Allan, III. [152].
Poetry, in relation to Greek music, I. 90ff.
See also Lyric poetry.
Pogojeff, W., III. [155].
Pohl, Karl Ferdinand, II. 94.
Pointer, John, III. [443].
Poliziano, I. 326f.
Polka (dance), III. [166].
Polonaise, II. 259, 315.
Polybius, I. 95.
Poly-harmony, III. [xx].
Polynesia, I. 9.
Polyphonic style, I. xii, xxxviii, xxxix, xlvi, lvii;
(development in Middle Ages), II. 226ff, 269, 296f, 348, 351;
(early instrumental music), II. 282, 354, 363, 366, 369, 370, 372;
(Lasso), I. 310;
(Palestrina), I. 319ff;
(reaction against), I. 330f, 353, 361;
(fusion with harmonic style), I. 418, 441;
(Bach), I. 472, 481f, 489, 490;
(in string quartet), II. 69;
(Mozart), II. 111;
(orchestral), I. liv;
II. 118, 418, 422;
(Chopin), II. 320f;
(Wagner), III. [426];
(modern), III. [xxi], [272], [308];
(ultra-modern), III. [164].
See also Counterpoint; Chanson; Madrigal; Motet.
Polyphony, the beginnings of, I. 160-183;
(Netherland schools), I. 226-257;
the golden age of, II. 284-323;
(early forms of), see Organum, Diaphony, Descant.
Ponchielli, Amilcare, II. 478, 503.
Pontifical Choir, I. 318.
Popular music (modern), I. xlviii.
Porges, Heinrich, III. [237].
Porpora, Nicola, I. 400f, 436;
II. 4ff, 85.
Porta, Constanzo, I. 304.
Portman, M. V., cited, I. 9.
Portraiture musical (in 17th cent. harpsichord music), I. 411f;
(Mozart), II. 123.
See also Characterization.
Portugal, III. [408].
Pougin, Arthur, II. 209.
Prague, II. 107, 235;
III. [168].
Pre-Raphaelites, III. [321], [361].
Prelude (origin of form), I. 353;
(Chopin), II. 317;
(dramatic), see Overture.
See also Chorale prelude.
Premier coup d'archet, II. 104.
Prévost, L'Abbé ('Manon Lescaut'), II. 210.
Primitive music, I. xxxviii, xli, xliii, 1ff.
Printing of music. See Music printing.
Prix de Rome, II. 254.
Program music, I. li;
(16th cent.), I. 276f, 296f;
(17th cent.), I. 411f, 416;
(Bach), I. 458;
(Beethoven), II. 172;
(Berlioz), II. 351ff;
(Liszt), II. 359ff;
(defense of), II. 367ff;
(modern), III. [217];
(impressionistic), III. [351].
Prokofieff, S., III. [155].
Prosa. See Sequences.
Prose, in opera, III. [344].
Prosodies (Greek), I. 117.
Prosody, I. xxxiv.
Protestant Church. See Lutheran Church.
Protestant Reformation. See Reformation.
Prout, Ebenezer, III. [421].
Provence, I. 205.
Psalmody, I. 140, 142f.
Psychology (in program music), III. [217];
(in music drama), III. [254];
(in the song), III. [262].
Ptolemy, Claudius, I. 110, 132.
Publishing. See Music publishing.
Puccini, Giacomo, III. [viii], [ix], [250], [335], [369], [370], [372]f.
Puffendorf, II. 47.
Pukuta Yemnga, I. 15.
Purcell, Henry, I. 385, 388ff, 431, 433;
(influence on Händel), I. 439.
Pushkin, III. [107], [121], [128], [145], [152].
Pythagoras, I. 90ff, 105ff.
Pythic festivals, I. 113.
Pythic games, I. 94.

Quantz, Joachim, I. 468;
II. 58.
Quarter-tones, I. 39f, 47, 49, 113;
II. 332.
Quartet. See String quartet.
Queens Hall Orchestra, III. [422].
Quichua Indians, I. 45.
Quilter, Roger, III. [443].
Quinault, II. 34.

Rabaud, Henri, III. [363].
Rachmaninoff, Sergei Vassilievich, III. [xi], [xii], [xiv], [xvii], [151]ff.
Racine, Jean (and Lully), I. 409;
II. 31.
Radecke, Robert, III. [212].
Radnai, III. [200].
Raff, Joachim, II. 322, 346f;
III. [22]ff.
Raga, I. 49.
'Ragtime,' I. 11;
III. [327].
'Rákoczy March,' II. 341f;
III. [189], [193].
Rameau, Jean Philippe, I. 398, 413f;
II. 1, 21, 68, 351;
III. [307], [334], [358], [360].
Ramis de Pareja, B., I. 269.
Ranat (Burmese instrument), I. 53.
Raphael, I. 327.
Rasoumowsky quartet, II. 143.
Rationalism, II. 48.
Rattle (as instrument), I. 14f, 35, 52.
Ravanello, III. [397].
Ravel, Maurice, III. [xiv], [xviii], [xxi], [318], [321], [328], [335]f;
(and Debussy), III. [341].
Rawlinson, George (cited), I. 78.
Realism, III. [318], [339], [342], [344], [351].
See also Verismo.
Rebikoff, Vladimir, III. [159], [160]f.
Recitative, I. 331f, 335, 381f, 385, 386f, 389;
(French), I. 406, 408;
II. 3, 10;
(accompanied), I. 393;
II. 16, 182;
(in German church music), I. 453, 480;
(Bach), I. 477, 490;
(Gluck), II. 26;
(Rossini), II, 178, 182, 187;
(Wagner), II. 431.
Recitativo secco. See Recitative.
Reformation, I. 288ff, 387.
See also Church, Lutheran.
Reger, Max, III. [xi], [xii], [231]ff, [243], [269], [318], [335];
(songs), III. [266].
Regino, I. 145.
Reicha, Anton, III. [165], [168].
Reichardt, Johann Friedrich, II. 277, 374;
III. [62].
Reinecke, Carl, II. 263;
III. [11ff], [257].
Reinken, Jan Adams, I. 451, 457.
Reinthaler, Karl, III. [256].
Reiser, Alois, III. [182].
Reissiger, Karl Gottlob, II. 409.
Reiteration, I. xli, xlii;
II. 63.
Rékai, Ferdinand, III. [200].
Relativity in art, I. lv.
Religion, I. xliv, xlvii;
(in rel. to exotic music), I. 50, 55;
(influence on Minnesang), I. 222;
(influence on German music), II. 48.
See also Church.
Religious emotions (plain-song), I. 157f;
(in music of Bach), I. 452, 454.
Religious music. See Church music.
'Reliques,' Percy's, II. 129, 223.
Reményi, Eduard, II. 451.
Renaissance (the), I. 214, 258ff, 306, 322.
Requiem (Mozart), II. 108, 125;
(Berlioz), II. 398;
(Verdi), II. 498.
Retroensa, I. 208.
Reutter, Georg, II. 62, 84.
Revolutions (Carbonarist), II. 184;
(French), II. 42, 75, 155, 213ff, 443;
(of 1830), II. 207, 241, 246;
(of 1848), II. 413f.
Reyer, Ernest, II. 390, 438.
Reznicek, Emil Nikolaus von, III. [181].
Rheinberger, Joseph, III. [209], [210]f, [257].
Rhythm, I. xiii, xliii-ff;
(in primitive music), I. 11f, 20f;
(Oriental music), I. 63;
(Assyrian music), I. 68;
(Egyptian music), I. 82;
(Greek music), I. 96, 98, 112, 126;
(plain-song), I. 144;
(measured music), I. 175, 176ff, 185;
(mediæval folk-song), I. 194f;
(Troubadours), I. 209f;
(ars nova), I. 229, 266;
(absence of, in Palestrina style), I. 321, 323, 348f, 351;
(in 17th cent. instrumental music), I. 351, 361, 364f, 369ff, 371, 373;
(Carissimi oratorios), I. 386;
(Bach), I. 475f;
(Lully), I. 486;
(opéra comique composers), II. 209f;
(Chopin), II. 315;
(Wagner), II. 435;
(Brahms), II. 461;
(Tschaikowsky), III. [57].
Ricci, Frederico, II. 503.
Ricercar, I. 356ff.
Richepin, Jean, III. [293].
Richter, Franz Xaver, II. 67.
Richter, Hans, II. 422.
Richter, Jean Paul, II. 263, 306.
Ricordi, Tito, III. [381].
Riddle canons, I. 247.
Riemann, Hugo, II. 8, 60;
(quoted), I. 88, 115, 121, 137, 165, 207, 225, 229, 231, 264, 274, 303f, 438, 443, 476;
II. 8, 25, 66, 117f, 120, 125;
III. [232].
Ries, Franz (b. 1755), II. 131, 145.
Ries, Franz (b. 1846), III. [212].
Rietz, Eduard, III. [11].
Rietz, Julius, III. [10].
Rimsky-Korsakoff, Nicholas Andreievitch, II. 35, 53;
III. [ix], [x], [xiv], [xvi], [38], [107], [112], [123]ff, [134], [143], [319];
(quoted on Moussorgsky), III. [119];
(influence), III. [138], [145];
(and Stravinsky), III. [162].
Rinuccini, Ottavio, I. 328, 332f, 343;
II. 3.
Riquier, Guirant, I. 211.
Ritornello, I. 336.
Riseley, George, III. [422].
Ritter, Alexander, III. [213], [214].
Robert of Normandy, I. 205.
Roble, Garcia, III. [407].
Rockstro, W. S. (quoted), I. 233, 427, 440.
Roger-Ducasse, III. [xviii], [363].
Rogers, Benjamin, I. 373.
Rohrau, II. 90.
Rolland, Romain, cited, I. 312f, 325, 336;
II. 253, 254, 283f.
Roman empire, I. 130ff, 187.
Romance (Troubadour form), I. 207.
Romanticism, I. xvi, lvi;
II. 129, 267;
(French), III. [6], [7], [298];
(Russian), III. [37];
(German), II. 129;
III. [5], [209].
See Romantic Movement.
Romantic Movement, II. 213-268;
(song literature), II. 269-292;
(pianoforte and chamber music), II. 292-333;
(orchestral music), II. 334-371;
(opera and choral song), II. 372-400;
(by- and after-currents), III. [1]-36.
Romberg, Andreas, and Bernhard, II. 132.
Rome,
(Palestrina), I. 314ff;
(early opera), I. 327, 378f;
(Händel), I. 428;
(Jommelli), II. 11.
See also Church, Roman.
Ronald, Landon, III. [422], [443].
Rondeau, I. 195.
Rondet de carol, I. 208.
Rondo, II. 54, 167.
Rootham, C. B., III. [442].
Ropartz, Guy, III. [313]f.
Rore, Cipriano di, I. 273, 275, 302f.
Rosa, Carl, III. [443].
Rose, Algernon (cited), I. 31.
Rossbach, battle of, II. 48.
Rossi, Gaetano, works of, II. 187, 196.
Rossi, Luigi, I. 379, 385f.
Rossi, Salvatore, I. 367.
Rossini, Gioachino Antonio, II. 180ff, 503.
Rotta, I. 211.
Rousseau, Jean Jacques, I. 162;
II. 24, 28, 29, 32, 35.
Roussel, Albert, III. [xviii], [315], [363].
Royal Academy of Music (London), I. 432ff.
Rozkosny, Joseph, III. [180].
Rubens, Paul, III. [433].
Rubenson, Albert, III. [80]f.
Rubini, Giovanni Battista, II. 185, 194.
Rubinstein, Anton, II. 459;
III. [xvi], [47]ff.
Rubinstein, Nicolai, III. [18], [111].
Ruckers family, I. 373f.
Rucziszka, II. 225.
Rudolph, Archduke of Austria, II. 133.
Rue, Pierre de la, I. 248.
Rungenhagen, Karl Friedrich, III. [16].
Rupff, Konrad, I. 290f.
Ruskin, John (quoted), II. 267.
Russian ballet, III. [163].
Russian church music, III. [141]ff.
Russian Imperial Musical Society, III. [107].
Russian music, I. 63;
III. [ix], [xvi], [37], [58];
(romanticists), III. [37]ff;
(neo-romanticists), III. [47]ff;
(nationalists), III. [107]ff;
(contemporary), III. [137]ff;
(folk-song), III. [139];
(church music), III. [141]ff;
(modern eclectics), III. [146]f.
Ruzicska, III. [189].
Rydberg, III. [102].

Sabbata, Vittore de, III. [382], [389], [391].
Sacchini, Antonio, II. 14.
Sachs, Hans, I. 223ff;
II. 421;
III. [190].
Sackbut. See Trombone.
Sacred drama. See Oratorio.
Sacred music. See also Church music; Cantata; Oratorio, etc.
Sacred representations (sacre rappresentazione), III. [324].
St. Ambrose, hymns of, I. 135ff, 142f.
St. Augustine, I. 135, 137, 141.
St. Basil, I. 140.
St. Foix, G. de (cited), II. 67 (footnote), 103.
St. Gregory, I. 144ff, 151, 156.
St. Hilarius, I. 142.
St. Leo the Great, I. 143.
St. Petersburg (18th cent. composers), II. 15;
(composers at court of Catherine II), II. 79.
St. Petersburg Conservatory, II. 40; III. [48], [126], [138].
St. Petersburg Free School of Music, III. [107].
St. Petersburg Opera, III. [134].
St. Petersburg pitch, II. 40.
Saint-Saëns, II. 418, 438;
III. [viii], [x], [xii], [xiii], [xviii], [2], [7]f, [24], [31]ff, [48], [93], [278], [279], [282], [284];
(quoted on Oriental music), I. 52f.
Saint-Simonism, II. 246.
Saldoni, Baltasar, III. [404].
Salieri, Antonio, II. 37, 39f, 92, 225, 238.
Salle Favart, II. 43.
Salo, Gasparo da, I. 362.
Salomon, Johann Peter, II. 89.
Salon de la Rose-Croix, III. [321].
Salvai (Signora), I. 434.
Salzburg, II. 73f, 101ff.
Samazeuilh, Gustave, III. [315], [362].
Sammartini, Giovanni Battista, II. 19, 114.
Samisen (Japanese instrument), I. 53.
Sand, Georges, II. 257.
Sanderson, Wilfred, III. [443].
Sanko (African instrument), I. 30.
Santoliquido, Francesco, III. [40].
Sappho, I. 115.
Sarabande, I. 371f, 423.
Sarti, Giuseppe, II. 40.
Sarto, Andrea del, I. 327.
Satie, Erik, III. [336], [361]f.
Savages, music of. See Primitive Music.
[La] Scala, II. 484.
Scalero, Rosario, III. [395].
Scales (primitive), I. 6ff, 21ff, 27f, 31, 45;
(Chinese), I. 46ff;
(Oriental), I. 51, 63;
(pentatonic), I. 45ff, 69, 164;
III. [179];
(Greek system), I. 99ff, 113, 110, 301;
(octatonic), I. 114, 165;
(early Christian), I. 152, 164;
(hexachordal division), I. 169;
(modern tonality), I. 301;
(harmonic and melodic minor), I. 301 (footnote);
(equal temperament), I. 483, 485ff.
See also Modes; Modulation.
Scalp Dance, I. 34.
Scandinavia, III. [xv], [59]-[106].
See also Denmark, Finland, Norway, Sweden.
Scarlatti, Alessandro, I. 347, 388, 392ff, 397f, 401, 409;
II. 5.
Scarlatti, Domenico, I. 397ff, 453;
II. 51, 55, 60.
Scenic display (in 16th cent. pastoral), I. 328;
(in early Venetian opera), I. 382;
(in 17th cent. opera), I. 376f;
(in early French ballet), I. 402ff.
Schaden, Dr. von, II. 135.
Schantz, F. von, III. [100].
Scharwenka, Philipp, III. [212].
Scharwenka, Xaver, III. [212].
Scheffer, Ary, II. 388.
Schenck, Johann, II. 138.
Schering, Arnold, cited, I. 443.
Scherzo, II. 54, 167, 170, 311f, 318f.
Schikaneder, Anton, II. 108, 109, 124.
Schiller ('Ode to Joy'), II. 171.
Schillings, Max, III. [viii], [243]f.
Schindler, Anton, II. 133, 143.
Schjelderup, Gerhard, III. [99]f.
Schlesinger, Kathleen, III. [430].
Schmitt, Florent, III. [xi], [xiv], [xviii], [321], [363], [364].
Schobert, Johann, II. 67ff;
influence on Mozart, II. 67, 102.
Schola Cantorum (mediæval), I. 141, 146, 147.
Schola Cantorum (Paris), III. [285], [298].
Schönberg, Arnold, II. 369;
III. [xx], [271]ff.
Schönbrunn, II. 22.
Schoolcraft, quoted, I. 37.
Schools of composition, I. xii-ff;
(conflict of, in classic period), II. 62;
(rise of nationalistic), II. 216;
See also Berlin school, Leipzig school, Mannheim school, Netherland schools, Romantic Movement, Venetian school, Viennese classics, also Impressionism, Realism, also England, France, Germany, Italy, Russia, Scandinavia, etc.
Schopenhauer, II. 173, 415, 417.
Schubert, Franz, I. xvi;
II. 115, 221ff;
(songs), II. 279ff;
(pianoforte works), II. 299ff;
(operas), II. 380;
(general), III. [202], [223], [257].
Schumann, Clara, II. 264, 449, 452, 453, 455, 457;
III. [14], [69].
Schumann, Georg, III. [209].
Schumann, Robert, I. xvi, lvii;
II. 262ff;
(as song writer), II. 284ff;
(pianoforte works), II. 304ff;
(operas), II. 380;
(antagonism to Wagner and Liszt), II. 448f;
(general), III. [xi], [257];
(influence), III. [13]ff, [78], [92], [95], [105], [183], [202].
Schumann-Mendelssohn tradition, III. [209].
Schuppanzigh, Ignaz, II. 143, 152.
Schuré, Édouard, II. 208.
Schütz, Heinrich, I. 384f, 387, 424, 478, 480.
Schweitzer, Albert, I. 476.
Schytte, Ludwig, III. [76].
Scotland (folk-song), I. xliii;
III. [424].
Scott, Cyril, III. [xiv], [xix], [335].
Scott, [Sir] Walter, II. 194, 209, 223.
Scotti, Antonio, III. [374].
Scriabine, Alexander, III. [x], [xi], [xii], [xiv], [xx], [2], [155], [156]ff, [164].
Scribe, Eugene, II. 187, 200, 203, 210.
Scudo, Paul, quoted, II. 209.
Sculpture (art of), I. xxix.
Sebastiani, Johann, I. 481.
Secular music, mediæval, I. 186ff;
(in conflict with church music), I. 227;
(early polyphonic), I. 230f;
(in the mass), I. 242, 313, 320;
(in Lutheran hymns), I. 290.
See also Folk-songs; Instrumental music; Madrigals, etc.
Seghers, Antoine, III. [278].
Selinoff, III. [155].
Selmer, Johann, III. [97]f.
Senesino, Francesco Bernardi, I. 434, 437;
II. 4, 185.
Senfl, Ludwig, I. 288, 304f.
Sequences, I. 149f.
Serenade (Troubadours), I. 207;
(orchestral), II. 115.
Sergius II, and early church music, I. 167.
Sérieyx, Auguste, III. [307].
Serpent (instrument), II. 341.
Sévérac, Déodat de, III. [315], [362].
Serrao, Paolo, II. 11.
Seven Years' War, II. 50.
Sexual attraction, as the cause of music, I. 4f.
Sgambati, Giovanni, III. [386]f.
Shakespeare, I. xiv;
II. 139, 380, 388, 488f, 500;
III. [110].
Sharp (origin of), I. 156.
Sharp, Cecil, III. [423].
Shelley, I. xlv.
Shophar (Hebraic instrument), I. 73.
Shukovsky, III. [42].
Siam, I. 53, 57f.
Sibelius, Jean, III. [xi], [xiv], [64], [67], [68], [70], [101]ff.
Siklós, III. [200].
Silbermann, Gottfried, II. 163.
Silcher, Friedrich, II. 276.
Silvestre, Armand, III. [293].
Simonides, I. 118.
Simphonies d'Allemagne, II. 13, 67.
Simrock (publisher), II. 132, 147.
Sinding, Christian, III. [xv], [70], [96]f.
Sinfonia, I. 368;
II. 54, 66 (footnote).
See also Overture (Italian).
Sinfonietta, III. [7].
Singers (18th cent.), I. 423, 427;
II. 4, 6, 10, 21, 26, 33, 39;
(19th cent.), II. 185.
See also Opera Singers.
'Singing allegro,' II. 8, 52.
Singing masters (early famous), I. 250, 329ff, 333ff, 400, 436.
Singspiel, II. 9, 106, 123, 236, 277, 374;
(Danish), II. 40;
III. [62].
See also Opera, German.
Sinigaglia, Leone, III. [389], [390], [395].
Sjögren, Emil, III. [80], [81]f.
Skroup, Frantisek, III. [168].
Skuherský, Franz, III. [180].
Slavs (folk-song of), I. xliii.
Smareglia, Antonio, III. [369].
Smetana, Friedrich, III. [xi], [xii], [xiv], [xv], [165], [166], [169]ff, [181];
(influence), III. [183].
Smithson, Henriette, II. 254, 354.
Smolenski, Stepan Vassilievitch, III. [142].
Smyth, Ethel Mary, III. [426].
Snake Dances, I. 14, 34.
Social conditions, influence of, I. xxxv.
Socialism, III. [342], [349], [351].
Société des Jeunes Artistes du Conservatoire, III. [278].
Société de Sainte Cécile, III. [278].
Société Nationale de Musique Française, III. [284], [297].
Society of Authors, Playwrights and Composers, III. [435]f.
Sociological music drama, III. [345].
Sokoloff, Nikolai Alexandrovich, III. [145].
Solfeggi, II. 4.
Solo, vocal (in 14th cent. art music), I. 262;
(in 16th cent.), I. 281f.
Solo melody. See Monody.
Soloman, Edward, III. [432].
Somervell, Arthur, III. [427].
Sommer, Hans. III. [240], [268].
Sonata. See Pianoforte sonata; Violin sonata; Sonata da camera; Sonata da chiesa; Sonata form.
Sonata da camera, I. 369ff, 395f.
Sonata da chiesa, I. 357, 365ff, 395f.
Sonata form, I. xiv-f, xxvi, l-f, lii, lvi, 8, 52ff, 58, 72, 174f;
III. [280].
Sonata period, I. xli.
See also Mannheim school; Viennese classics.
Song. See Folk-song; Art-song; Part-song; Secular music, mediæval.
Song cycles (Beethoven), II. 278, 282;
(Schubert), II. 282f;
(Schumann), II. 287f.
Song form. See Binary form.
Song style, I. lix.
Sonnenfels (quoted), II. 29.
Sontag, Henriette, II. 185.
Sophistication (rhythmic), I. xlv-ff.
Soula (Troubadour form), I. 207.
Sound-producing materials (Chinese classification), I. 48.
South America (primitive instruments), I. 22.
Spain, modern, III. [403]ff.
Spanish color. See Local color.
Spanish influence, on music of American Indians, I. 38f.
Späth, Friedrich, II. 163.
Spencer, Herbert, I. 4f.
Spendiaroff, A., III. [141].
Spinelli, Niccola, III. [369], [371].
Spitta, Philipp, I. 455, 467.
Spohr, Ludwig, II. 329ff, 331f, 346f, 377, 386, 397.
Spontini, Gasparo, II. 197ff.
Sports, in rel. to music, I. 6.
Squire, William Barclay, III. [430], [443].
Stage directions (Cavalieri's), I. 335.
Stainer, [Sir] John, III. [421].
Stainer and Bell (publishers), III. [435].
Stamitz, Johann, I. xiv (footnote), 481;
II. 8, 12, 57, 63ff, 67, 94.
Stanford, [Sir] C. Villiers, III. [415], [419], [423].
Standfuss, II. 8.
Stassoff, Vladimir, III. [38], [107].
Stcherbacheff, N. V., III. [146].
Steffani, Agostino, I. 429.
Stegliano, Prince, II. 8.
Steibelt, Daniel, II. 161.
Stein, Johann Andreas, II. 163, 231.
Steinberg, Maximilian, III. [154].
Stendhal (Henri Beyle), quoted, II. 186.
Stenhammer, Wilhelm, III. [69], [85]f.
Stepán, W., III. [182].
Stephan I, King of Hungary, III. [187].
Stile rappresentativo, I. 330ff, 335.
Stillfried, Ignaz von, II. 71.
Stockholm, II. 79;
III. [62], [77].
Stolzer, Thomas, III. [187], [305].
Stone Age, instruments of, I. 24f.
Strabo, cited, I. 77, 85.
Stradella, Alessandro, I. 441f.
Strindberg, August, III. [77], [105].
Stradivari, Antonio, I. 362.
Strauss, Johann, II. 455, 460;
III. [21], [230].
Strauss, Richard, I. xvii;
II. 362, 411;
III. [viii], [x], [xi], [xiii], [xiv], [xx,][69], [108], [201]f, [204], [213]ff, [227], [249]ff, [265], [269], [335];
(quoted on Verdi), II. 501.
Stravinsky, Igor, III. [xx]-f, [128], [155]f, [161]ff.
Streicher, Nanette, II. 142.
Streicher, Theodor, III. [268].
Strepponi, Giuseppina, II. 485.
Striggio, Alessandro, I. 276f.
String instruments (primitive), I. 28;
(exotic), I. 53f;
(Assyrian), I. 65f, 68f;
(Greek), I. 122ff;
(mediæval), I. 211;
(modern), II. 335, 338, 339, 340, 342.
See also Double bass; Harp; Lute; Organistrum; Rotta; Viol; Viola; Violin; Violoncello.
String quartet, I. xii;
II. 69ff;
(Haydn), II. 97;
(Mozart), II. 114;
(Beethoven), II. 165, 167, 170;
(Schubert), II. 328f;
(Spohr), II. 329f;
(Brahms), II. 467;
(Verdi), II. 498.
Stumpff, Karl, II. 132.
Stuttgart, II. 12, 78.
Styles (differentiation of), I. lviii;
(conflict of, in classic period), II. 51, 62.
Subjectivity. See Personal expression.
Subjects. See Themes.
Suite (the), I. xiii-f, 369ff;
II. 52, 54;
(Bach), I. 472, 474f, 489;
(modern orchestral), III. [7];
(modern), III. [234].
Suk, Joseph, III. [182]f.
Suk, Vása, III. [181].
Sullivan, [Sir] Arthur, III. [ix], [91], [415]f.
Sully-Prudhomme, III. [293].
'Sumer is icumen in,' I. 237.
Suppé, Franz von, III. [22].
Suspension, I. xlvii.
Süssmayr, François Xaver, II. 125.
Svendsen, Johann, III. [xv], [88].
Sweden (political aspects), III. [61]ff;
(folk-music), III. [65], [79];
(modern composers), III. [79]ff.
Sweelinck, Peter, I. 358ff.
Switzerland (Reformation), I. 294.
Symbolism, III. [229]ff, [351], [361].
See also Impressionism.
Symbolist poets, influence of, on modern French music, III. [321].
Symonds, John Addington, quoted, I. 64, 188, 258ff, 268.
Symons, Arthur, quoted, II. 153, 159, 160, 169.
Symphonic form (modern), III. [203]f;
(applied to song), III. [260].
See Symphony.
Symphonic poem (the), II. 361ff, 390, 475;
III. [204], [223], [228], [428].
Symphony (the), I. xv-ff;
II. 65ff, 126f;
(Haydn), II. 93ff;
(Mozart), II. 115ff;
(Beethoven), II. 165, 166, 170f, 173, 174;
(Schubert), II. 344f;
(romanticists), II. 345ff;
(Brahms), II. 456, 466, 468;
(Franck), II. 472;
(modern evolution), III. [204], [221], [227]ff, [329];
(choreographic), III. [340];
(modern Italian), III. [387].
See also Sinfonia; also Overture.
Sympson, Christopher, I. 367.
Syncopation, I. xlvii;
II. 462.
See also Ragtime.
Swieten, Baron van, II. 91.
Szendi, A., III. [197].

Tablatures, I. 157, 261, 285.
Tagelied, I. 218.
Taine (quoted), II. 112.
Talbot, Howard, III. [433].
Tallis, Thomas, I. 305.
Tambura (Hindoo instrument), I. 54.
Tamburini, II. 185, 193.
Taneieff, Sergei Ivanovich, III. [x], [xiv], [xvii], [142], [143], [148]ff.
Tannhäuser (minnesinger), I. 218.
Tarenghi, III. [394].
Tartini, Giuseppe, II. 50.
Tasca, III. [369], [371].
Tasso, I. 327;
II. 363.
Taubert, Wilhelm, III. [18].
Taubmann, Otto, III. [271].
Tausig, Karl, II. 442.
Tchaikovsky. See Tchaikovsky.
Tcherepnine, III. [xvii], [128], [154].
Tchesnikoff, III. [161].
Te Deums (Florentine festivals), I. 326;
(Purcell and Händel), II. 432.
Technique, in musical composition, III. [110]f.
Teile, Johann, I. 422.
Telemann, Friedrich, I. 415, 422f, 452ff, 465;
II. 45.
Temperament, equal. See Equal temperament.
Temple, Hope, III. [443].
Ternary form. See Sonata form.
Terpander, I. 112ff.
Tertis, Lionel, III. [442].
Tetrachords, I. 99, 101ff, 151, 169, 300.
Thalberg, Sigismund, II. 313;
III. [18].
Thaletas, I. 116.
Thamyris, I. 111.
Thayer, John Wheelock (quoted), II. 138, 143, 162.
Théâtre des Italiens (Paris), II. 188, 193.
Théâtre Feydeau, II. 42.
Theatres (Greek), I. 120f;
(Renaissance), I. 325.
See also Opera houses.
Theme and variations (in sonata), II. 54.
Themes, I. lix;
(transformation of), II. 363.
See also Generative theme.
Theory of music (ancient Greek), I. 91, 127.
Theory vs. practice, I. xxxvii.
Tonality (in musical form), I. xxxix, xlix, l.
Thespis, I. 120.
Thibaut, I. 320.
Thirty Years' War, I. 293f, 417.
Thomas, Arthur Goring, III. [415], [417]f.
Thomas, Charles-Louis-Ambroise, II. 388;
III. [278].
Thomasschule (Leipzig), II. 262.
Thompson (author of 'The Seasons'), II. 91.
Thoroughbass. See Counterpoint.
Thrane, Waldemar, III. [87].
Thuille, Ludwig, III. [243], [247].
Thun, Countess, II. 86.
Tiersot, Julien (cited), I. 43, 190, 194, 199, 339;
II. 43, 472.
Timbre. See Tone Color.
Time (in measured music), I. 229f.
See Rhythm.
Tinctoris, cited, I. 239, 244.
Tintoretto, I. 327f.
Tinya (Peruvian instrument), I. 53.
Toccata, I. 356, 358f, 450f;
II. 307.
Toëschi, Carlo Giuseppe, II. 67.
Tolstoy, II. 418;
III. [39], [140], [144], [145], [363].
Tomášek, III. [168].
Tonality, in Greek music, I. 100;
(confusion of, in modern music), III. [xxi], [198].
See also Keys; Modulation; Scales.
Tone, definition of, I. 1.
Tone color, I. liii, lix.
See Instrumentation.
Tonga Islands, I. 18.
Tonic key (in sonata form), II. 55, 56.
Torchi, Luigi, III. [369], [377];
(quoted), III. [396].
Toscanini, Arturo, III. [400].
Tosti, Paolo, III. [401].
Tovey, Donald Francis, III. [429].
Traetto, Tommaso, II. 14.
Tragedy (Greek), I. 120, 329;
II. 9.
Transcriptions, I. xix.
Transformation of themes, II. 363.
Transposition, I. 249.
Transposition scales (Greek), I. 103ff.
Tremolo (instrumental), I. 345, 368.
Triads, I. 19, 269f, 320.
Trigonon (Egyptian), I. 79.

Trio-sonata, II. 54, 59, 65.

Triple time (in early church music), I. 229.
Trombone (primitive), I. 24;
(in early Italian music), I. 344, 363;
(in early French ballet), I. 402;
(modern), II. 341.
Tropes, I. 150.
Troubadours, I. 203, 204ff, 216f, 228, 260, 267.
Trovatori, I. 261.
Trumpet (primitive), I. 21;
(Assyrian), I. 66;
(Egyptian), I. 81;
(Greek), I. 125;
(modern), II. 265, 335, 337, 338, 340, 341, 342;
(valve), II. 340.
Tschaikowsky, Peter Ilyitch, I. xvii;
II. 108, 440;
III. [xvi], [48], [52ff], [64], [93], [105], [111], [134], [142], [147], [148], [205];
(on Balakireff), III. [111] (footnote).
Tscherepnine. See Tcherepnine.
Tschesnikoff. See Tchesnikoff.
Tuba, II. 341.
Tubri, Hindoo, I. 54.
Turgenieff, II. 238;
III. [40], [108], [110].
Turini, Francesco, I. 368.
Tye, Christopher, I. 305.
Tympani. See Kettledrums.
Tyrtæus, I. 118.

Ugolino, Baccio, I. 326.
Uhland, Ludwig, II. 223, 291.
Ultra-modern schools. See France; Germany; Russia, etc.
Umlauf, Ignaz, II. 106.
Usandizaga, K., III. [407].

Vaccal, Niccolò, II. 196.
Valve instruments, II. 340.
Van den Eeden, Gilles, II. 131.
Vanhall, Johann Baptist, II. 81, 114.
Variation of musical phrases, I. xlii.
Variations (in sonata), II. 54;
(French), II. 473;
(modern use), III. [282].
Vasari, George, cited, I. 328.
Vassilenko, Sergius, III. [159]f.
Vecchi, Orazio, I. 276ff, 280.
'Venerable Bede,' I. 145, 147.
Venetian school, I. 298, 301f, 306, 346.
Venezia, Franco da, III. [393].
Venice (17th cent.), I. 327, 356, 377ff, 387;
(18th cent.), II. 2, 11, 40, 181;
(opera houses in), II. 179;
(Verdi), II. 487ff.
Ventadour, Bernard de, I. 211.
Verdelot, Philippe, I. 273f, 277.
Verdi, Giuseppe, II. 207, 477ff;
III. [viii], [ix], [367], [368];
(followers of), III. [366]ff.
Verismo, III. [368], [369]ff.
Verlaine, Paul, III. [287], [293].
Vernet, Horace, II. 191.
Verona (Philharmonic Academy), II. 103.
Verstovsky, Alexei Nikolajevitch, III. [41].
Vers (Troubadour lyric), I. 206.
Vestris (dancer), II. 33.
Vidal, Peire, I. 211.
Vienna (Gluck), II. 17, 19ff, 37;
(18th cent.), II. 31, 40, 44, 50, 71, 76, 77, 79ff;
(Haydn), II. 84, 85, 92;
(Mozart), II. 102, 105, 107, 108, 114;
(first German opera), II. 106;
(Beethoven), II. 132, 140ff;
(Donizetti), II. 194;
(Meyerbeer), II. 199;
(19th cent.), II. 222f, 312f.
Viennese classics, II. 63, 75-178, 227.
Viennese school, modern, III. [271]ff.
Vierling, Georg, III. [208].
Vieuxtemps, Henri, III. [194].
Villoteau, Guillaume André, quoted, I. 51.
Vina (Hindoo instrument), I. 49, 53f.
Vinci, Leonardo, I. 400f;
II. 6.
Vinci, Leonardo da (the painter), I. 325, 327f;
III. [334].
Viol, I. 211.
Viola (the), II. 96, 338, 343.
Viola, Alphonso della, I. 327.
Viola, Gian Pietro della, I. 326.
Violin (in early Germany), I. 198;
(development in 17th cent.), I. 362;
(in early French music), I. 402;
(in modern orchestra), II. 338, 339, 341, 343.
Violin concerto (Mozart), II. 115;
(Beethoven), II. 165;
(Spohr and Mendelssohn), II. 332f;
(Brahms), II. 456;
(Tschaikowsky), III. [50];
(Strauss), III. [214];
(Saint-Saëns), III. [280].
Violin makers, Italian, I. 362.
Violin music (early), I. 362;
(Corelli), I. 394ff;
(Bach), I. 474f, 483, 489;
(Spohr, etc.), II. 331f;
(modern Italian), III. [394].
See also Violin Sonata.
Violin playing (Mozart's method), II. 73.
Violin sonata (Corelli, etc.), I. 394;
II. 51;
(Mozart), II. 114;
(Beethoven), II. 166;
(Brahms), II. 456;
(Franck), II. 471, 472.
Violoncello, II. 338, 341.
Violoncello music (Bach), I. 483, 489.
Viotti, Giovanni Battista, II. 90.
Virginal music. See Harpsichord music.
Virtuoso composers (piano), III. [18].
Virtuosos, I. 216f, 351.
Vitali, Giovanni Battista, I. 365f.
Vitruvius (cited), I. 133.
Vitry, Philippe de, I. 228.
Vittoria, Tom. Ludovico de, I. 321.
Vivaldi, Antonio, I. 396, 471.
Vives, Amedeo, III. [407].
Vocal element in symphonic music, III. [228]f.
Vocal music, I. xx, xlviii;
(basis of music), I. 4;
(primitive), I. 17, 44;
(Assyrian), I. 68;
(Greek), I. 95f, 117ff;
(plain-song), I. 128-159;
(early polyphony), I. 160-184;
(beginnings of harmony), I. 161f, 172f, 181f;
(mediæval secular), I. 186-225;
(Netherland schools), I. 226-257;
(14th cent. solo), I. 260ff;
(madrigals), I. 171ff;
(Reformation), I. 288ff;
(Lasso), I. 307ff;
(Palestrina), I. 311;
(expressive style), I. 329ff;
(early 17th cent.), I. 348ff;
(Bach), I. 452ff, 489f;
(romantic period), II. 394ff.
See also Aria; Art-song; Choral music; Cantata; Mass; Oratorio; Passion Oratorio; Plain-song.
Vocalizing without text, III. [323].
Vocalizzi, II. 4.
Vogl, Johann Michael, II. 225.
Vogler, Abbé, II. 199.
Voice. See Singers, Singing masters;
(use of, in symphonic works);
see Vocal element.
Volkmann, Robert, III. [13], [192].
Volkslied. See Folk-song (German).
Voltaire, II. 34, 47, 76.

Wagenseil, Georg Christoph, II. 63, 67, 71f, 82 (footnote).
Wagner, Cosima, II. 422.
Wagner, Richard, I. xviii, xxxvi, liii, 332, 336, 341;
II. 39, 40, 139, 153, 164, 171, 176, 191, 196, 204, 206, 211, 265, 359, 372, 381, 391, 401-442, 448f;
III. [vii], [xvii], [203]f, [206], [207], [223], [228], [239], [253], [320];
(influence), II. 381, 436ff, 497;
III. [100], [157], [177], [193], [201]f, [238], [245], [249], [270], [351];
(influence in France), II. 391;
III. [viii], [x], [290], [296], [298], [304], [343];
(influence in Italy), II. 497;
III. [ix], [378], [387];
(in Russia), III. [x];
(rel. to Bruckner), III. [221];
(rel. to Sgambati), III. [386].
Wagner, Siegfried, III. [257].
Wagner-Liszt school, III. [4], [69].
See also New-German school.
Waldstein, Count Ferdinand, II. 140, 141.
Wales (folk-songs), III. [424].
Walker, Ernest, III. [429].
Wallace, William, III. [x], [xi], [xix], [428].
Wallaschek, Richard, cited, I. 26ff.
Walther, Johann, I. 290f.
Walthew, Richard, III. [442].
War dances, I. 13.
Waserus, C. G., III. [100].
Waterloo, battle of, II. 234.
Weber, Carl Maria, Freiherr von, II. 108, 178, 199, 222, 230, 231, 234ff, 446, 448;
III. [x];
(operas), II. 238ff;
(pianoforte style), II. 302;
(influence), III. [78].
Weber, Constance, II. 106.
Weber, Dionys, III. [168].
Wegeler, Dr. Franz Gerhard, II. 148, 151.
Wegelius, Martin, III. [100], [102].
Weimar, I. 460;
II. 78, 250;
III. [15].
Weiner, Leo, III. [197].
Weingartner, Felix, III. [viii], [xi], [xii], [113], [243], [244], [267].
Weinlich, Theodor, II. 404.
'Well-tempered Clavichord,' I. 472, 474ff, 485ff, 490;
II. 56, 131.
Welsh folk-songs, III. [424].
Welsh scale, I. 164.
Westphalia, peace of, II. 47.
Whistles (primitive), I. 21f, 61f.
Whistler, James McNeill, III. [321].
White, Maude V., III. [443].
Whitman, Walt, III. [117], [436], [441].
Whole-tone scale, III. [xix-f], [199], [290], [308], [322], [323], [324], [325], [335], [359].
Wieck, Clara. See Schumann, Clara.
Widmann, J. V., II. 450f.
Widor, Charles-Marie, III. [36].
Wieland, II. 48.
Wieniawsky, Henri, III. [194].
Wihtol, Ossip Ivanovich, III. [141].
Wilde, Oscar, III. [160], [254].
Wilkes, Capt., cit., I. 8.
Willaert, Adrian, I. 272ff, 298ff;
III. [187].
Wille, Dr., II. 419.
William II, King of Prussia, II. 115.
Williams, C. F. Abdy, III. [431].
Williams, Vaughan, III. [434], [436]f.
Willmann, Magdalena, II. 145.
Wind instruments, I. liii;
(primitive), I. 21ff;
(exotic), I. 54;
(Assyrian), I. 66ff;
(Greek), I. 121ff;
(modern), II. 95, 338ff.
See also Bass clarinet, Bassoon, Clarinet, Cornet-à-pistons, Double bassoon, English Horn, Flute, Horn, Oboe, Ophicleide, Piccolo, Serpent, Trombone, Trumpet, Tuba.
Winding, August, III. [73].
Winter-Hjelm, Otto, III. [88].
Wizlaw von Rügen (minnesinger), I. 218, 219.
Wolf, Hugo, III. [201]f, [257]ff;
(influence), III. [267], [271].
Wolf-Ferrari, Ermanno, III. [viii], [ix], [xiv], [369], [375].
Wolff, Erich W., III. [266]f, [268].
Wolstenholme, W., III. [442].
Wood, Charles, III. [426]f.
Wood, Haydn, III. [443].
Wood, Henry J., III. [422].
Woodforde-Finden, Amy, III. [443].
Wood-wind. See Wind Instruments.
Wooldridge, H. E., III. [430];
(cited), I. 183.
Wordsworth, II. 99.
Work, as incentive to song, I. 6f.
Wüllner, Franz, III. [212].
Wüerst, Richard Ferdinand, III. [11], [257].
Wyzewa, T. de (cited), II. 67 (footnote), 103.

X-Y

Xylophone, I. 26f, 31.
Yanowsky, III. [161].
Yodle song, I. 198.
Yon, Pietro Alessandro, III. [397].
Young Hungarian school, III. [197].

Zachau, Friedrich Wilhelm, I. 42f.
Zamr (Arabian instrument), I. 54.
Zandonai, Riccardo, III. [ix], [378], [379], [389], [399].
Zarlino, Gioseffo, I. 269ff, 303.
Zelter, Carl Friedrich, II. 277f;
III. [62].
Zichy, Count Géza, III. [190], [191]f.
Zingarelli, Nicolo Antonio, II. 182.
Zmeskall, Baron von, II. 141, 143.
Zola, Émile, II. 206;
III. [342], [343].
Zöllner, Heinrich, III. [243].
Zolotareff, B., III. [146].
Zumsteeg, Johann Rudolph, II. 278.
Zwingli, I. 294.