Diagrams of this kind are, however, only suitable for a very condensed historical survey. More detailed information is better conveyed by means of chronological tables, such as Carl Czerny has compiled in his 'Umriss der ganzen Musik-Geschichte' ('A Sketch of the whole History of Music'), published at Mayence, in the year 1851. Carl Czerny, of Vienna, was a very industrious man, who, although he gave pianoforte lessons during the whole day, nevertheless found time to write above nine hundred compositions, not to mention his innumerable arrangements of operas, oratorios, symphonies, and overtures. That he could engage in such laborious research as the preparation of his chronological tables must have required is certainly surprising, especially as he was a very practical man with regard to money-making, and there is probably no musical occupation less likely to yield pecuniary advantage than is the compiling of chronological tables. It used to be said of Czerny that he was in the habit of composing while he was giving pianoforte lessons. If this is no false rumour, it perhaps accounts for the enormous number of his compositions, as well as for the slight merit of most of them. But, chronological tables he may have compiled in this way without detriment to them, since they do not require to be written with feeling, even less with inspiration, but merely with careful discernment, and with perseverance. Be this as it may, he certainly was an eminent pianoforte teacher, as is proved by his having instructed Liszt, Döhler, and other distinguished pianists. His finger-exercises, or pianoforte-studies, have outlived his other compositions, and his chronological tables will probably be used for reference long after his finger-exercises have been supplanted by more modern ones.
As the object is to supply the lover of music with an historical survey, similar to that of Czerny, but on a smaller scale,—it may be useful to notice the plan adopted by Czerny.
He has divided his work into two Sections. The first Section records the ancient traditions respecting the origin of music, and gives an account of the music of the nations before the Christian era, of the music of our forefathers during the Middle Ages, and of the rise of our modern tone-art. This Section is arranged in eighteen Periods, thus:—
First Period.—The primitive Music of the Greeks until the time of the Trojan War (b.c. 2000-1200). Mythic and mythic-heroic Age. Beginning of the public games and contests.
Second Period.—From the Trojan War until Pythagoras (b.c. 1200-584). Gradual development of singing associated with poetry. Invention and improvement of different Stringed Instruments, Wind Instruments, and Instruments of Percussion. Encouragement given to artists by the bestowal of great honours.
Third Period.—From Pythagoras until Aristoxenus of Tarentum (b.c. 584-340). Highest development of all the Arts in Greece. The Art of Music founded on fixed rules.
Fourth Period.—From Aristoxenus until the Birth of Christ (b.c. 340-a.d. 1). New Musical System. Decay of the Arts.
Fifth Period.—From the Birth of Christ until Hucbald (a.d. 1-900). Gradual decay of the Ancient Music. Origin of the Christian Church-song.
Sixth Period.—From Hucbald until Franco of Cologne (a.d. 900-1200). The first attempts in Polyphonic Harmony. Invention of Musical Notation and Measure of Time.
Seventh Period.—From Franco of Cologne until Dufay (a.d. 1200-1380). Invention and development of Counterpoint.