B
Bach, Johann Sebastian, his relation to German church music, [282], [287], [289]; the Bach family, [284]; Bach’s birth, education, and official positions, [286]; condition of German music in his early days, [287]; his organ music, [290], [292]; fugues, [292]; choral preludes, [295]; cantatas, [300]; style of his arias, [304]; of his choruses, [305]; Passion according to St. Matthew, [307]; compared with Händel’s “Messiah,” [307]; its formal arrangement and style, [308]; performance by Mendelssohn, [312]; the Mass in B minor, [204], [211], [312]; national and individual character of Bach’s genius, [314]; its universality, [316]; decline of his influence after his death, [317]. Bach Society, New, [322]. Bardi, [188]. Barnby, [355], [383]. Battishill, [354]. Beethoven, his Mass in D, [119], [200], [204], [210]. Behem, [229]. Benedictus, [88]. Bennett, [355]. Berlioz, his Requiem, [199], [200], [204]. Beza, [360]. Bisse, quoted, [338]. Boleyn, Anne, [326]. Bonar, [381]. Boniface, [118]. Bourgeois, [360]. Boyce, [354]. Brethren of the Common Life, [234]. Bridge, [355]. Buxtehude, [292]. Byrd, [350].
[420]
C
Caccini, [188], [189], [190]. Calvin, his hostility to forms in worship, [358], [363]; adopts the psalms of Marot and Beza, [360]. Canon of the Mass, [89]. Cantata, German church, [270], [272]; origin and development, [273]. See also Bach. Cartwright, his attack upon the established Church, [367]. Cary sisters, [381]. Cassell, quoted, [45]. Catherine, wife of Henry VIII., [326]. Celestine I., pope, [110]. Chalil, [22]. Chant, nature of, [40], [97]; the form of song in antiquity, [40]; its origin in the early Church, [51]; its systematic culture in the Roman Church, sixth century, [67]. Chant, Anglican, [336], [340]; Gregorian movement in the Church of England, [342]; first harmonized chants, [345]. Chant, Catholic ritual, epoch of, [93]; liturgic importance, [94], [99], [405]; general character, [95], [104]; different classes, [103]; rhythm, [105]; rules of performance, [105]; origin and development, [99], [109]; key system, [113]; mediaeval embellishment, [115]; extension over Europe, [117]; legends connected with, [122]; later neglect and revived modern study, [126]; use in the early Lutheran Church, [260]; “Gregorians” in the Church of England, [337], [341]. Charlemagne, his service to the Roman liturgy and chant, [118]. Charles II., king of England, his patronage of church music, [352]. Cherubini, mass music of, [204], [213]. Choral, German, sources of, [260]; at first not harmonized, [262]; later rhythmic alterations, [263]; its occasional adoption by Catholic churches, [264]; its condition in the seventeenth century, [265]; decline in the eighteenth century, [266]; choral tunes in the cantata, [274], [302]; in the Passion music, [280]; as an element in organ music, [290], [294]; use in Bach’s St. Matthew Passion, [308], [309], [311]. Choral, or Cathedral mode of performing the Anglican service, [333]. Clement of Alexandria, quoted, [54]; his song to the Logos, [56]. Clement VII., pope, [326]. Colet, [327]. Common Prayer, Book of, [328], [330]; musical setting by Marbecke, [337], [369]. Communion, [90]. Congregational singing, its decline in the early Church, [48]; vital place in Protestant worship, [223]; in Germany before the Reformation, [228] et seq.; not encouraged in the Catholic Church, [240]; in the Church of Luther, [242]; among the Puritans, [376]. Constantine, edicts of, [62]. Constitutions of the Apostles, [47]. Cosmas, St., [60]. Counterpoint, mediaeval, growth of, [140], [148]. Counter-Reformation, [156], [264]. Cowper, [381], [387]. Coxe, [381]. Cranmer, [328], [329], [331], [337]. Credo, [88]. Croce, [168]. Cromwell, [369], [371], [372]. Crotch, [354]. Crüger, [266]. Curwen, quoted, [343]. Cymbals, [24], [26].
[421]
D
Dance, religious, its prominence in primitive worship, [3]; twofold purpose, [5]; among the Egyptians, [6]; among the Greeks, [6]; in early Christian worship, [8]. David, his contribution to the Hebrew ritual, [24]. Day’s psalter, [345]. Deutsche Messe, Luther’s, [245], [247]. Dies Irae, [60]. Discant, first form of mediaeval part writing, [138]. Dubois, [217]. Durante, [213]. Dvořák, his Requiem, [204], [219]; Stabat Mater, [219]. Dykes, [383].
E
Eccard, [271]. Eckart, [229], [231]. Edward VI., king of England, [327], [328]. Egyptians, religious music among the, [12]. “Ein’ feste Burg,” [251], [252], [253], [259], [264], [302]. Ekkehard V., quoted, [121]. Elizabeth, queen of England, [327], [329], [332], [358]. Ellerton, [381]. Ephraem, [57]. Erasmus, [327]. Eybler, [207].