CONTENTS
| PAGE | ||
|---|---|---|
| The Authors’ Greetings | [vii] | |
| Acknowledgments | [ix] | |
| Introduction, by W. J. Henderson | [xi] | |
| BABYHOOD OF MUSIC | ||
| CHAPTER | ||
| I.— | Music is Born—How, When and Where | [3] |
| II.— | The Savage Makes His Music | [8] |
| III.— | The Ancient Nations Made Their Music—Egyptian, Assyrian, and Hebrew | [20] |
| IV.— | The Greeks Lived Their Music—The Romans Used Greek Patterns | [31] |
| V.— | The Orientals Make Their Music—Chinese, Japanese, Siamese, Burmese, and Javanese | [46] |
| VI.— | The Arab Spreads Culture—The Gods Give Music to the Hindus | [55] |
| CHILDHOOD OF MUSIC | ||
| VII.— | What Church Music Imported from Greece | [67] |
| VIII.— | Troubadours and Minnesingers Brought Music to Kings and People | [87] |
| IX.— | The People Dance and Sing—Folk Music | [107] |
| X.— | National Portraits in Folk Music | [128] |
| MUSIC BECOMES A YOUTH | ||
| XI.— | Makers of Motets and Madrigals—Rise of Schools, 15th and 16th Centuries | [146] |
| XII.— | Music Gets a Reprimand—Reformation and Rebirth of Learning—How the Reforms Came to Be | [162] |
| XIII.— | Birth of Oratorio and Opera—Monteverde and Heart Music | [171] |
| XIV.— | Musicke in Merrie England | [187] |
| MUSIC COMES OF AGE | ||
| XV.— | Dance Tunes Grow Up—Suites—Violin Makers of Cremona | [208] |
| XVI.— | Opera in France—Lully and Rameau—Clavecin and Harpsichord Composers | [222] |
| XVII.— | Germany Enters—Organs, Organists and Organ Works | [235] |
| MUSIC HAS GROWN UP | ||
| XVIII.— | Bach—The Giant | [244] |
| XIX.— | Handel and Gluck—Pathmakers | [255] |
| XX.— | “Papa” Haydn and Mozart—the Genius | [275] |
| XXI.— | Beethoven the Colossus | [293] |
| XXII.— | The Pianoforte Grows Up—The Ancestry of the Pianoforte | [307] |
| XXIII.— | Opera Makers of France, Germany and Italy—1741 to Wagner | [326] |
| XXIV.— | The Poet Music Writers—Romantic School | [343] |
| XXV.— | Wagner—the Wizard | [359] |
| XXVI.— | More Opera Makers—Verdi and Meyerbeer to Our Day | [377] |
| XXVII.— | Some Tone Poets | [397] |
| XXVIII.— | Late 19th Century Composers Write New Music on Old Models | [418] |
| XXIX.— | Music Appears in National Costumes | [441] |
| XXX.— | America Enters | [456] |
| XXXI.— | America Comes of Age | [475] |
| XXXII.— | Twentieth Century Music | [515] |
| Some of the Books we Consulted | [547] | |
| Some Music Writers According to Forms of Composition | [551] | |
| Index | [587] | |
ILLUSTRATIONS
| FACING PAGE | |
|---|---|
| The Fifer | [Frontispiece] |
| Some Instruments of the American Indian | [20] |
| Hieroglyphics on an Egyptian Tablet | [21] |
| Greek Girl Playing a Double Flute (Auloi) | [30] |
| Greek Boy Playing the Lyre | [31] |
| Chinese Instruments | [44] |
| Fiddles from Arabia, Japan, Corea and Siam | [45] |
| The Koto-Player | [46] |
| The Wandering Samisen-Player | [47] |
| Instruments of Burmah and Siam | [52] |
| A Burmese Musicale | [53] |
| Laura Williams, American Singer of Arab Songs | [58] |
| Hindu Instruments 66, | [67] |
| St. Cecelia, Patron Saint of Music | [72] |
| The Book of Peace | [73] |
| Boys with a Lute | [128] |
| A Peasant Wedding | [129] |
| A Lady at the Clavier (Clavichord) | [186] |
| A Lady Playing the Theorbo (Luth) | [187] |
| Chevalier Christoph Willibald von Gluck | [274] |
| The Boy Mozart | [275] |
| Wolfgang Amadeus Mozart | [292] |
| Ludwig van Beethoven | [293] |
| Johann Sebastian Bach | [306] |
| George Frederick Handel | [306] |
| Franz Josef Haydn | [306] |
| Carl Maria van Weber | [306] |
| The Piano and its Grand-parents | [307] |
| Franz Schubert | [358] |
| Robert Schumann | [358] |
| Felix Mendelssohn-Bartholdy | [358] |
| Frédéric Chopin | [358] |
| Richard Wagner, the Wizard | [359] |
| Georges Bizet | [388] |
| Vincent d’Indy | [389] |
| Camille Saint-Saëns | [389] |
| Jules Massenet | [389] |
| Gustave Charpentier | [389] |
| Hector Berlioz | [402] |
| Franz Liszt | [403] |
| Johannes Brahms at Home | [418] |
| César Franck | [419] |
| Edward MacDowell | [492] |
| Charles Griffes | [493] |
| Claude Achille Debussy | [516] |
| Maurice Ravel | [516] |
| Arnold Schoenberg | [517] |
| Igor Stravinsky | [517] |
| Arthur Honegger | [538] |
| Darius Milhaud | [538] |
| Béla Bartók | [538] |
| Louis Gruenberg | [538] |
| G. Francesco Malipiero | [539] |
| Alfredo Casella | [539] |
| Arnold Bax | [539] |
| Eugene Goossens | [539] |
How Music Grew
Babyhood of Music
CHAPTER I
Music is Born—How, When and Where
There was once a time when children did not have to go to school, for there were no schools; they did not have to take music lessons because there was no music; there was not even a language by which people could talk to each other, and there were no books and no pencils. There were no churches then, no homes nor cities, no railroads, no roads in fact, and the oldest and wisest man knew less than a little child of today.
Step by step men fought their way to find means of speaking to each other, to make roads to travel on, houses to live in, fire to cook with, clothes to wear, and ways to amuse themselves.
During this time, over one hundred thousand years ago, called “prehistoric” because it was before events were recorded, men had to struggle with things that no longer bother us.