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.
C
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.
D
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].
E
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.
F