The contest between classicism and romanticism, now at an end, since classicism simply means devotion to pure beauty of form and matter, is exhibited throughout the three great periods of musical history. The Polyphonic period may be regarded as extending from the beginning of the French school, 1100 A. D., to the death of Bach, 1750. This, as the reader will see, includes the transfer of the technics of polyphonic writing from vocal to instrumental music. The classic period, that in which the great works in the sonata form were produced, extends from the production of Haydn's first symphony, 1754, to the production of Beethoven's "Eroica" symphony in 1804. Then came a transition period, during which the romantic element in music was pushed to the front by the "Eroica" and the fifth, sixth, and seventh of Beethoven's symphonies. In 1821 Weber's "Der Freischütz" was produced, and Schubert's "Der Erl-König" was first sung in public. From that time the romantic school in music has been dominant.

The chief value of the study of musical history to the music lover is the acquisition of a correct point of view, and it is to aid in that acquisition by the reader of this book that I have written these observations upon the characters and purposes of the three great periods. In listening to the music of any composer the hearer should take into account the general tendency, purpose, and scope of musical art of his period and also the particular aims of the composer. No one has a right to say that Mozart failed because he did not achieve what Beethoven did. Mozart accomplished all that could be accomplished with the resources of musical art in his day, and he himself enormously enlarged those resources. That is the achievement of a genius. Every one has a right to say that Donizetti and Bellini failed because they not only did not succeed in accomplishing all that it was possible to accomplish in opera in their time, but deliberately ignored the fundamental principles of the art and also the immense advances in its technic made by Gluck and Mozart. Every one must admit that Verdi has achieved the triumph of a great master in his "Falstaff," for he has utilized everything contributed to operatic art by its leading geniuses, old and new, and yet has produced an entirely original and independent work. In conclusion, therefore, let me call the attention of the reader to the salient characteristics of the three periods.

The Polyphonic, because of its labors in developing the most rigid of forms, is chiefly notable for its intellectual characteristics. It displays immense mastery of the elementary materials of music and an enormous profundity of thought in purely technical processes. As it advances one sees it gradually developing beauty of style, and finally, from a state in which it is impossible to discover any emotion at all, it advances to one in which there is the purest and most beautiful embodiment of the devotional, contemplative spirit of the religious life of its time. It is the religious life that is withdrawn from the world, not that which is spent among men. For the embodiment of the latter life one must turn to the music of German Protestantism and study the works of Bach. Thus we find that Polyphonic music finds its expressive field in religion, just as did Gothic architecture, to which it so closely corresponds. There is no use of seeking in this music for the note of earthly passion. For that you must go to the opera, and later to the symphony.

The Classic period was the period of pure beauty in instrumental music. It corresponds to the second and third periods of the Netherlands school, and existed for the same reasons, namely, that its formal materials had been developed just far enough to permit its composers to make beautiful effects without aiming at an organized system of expression. In the Classic period we find wonderful symmetry of form, a continual subordination of profound learning to a pleasing style, and a sweetness and serenity of the emotional atmosphere. In Haydn and Mozart we find simple and tuneful subjects and bright, good-natured, and perspicuous treatment. In the sonatas and symphonies of the Classic period one finds no attempt at the expression of anything deeper than sentiment. The note of passion was attempted only in opera, but it was never permitted even there to create a serious disturbance of pure musical beauty.

The Romantic period took its spirit from the romantic movement in German poetry. In it one finds a constant struggle for the definite expression of the profoundest emotions of our nature. Its forms are flexible, its diction the richest attainable, and its conception of beauty based largely on its ideal of truth. It is in this period that music now is, but it does not follow that no contemporaneous composer has a right to offer us a work in the classic form and style. We must accept it as an example of pure musical beauty, and not look for an expressiveness which the composer did not seek to attain. The tendency of composers of absolute music at present is to make less and less use of the strict classic forms. But there are certain fundamental principles of music which they cannot ignore without danger to the art. The music lover who has an understanding of the spirit of musical history will best be able to appreciate their purposes and their achievements, without losing the power to enjoy the less pretentious works of the fathers of modern music.

[Index]

A capella church music, [79].
A minor, the scale of, [6].
"Abou Hassan," Weber's, [349].
Académie de Musique, the, [295].
"Acis et Galathée," Lulli's, [302].
"Adam and Eve," Theile's, [338].
"Adonis," Perrin's, [295].
Æschylus, [200], [238], [239].
"Æsthetics," Veron's, [384].
"Africaine, L'," Meyerbeer's, [325], [326].
"Agnes von Hohenstaufen," Spontini's, [323].
Agricola, [93].
"Aïda," Verdi's, [282], [284], [285], [288].
"Akebar, Roi de Mogol," Mailly's, [295].
Alaric, [55].
"Alceste," Gluck's, [314], [315].
"Alceste," Lulli's, [302].
Alexandria, Christian communities of, [2].
Allegri, Gregorio, [77];
his "Misere," [78].
All Souls' College, [63].
Ambrose, St., [3];
his system of chanting, [3], [4], [71], [74].
America, Wagner's works in, [358].
American Academy of the Dramatic Arts, the, in New York, [248].
"Amico fido, L'," Bardi's, [236].
Amsterdam, [49].
Anerio, Felice, [77];
his masses, [78].
Anhalt-Koethen, [121].
"Anima e Corpo," Cavaliere's, [148];
production of, [149];
the first oratorio, [203].
Anti-buffonists, the, [309].
Antioch, [3].
Antiphonal writing, [46].
Antwerp, [40].
Apollo, [200].
Apostles, the, [2].
"Appassionata," Beethoven's, [145].
Arabs, the, [57].
Arcadelt, [39], [75].
Architecture, Doric, [69], [70].
Architecture, Gothic, [70].
Arezzo, Guido d', [19], [86].
Aria, five kinds of, [273].
Aria da capo, the, [263], [265];
Scarlatti's development of, [269], [270];
Verdi's use of, [282], [287].
Aria form, the, [318], [363], [364].
"Ariadne," Perrin's, [295].
"Arianna," Monteverde's, [254], [260].
"Ariodant," Méhul's, [322].
Arioso style, the, of Italy, [210], [287], [288], [330], [372], [377].
Aristoxenus, on rhythm, [238].
Armand, St., [14].
"Armide," Gluck's, [315].
"Armide," Lulli's, [302], [303]-[306].
Arnstadt, [121].
Arpeggios, [105], [107].
Art, the Renaissance in, [69].
"Art of Fugue, The," Bach's, [122].
"Artaserse," Gluck's, [313].
Artusi, [260].
"Ascanio," Saint-Säens', [332].
"Attaque du Moulin, L'," Bruneau's, [334].
Auber, Daniel François, operas of, [323].
Augsburg, [95].
"Ave Maria," Verdi's, [283].
Avignon, papal court removed to, [24].
B minor, Bach's mass in, [153].
Babcock, Alpheus, [97].
Bacchus, the altar of, [200].
Bach, Carl Philip Emmanuel,
on clavichord playing, [108];
piano sonatas of, [130], [133], [134], [161];
the "father of the sonata," [132];
work of, [132]-[134];
his departures from polyphony, [133], [135], [138], [139], [144];
symphonies of, [161].
Bach, Johann Sebastian, [90], [91], [93], [98], [100];
his "Well-Tempered Clavichord," [100], [106], [122], [139];
his use of the thumb, [109];
his fingering, [109];
his style, [109];
great compositions of, [115];
the fugues of, [120];
his life, [120], [121];
the most excellent of all models, [121];
his works, [121];
his organ and clavichord fugues, [122];
his mastership of artistic organization, [123], [127];
his concertos, [130];
his sonatas, [122], [131], [190];
orchestra employed by, [152], [153], [188], [189];
his chamber music, [190];
his settings of the story of Christ's passions, [207], [217], [338];
his oratorios, [207], [209], [211], [212];
his St. Matthew Passion, [212];
his oratorios compared with Handel's, [213], [215], [216], [217];
essentially German, [216];
his use of the German chorale, [217];
criticism of his work, [218], [219], [220], [221], [227], [228], [229], [230],[231], [233], [358], [389], [391].
Baffo, Johannes, the harpsichord builder, [92].
Baini, the biographer of Palestrina, [44].
Ballet, the Italian, introduced to Paris, [291].
"Ballet Comique de la Royne," Beaujoyeux's, [148], [290]-[294], [296].
Ballet movements, [158].
Ballets, the French, [291], [292], [294], [306], [307], [318].
Baltazarini. See [Beaujoyeux].
Banchieri, Adriano, on the spinet, [90], [91].
"Barber of Bagdad, The," Cornelius's [356].
"Barber of Seville." See ["Barbiere di Siviglia."]
"Barbiere di Siviglia," Rossini's, [277], [279].
Bardi, Giovanni, Count of Vernio, [236];
festival play of, [236].
Baritone, the, [272], [273].
Barromeo, Cardinal, [72].
Bars, [19].
Bass clarinet, the, [155], [156], [157].
Bass lute, the, [148].
Bass trumpet, the, [155].
Bass tuba, the, [155], [156].
Bass viols, [149], [150], [151], [153], [162], [166], [188], [189], [190].
Basses, [272], [273].
"Basso ostinato," a, first example of, [33].
Bassoon, the, [152], [153], [155], [156], [157], [162], [191].
"Bastien et Bastienne," Mozart's, [340].
"Bataille, Le," Jannequin's, [48].
Bavaria, [313].
Bayreuth theatre, the, [148].
Beaujoyeux, Balthasar de, the "Ballet Comique de la Royne" of, [148], [291], [290], [294], [300], [303], [307].
Beaulieu, [291].
Beauty, pure,
the advent of, [48], [141];
the period in music of, [164].
Bechstein, Frederick W., [93], [97].
Beethoven, Ludwig van,
masses of, [80], [95];
works of, [111];
develops tone-color, [112];
his sonatas, [113], [138];
his use of the pedals, [113], [137], [141], [142];
life of, [143];
his improvements in the sonata form, [143], [144];
employs instrumental music for emotional expression, [144];
his music divided into three styles, [145];
summary of his work, [145], [146];
his piano sonatas, [145], [146], [193];
his full symphonic orchestra, [153], [163], [167], [168], [170];
his symphonies, [170];
the work laid out for, [171], [172];
his nine symphonies, [172], [175], [176];
his technical alterations, [175];
significance of his work, [176];
his romanticism, [176], [182], [184];
his influence of the quartet, [192];
his chamber music, [193];
his "Rassoumoffsky Quartets," [194], [322], [342], [347], [348], [352];
his "Fidelio," [353];
his overtures, [353], [358], [387], [389], [390].
"Beethoven and his Nine Symphonies," Grove's, [172].
Beethoven orchestra, the, [153], [164].
Belgium, [34].
Bellini, Vincenzo, operas of, [280], [390].
"Belshazzar," Carissimi's, [204].
Benedictus, the, [8].
Berlin, [97], [337].
Berlioz, Hector, [154];
his symphonic writing, [179], [180], [350], [352].
Beverley, [63].
Biber, H. J. F., [129];
sonatas of, [139].
Bible, the, [71], [84].
Binchois, [40].
"Bird Cantata," Gombert's, [48].
Bizet, Georges, operas of, [331].
Bohemia, [44], [313].
Boito, Arrigo, [284];
his "Mefistofele," [284], [288];
his "Nerone," [288].
Bologna, [105];
the home of opera, [253].
Boniface, Saint, [10].
Bonn, [143].
Boschi, the great bass, [273].
Brabant, [45].
Brahms, Johannes,
the symphonic writing of, [179];
the music of, [182], [184], [185];
his chamber music, [197];
his "German Requiem," [232], [382].
Brambs, Dr., on "Christ's Passion," [201].
Brass, the, [156], [187].
Brass choir, the, [156].
Brescia, [150].
Bridge, Dr., [41].
Brissac, Marshal de, [290].
Brittany, the Gregorian chant in, [9].
Broadwood, John, [95], [97].
Brockes, Barthold Heinrich, arranges the text of the Passion, [211].
Bruges, [45].
Brumel, Antoine, [39], [40];
a motet by, [43].
Bruneau, Alfred,
operas of, [334];
influence of Wagner upon, [334].
Brussels, [233].
Buononcini, Giovanni Maria, operas of, [271].
Burger, the "Lenore" of, [180].
Busseto, [281].
Buus, Jacob, the "Ricercari da cantare e sonare," [103].
Byrd, William, [80].
C, the key of, [13].
C, the scale of, [4].
C major, the chord of, [13].
C major, the scale of, [6].
C major, Mozart's symphony in, [164], [166].
C minor sonata, Mozart's, [141].
Cabaletta, the, introduced by Rossini, [278].
Caccini, Giulio, [236];
his "Nuove Musiche," [241], [243], [244], [247], [251], [264].
Cadenzas, [279], [326], [327].
Cafarelli, the singer, [271].
Caldara, Antonio, operas of, [271].
Calzabigi, Raniero di, [314].
Cambert, Robert, the composer, [295];
his "Pastorale," [295], [296];
his recitative, [296]-[300], [301], [303].
Cambray, [10].
"Camp in Silesia, The," Meyerbeer's, [324].
Canon, the 'crab', [41.]
Canon,
the fundamental principle of, [25], [26], [33], [36];
extreme development of, [41], [75], [82].
Canon, the inverted, [42].
Canon by augmentation, the, [42].
Canon by diminution, the, [42].
Canon recte et retro. See [Canon, the "crab"].
Canonic art, [124].
Canonic forms, [386], [387].
Canonic writing, [41].
Canons, "riddle," [42].
"Cantata," meaning of, [103].
Cantatas, church, [338].
[Cantus firmus, the], [7], [16], [17], [20], [217];
See also [Chant, the fixed].
"Canzone," Gabrieli's, [104];
Frescobaldi's, [104], [148].
Capella, Bianca, [237].
"Capriccio Chromatico," Frescobaldi's, [104].
Carissimi, Giovanni,
oratorios of, [204];
characteristics of his work, [204], [213], [232], [264].
"Carmen," Bizet's, [331].
"Carnival," Schumann's, [180].
Cassel, [225].
"Castor et Pollox," Rameau's, [309].
Cavaliere, the "Anima e Corpo" of, [148], [203], [236].
"Cavalleria Rusticana," [287].
Cavalli, Francesco,
the "Giasone" of, [151];
operas of, [263];
his style, [263];
his melodies, [263], [270], [306], [307].
Cembalo, the, [188].
Cersne, Eberhard, on the "Rules of the Minnesingers," [87], [90].
Cesti, Antonio, develops choral part of the oratorio, [205], [264].
Chanson, the, [58].
Chant, the Ambrosian, [3], [4], [6], [11].
Chant, the church, contrapuntal treatment, [43].
[Chant, the fixed], [7], [16], [17], [20], [23], [36].
See also [Cantus firmus, the].
Chant, the Gregorian, [7];
its division, [7];
in Brittany, [9];
general introduction of, [10], [11], [33], [58], [72], [75], [385].
Chant, the liturgical, [217].
Chant, the medieval, [2].
Chant, the Roman, [9], [24].
Chants, Indian, [182].
Charlemagne, [10], [24].
Charles V., of France, [34].
Charles VII., [40].
"Chefs-d'œuvre de l'opéra Français," [296].
Cherubini, Luigi,
masses of, [80];
operas of, [322], [323].
Choir, the, [3].
Chopin, systematizes the use of pedals, [113], [185], [387].
Choral art, the methods of, [261].
Choral hymn, the Lutheran, [67].
Chorale, the German, [216], [217], [228], [233].
Chord, the, [10], [12], [13].
Chord harmonies, [37], [43], [70], [125].
Chord of the dominant seventh, the, Monteverde's use of, [260].
Chord relations, the fundamental, [46].
Chorus, the, [121].
Chorus, the antiphonal, [79].
Choruses, the old church, [214].
Choruses, oratorio, [214];
Handel's, [215];
Haydn's, [223];
Mendelssohn's, [229].
Choruses, polyphonic, [238].
Christ, [2], [45].
Christian Church, the, chants of, [2].
Christianity, [200].
Christians, the early,
in Judea, [2];
in Greece, [2];
in Rome, [2];
hymn of, [2].
Christofori, Bartolomeo, the claims of, [93], [94], [97].
"Christ's Passion," [200], [201].
"Chromatic Fantasia and Fugue," Bach's, [124].
Chromatic harmonies, [104].
"Chromatic Madrigals," Di Rore's, [47].
Chromatics, Lasso's use of, [50].
"Cid, Le," Massenet's, [333].
"Cid, The," Cornelius's, [356].
Cimarosa, Domenico, [276];
operas of, [276].
"Cinq-Mars," Gounod's, [329].
"Circe." See ["Ballet Comique de la Royne."]
Citole, the, [85], [86].
Clarinets, [153], [155], [156], [157], [162], [164], [191], [197], [278].
Clarion, the, [149].
Classic period, the, characteristics of, [391], [392].
Classic school,
the, Beethoven's symphonies the connecting link between the romantic school and, [176], [177], [342].
Classicism, [178], [319], [380], [381];
contest between romanticism and, [382], [389], [388].
Clavichord, the, [85], [87], [88], [89], [90], [92], [101], [103], [105], [108], [121], [122], [132].
Clavichord, the German, [86].
Clavichordists, professional, [102].
Clavicimbal, the, [103].
Clavicymbalum, the, [91].
Clavicytherium, the, [85], [87].
Clavier, the, [122], [168], [189], [190].
Clementi, Muzio,
singing style of, [111];
his music, [111];
his "Gradus ad Parnassum," [111];
his rules, [111], [112];
his masculine treatment of the piano, [142];
his sonatas, [142], [324].
Coda, the, [119].
Cologne, [17].
Cologne, the Elector of, [143].
"Columbe, La," Gounod's, [329].
Columbus, [57].
Comedians, the Roman, [55].
"Compendio del Trattato de' Generi e de' Modi della Musica," Doni's, [241].
Composers, Catholic, [72].
Composers, the classic orchestral, [158].
Composers, ecclesiastical, [22], [23], [54], [70];
their scheme of repetition, [117].
Composers, English, disciples of the French. [28].
Composers, the French, school of, in Paris, [24];
English composers disciples of, [28];
chamber music of, [196], [273];
claims of, [290], [310], [327], [332], [334].
Composers, the French court, [292].
Composers, the German, [196];
chamber music of, [196], [338].
Composers, the Italian,
chamber music of, [196], [220];
worthless oratorios of, [221], [275], [289].
Composers, Italian church, [117].
Composers, Italian opera, [317].
Composers, Neapolitan, [302], [303].
Composers, oratorio, [205].
Composers, the scientific, [47].
Composers, violin, early, [127].
Composition, the art of, [36].
Composition, Catholic, schools of, [77].
Composition, modern, basis of, [115].
Composition, monophonic, [243].
Composition, orchestral, modern, [165], [166].
Composition, polyphonic, [22].
Compositions, organ, [101].
Concertos,
Bach's, [122], [130], [160];
Scarlatti's, [160];
Handel's, [160];
their influence on the symphony, [161], [168].
Concertos, early instrumental, [160].
Concertos, piano, Liszt's, [179].
Condé, [43].
Condé, the Cathedral of, [44].
Confrèrie de St. Julien des Ménestriers, the, of Paris, [56].
Congregation of the Fathers of the Oratory at Rome, the, [202].
"Consecration of Tones," Spohr's, [180].
Constantine, Emperor, [3], [67].
Constantinople, overthrown by the Turks, [67].
"Conte Ugolino, Il," Galilei, [240].
Contra-bassoons, [153].
Contra-bass tuba, the, [155].
Contraltos, [273].
Contrapunctus a mente, [25].
Contrapunctus a penna, [25].
Contrapuntal technics, perfection of, [39].
Contrapuntal writing, [34], [42].
Contrapuntists, the great French school of, [24], [25], [27], [28], [34].
Corelli, Arcangelo,
work of, [127];
sonatas of, [128], [139], [129];
his chamber music, [188], [206].
Cornelius, Peter, music of, [355], [356].
Cornets, [148], [149].
Corsi, Giacomo, [244], [245].
Counterpoint,
the art of, [22];
described, [24];
how it began, [24];
completely conquered, [39];
made subservient to religious feeling, [40], [46], [48];
Lasso a complete master of [49], [123];
perfection of, [166].
Counterpoint, church,
golden age of, [38]-[53], [55], [80], [104];
old schools of, [141];
devotion of composers to, [235].
Counterpoint, free, [165].
Counterpoint, vocal, [74].
Couperin, François, [109].
Crailsheim, [89].
"Creation, The," Haydn's, [153], [167], [222], [223], [224], [225].
Crema, [263].
Crescembini, on Neri and oratorio, [202]-[203].
"Cris de Paris," Jannequin's, [48].
Crusades, the, [57].
Cymbals, [155].
D minor, Beethoven's piano sonata in, [145].
Dances, significance of the word, [103];
Corelli's, [127], [128], [129], [139], [263].
Dante, the "Inferno" of, [240].
"Daphne," Peri's setting of, [244]-[246], [290], [336].
"David and Jonathan," Carissimi's, [204].
Delattre, Roland. See [Lasso, Orlando].
Delphi, [200].
Demeter, the wanderings of, [200].
De Monte. See [Monte, De].
De Muris. See [Muris, Jean de].
Descant, the art of, [16], [17], [21], [22].
Descanters, the, [24].
[Des Prés, Josquin], [39], [43];
his works, [44];
his faults, [45], [69], [141], [386], [387].
"Deux Journées, Les," Cherubini's, [322].
Deventer, Holland, [49], [189].
"Dialogo della Musica Antica e Moderna," Galilei's, [240].
Diaphony, the. See [Organum, the].
"Dictionary of Music," Grove's, [242].
Dies Iræ, [9].
Dijon, [10], [308].
Di Lasso. See [Lasso, Orlando].
"Dinorah," Meyerbeer's, [325].
Diodorus, [3].
Di Rore. See [Rore, Cyprian di].
"Di tanti palpiti," Gluck's, [321].
"Di tanti regi," Rossini's, [279].
"Don Cæsar de Bazan," Massenet's [333].
"Don Giovanni," Mozart's, [266], [329], [340];
essentially Italian, [340], [342], [344].
Doni, Giovanni Battista, on Galilei, [241].
Donizetti, Gaetano,
operas of, [280];
his style, [280], [390].
"Don Juan," Da Ponte's book, [343], [344].
"Don Juan," Mozart's, [343], [347].
"Don Pasquale," Donizetti's, [280].
Double bass, the, [162].
Double counterpoint, [27], [118], [119], [123].
Double lyre, the, [203].
Drama, the ancient religious, [199], [200], [201], [235], [237].
Drama, the Greek,
early days of, [200];
religious character of, [200];
attempt to revive, [234], [238], [239], [241], [285], [290], [359], [360].
Drama, the liturgical, [201].
Drama, the lyric, [252], [263], [290], [332], [334], [336], [337], [345];
Weber's theory of, [351], [357], [359].
Drama, the modern, [199].
Drama per musica, the true, [315], [379].
Drama, the secular, [237].
Dramas, the early Christian,
written to offset the influence of the Greek plays, [200], [201];
early vulgarity of, [201], [202];
Neri's reforms in, [202]-[203].
Dresden, [209], [337].
Drums, [147], [164].
Dublin, [207].
Dufay, William,
work of, [35], [36];
his masses, [36];
his improvements, [36], [37], [40], [54].
Dulcimer, the, [84], [85], [86], [92].
"Dumka," the, [181].
Duos, [193].
Dutch, the, musical skill of, [38].
Dvorak, Antonin,
symphonic writing of, [179];
work of, [181], [182];
his symphonies, [182];
his chamber music, [197];
his later writings, [197];
his American quartet and quintet, [198].
E-flat major, Mozart's symphony in, [164].
East Flanders, [40].
"Echo et Narcisse," Gluck's, [315].
Edward IV., [62].
Egyptians, the, [84].
Eisenach, [121].
Eisenstadt, [136].
"Eleusinian mysteries," the, [200].
Eleusis, [200].
"Elijah," Mendelssohn's, [226], [229]-[231];
its popularity in England, [232].
"Elisa e Claudio," Mercadante's, [281].
"Elisir d'Amore," Donizetti's, [280].
"Enchiridion Musicæ," [14].
England,
Roman singers in, [9];
strolling musicians in, [62];
her mastery of polyphony, [80], [111], [206];
popularity of oratorio in, [232], [266];
hostile to Wagner, [358].
English school, the, [80].
"Entführung aus dem Serail, Die," Mozart's, [340], [341].
"Equali," [193].
Érard, Sebastien. [97].
"Erl-König," Schubert's, [389].
"Ernani," Verdi's, [281], [282], [287].
Ernst, Johann, [189].
"Eroica" symphony, Beethoven's [145], [172], [173], [174], [389].
Eschenbach, Wolfram von, [58].
"Esclarmonde," Massenet's, [333].
"Essay on the Troubadours," Ritter's, [57].
[Est Hercules d'], Duke of Ferrara, [43].
Esterhazy, Prince, [136];
his orchestra, [161].
Esterhazy orchestra, the, [161], [162].
"Étienne Marcel," Saint-Säens', [332].
"Étoile du Nord, L'," Meyerbeer's, [325].
Euripides, [201], [238], [239].
Europe, addicted to the Italian opera habit, [220].
"Euryanthe," Weber's, [349].
"Eurydice," Rinuccini and Peri's, [149], [245], [246];
the first Italian opera, [247];
production of, [247];
its performance in New York, [248];
the orchestra in, [250];
peculiarities of the music, [250], [253], [254];
in Paris, [294], [295], [315].
"Evolution of the Art of Music," Parry's, [81].
Exposition, the, [118].
Expression, attempts at, [48].
"Eroica," [389].
Faber, Daniel, [89].
"Fable of Arion, The," [236].
"Fall of Lucifer, The," [201].
"Falstaff," Verdi's, [282], [285], [287], [378], [390].
"Famous Composers and their Works," Krehbiel's, [351].
"Faniska," Cherubini's, [322].
Fantasias, Bach's, [122].
Farinelli, the singer, [271].
"Faust," Goethe's, [288].
"Faust," Gounod's, [329], [330], [331].
"Favorita, La," Donizetti's, [280].
"Ferdinand Cortez," Spontini's, [323].
Ferdinand, the Grand Duke, [236].
Ferrara, Duke of. See [Est, Hercules d'].
Festival plays, [235], [236], [237], [247], [254], [291], [336].
"Fidelio," Beethoven's, [353], [354].
Fingering, rules for, [105].
Fingering, the Bach system of, [109], [113].
"Finta semplice, La," Mozart's, [340].
First violin, the, [151], [154], [155], [162], [186], [187].
Flageolets, [148].
Flanders, [14], [44], [45].
Flavian, [3].
Florence, [202], [235], [237], [241], [244]. [247], [300], [336].
Florentines, the, [248].
Flutes, [2], [148], [149], [152], [153], [155], [156], [157], [162], [163], [189], [190], [193], [203], [250].
"Flying Dutchman, The," Wagner's, [358], [364].
Folk-song,
influence of, [36];
in Germany, [59], [70], [71], [76], [263], [385].
Folk-tunes, the German, [350].
"Forest Maiden, The" Weber's, [349].
"Fra Diavolo," Auber's, [323].
France, [9], [17], [23];
connection between the Roman Church and, [24], [35], [44], [56], [58];
quartet writing in, [190], [246];
Italian opera in, [294], [295], [312];
love of ballet in, [306];
the lyric drama in, [332];
hostile to Wagner, [358].
Francesco I., Duke of Tuscany, [237].
Franco, systematizes notation, [17], [19], [20].
Frankish chiefs, the, [55].
Frederick the Great, [93], [133], [189].
"Freischütz, Der," Weber's, [342], [349], [350], [355], [389].
French school, the. See [Contrapuntists].
French school of opera, the, [275], [303], [333], [389].
Frescobaldi, Girolamo,
the ricercari of, [104];
his canzone, [104];
his chromatic harmonies, [104].
Friederici of Gera, [94].
"From the New World," Dvorak's, [182].
Fugal forms, [386].
Fugue, the,
fundamental principle of, [25];
definition of, [118];
distinguishing part of, [119];
advance of, [120];
its combination of polyphony with development of a theme, [119], [120], [121].
Fugue, the German, [55].
Fugue, the North German, [118].
Fugues, Bach's, [121], [122], [123].
"Furiant," the, [181].
G, the key of, [13].
G, the major scale of, [70].
G, the scale of, [4], [6].
G major, the chord of, [13].
G minor, Mozart's symphony in, [164].
Gabrieli, Andrea, [78];
his festival play, [237].
Gabrieli, Giovanni, [78];
his work, [79];
his orchestra, [79];
his influence on instrumental music, [104], [106], [127], [209];
his church music, [264].
Galilei, Vincenzo, the "Ugolino" of, [240], [241], [244].
Galileo, the astronomer, [240].
Galliards, the, [128].
Gallo-Belgic school, the, [34], [35];
overshadowed by the Netherlands school, [38].
Galuppi, [275].
Gaston, Duke of Orléans, [295].
Gavotte, a, [129].
George I., the Elector, [209].
German Protestantism, the music of, [391].
German Requiem, Brahms', [232].
Germans, the, [90], [129].
Germany,
the Roman ritual in, [9], [44], [58];
the meistersingers and the minnesingers of, [58], [59];
the folk-song in, [59], [60];
"imitation" in, [117], [185];
the home of chamber music, [189], [206];
influence of Italian opera music in, [211], [337], [227], [314];
introduction of the opera into, [336];
the Christian mythology of, [360].
"Giasone," Cavalli's, [151], [263].
Gibbons, Orlando, [80].
Gibson, Dr., Bishop of London, [207].
"Gieus de Robin et de Marion," La Halle's, [292].
Gizziello, the singer, [271].
Gluck, Christopher Willibald
takes a stand against Italian opera, [221];
his operas, [222], [313], [314], [273], [274], [275], [311];
early life of, [313];
his conversion and his cold reception in Vienna, [314];
accepted in Paris as Rameau's successor, [314];
his conquest of Piccini, [314], [315];
his methods, [315]-[317];
his artistic creed, [317];
his use of the aria form, [318];
his immediate influence, [320], [321];
his successors, [321];
his imitators, [321], [322], [324], [328], [330], [334], [352], [357], [378]-[379].
Goat song, the, [200].
Goethe, [349].
Goldmark, Carl,
the "Sakuntala" overture of, [179];
his operas, [356].
Gombert, [39], [45];
his "Bird Cantata," [48].
Gonzaga, Francesco, [254].
Gore-Ouseley, Sir Frederic A., [119].
Gossec, François Joseph, quartet writing of, [190].
"Götterdämmerung, Die," Wagner's, [155], [358], [360], [370].
Goudimel, Claude, [39], [45], [50], [74].
Gounod, Charles François,
the "Redemption" of, [233];
his "Romeo et Juliette," [284];
his early life, [328];
his operas, [329];
his dramatic power, [330];
influence of Meyerbeer on, [331], [333], [334].
"Gradus ad Parnassum," Clementi's, [111].
Grand opéra, the, at Paris, [329].
Grandiose style, the, [325].
Greece, [2];
Christianity introduced into, [200], [360].
Greek art, [319].
Greek learning, revival in Italy of, [67], [69], [234], [238].
Greek literature, [238].
Greek Lydian mode, the, [70].
Greeks, the, [13], [14], [200], [245], [246], [263], [360].
Gregory, Pope, [7], [8], [9], [10].
Gritti, Andrea, [45].
Grove, Sir George,
on "Beethoven and his Nine Symphonies," [172], [175];
on Beethoven and the quartet, [193], [194];
his "Dictionary of Music," [242].
Guidiccioni, Laura, author of the first oratorio, [203].
Guido, [19].
Guignon, Jean Pierre, "le Roy des Violons," [57].
Guilds,
the musical, [60];
the work of, [61].
["Guillaume Tell,"] Rossini's, [277], [279].
"Guiramento, Il," Mercadante's, [281].
Guise, the Chevalier de, [301].
Guitar, the, [149], [203], [250].
"Gunlod," Cornelius, [356].
Hadow, W. A., [184].
Halévy, Jacques François, operas of, [323].
Halle, Germany, [206].
Hallelujah Chorus, Handel's, [152], [157].
Hamburg, [93], [132], [189], [206], [211];
a musical centre, [338];
its opera, [338], [339].
"Hamlet" overture, Tschaikowsky's, [179].
Hammer action, the, invention of, [92].
Handel, George Frederick, [92], [109], [151];
his orchestra, [152];
his "Messiah," [152], [157], [207], [212], [215];
his concertos, [160];
his oratorios, [201], [204], [205], [207];
life of, [206];
influenced by Italian music, [206], [214];
fails as an opera composer, [206];
modern oratorio dates from, [207], [211], [212], [213];
his "Samson," [213];
his oratorios compared with Bach's, [213], [215], [216], [217];
his musical scheme, [214];
his choruses, [215], [219];
his development of the Italian oratorio, [214], [215], [220], [221], [222], [223], [224], [227], [228], [229], [230], [271];
his operas, [272];
his "Teseo," [273], [313], [339].
Hanover, the Elector of, [206].
"Hans Heiling," Marschner's, [355].
"Harmonie Universelle," Mersenne's, [100].
Harmony, chromatic, [47].
Harmony, diatonic, [47].
Harmony, four-part, [190].
Harmony,
production of, [10], [11], [12];
the origin of modern, [13], [20], [21], [24], [57];
new laws of, [214].
"Harmony of the Spheres, The," [236].
"Harold in Italy," Berlioz's, [180].
Harps, [84], [148], [155].
Harpsichord, the, [87], [88], [90], [91], [92];
builders of, [92], [94], [103], [105];
first systematic method of playing, [105], [107], [108], [110], [127], [148], [149], [203], [250], [266].
Hasse, [275].
Hawkins, John Isaac, [98].
Hawkins, Sir John, "History of Music," of, [28], [221].
Haydn, Josef, [111];
life of, [136], [137];
his music, [137];
"the father of the symphony and the string quartet," [137], [161];
his sonatas, [137], [138];
his two principal themes, [139], [140], [141], [142], [143], [145], [153];
his "Creation," [153], [167], [222];
clearness of his orchestral works, [161];
his symphonies, [161], [169];
conductor of the Esterhazy orchestra, [162];
his attempts in instrumentation, [162];
influence of Mozart on, [163];
his later work, [167];
"The Seasons," [167], [213], [225];
transforms the treatment of the orchestra, [168];
his quartet writing, [190], [191];
his quartets compared with Mozart's, [192];
his oratorios, [221], [222];
his choruses, [223];
his oratorio writing, [224], [387], [389], [392].
Hebrides overture, Mendelssohn's, [226].
Heine, [349].
Helicon, the, [86].
Henderson, W. J.,
the "Story of Music" of, [249];
his "What is Good Music?", [383].
"Henri VIII.," Saint Säens', [332], [333].
Henry IV., of France, [247].
Hereford Cathedral, [62].
Hermann, the Landgrave, [58].
"Herodiade," Massenet's, [333].
Hesse, Dr., [60].
"History of Music," Hawkins', [28], [221].
"History of Music," Naumann's, [37], [43].
Hobrecht, Jacob, [39], [40];
his masses, [40], [43].
"Hodie nobis coelorum Rex," Nanini's, [77].
Holy Trinity, the, [20].
Horn, the English, [154], [155], [156].
Horns, [153], [155], [162], [191], [278].
Horns, French, [155], [156], [157].
"Hortus Musicus," Reinken's, [189].
"How Excellent," the chorus, [153].
Hucbald,
the Organum of, [14];
the harmonies of, [15], [16], [18], [20], [35].
"Huguenots, Les," Meyerbeer's, [324], [325], [326], [327], [331].
Hungary, [44].
Hymn-book, the first Lutheran, [71].
Hymns, early, [2];
custom of singing, [2];
the old anonymous, [8].
Hymns, Latin, [201].
Hymns, Lutheran, [71].
"Idomeneo," Mozart's, [340].
"Imitation," defined, [25], [27], [33], [36], [117].
"Infernal Regions, The," [236].
"Inferno," Dante's, [240].
Instrumental forms, [263].
Instrumental music, modern, [101], [102];
a new element in, [106], [110];
development of, [116], [189], [194];
pure beauty in, [391].
Instrumentation, Haydn's attempts in, [162].
Intermezzi, [236], [250].
"Inventions," Bach's, [122].
Ionic mode, the, [70].
"Iphigénie en Aulide," Racine's, [314], [315].
Isaak, Heinrich, [60].
"Isbruck, ich muss dich lassen," [60].
"Israel in Egypt," Handel's, [207].
Issy, [295].
Italians, the, [129].
Italian school, the, [284];
characteristics of, [289].
Italy, [44], [45];
becomes the home of modern music, [50];
revival of Greek learning in, [67], [94], [234], [238];
vocal style in, [117];
the oratorio in, [207];
the ecclesiastical polyphonic style of, [214], [246], [291];
hostile to Wagner, [358].
"Ivanhoe," [355].
Jahn, Otto,
biographer of Mozart, [166], [192], [194];
on "Don Juan," [344].
Jannequin, Clement, [39], [45];
compositions of, [46];
his "Cris de Paris," [48];
his "Le Bataille," [48].
"Jephthah," Carissimi's, [204].
"Jephthah's Vow," Meyerbeer's, [324].
Jews, the, [2], [212].
John George I., the Elector of Saxony, [336].
John of Forneste, [28].
Jomelli, [221].
Jongleurs, the, [55], [56], [62].
"Joseph," Méhul's, [322].
Josephus, [84].
Josquin. See [Des Prés, Josquin].
Joyeuse, the Duke de, [291].
"Judas Maccabæus," Handel's, [207].
Judea, [2].
"Judgment of the Hamadryads, The," [236].
"Juive, La," Halévy's, [323].
"Jupiter" symphony, Mozart's, [164].
Keiser, Reinhard, operas of, [339].
Kettle drums, [153], [162].
Key contrasts, [128].
Keys,
the arrangement of the distribution of, [130];
Beethoven's freedom with, [143].
Keyboard, the, invention of, [85].
Kinnor, the Hebrew, [84].
Kirkman, the harpsichord builder, [92].
Köstritz, Saxony, [209].
"Kothner," [59].
Krehbiel, H. E., [238];
on Weber's theory of the lyric drama, [351];
on Weber's genius, [352].
"Kreuzer" sonata, Beethoven's, [145].
Kusser, Johann Sigismund, [338].
La Halle, Adam de, [56];
the "Gieus de Robin et de Marion," of, [292].
Landini, Francesco, the first organist, [102].
Laodicea, the Council of, forbids congregational singing, [3].
La Scala Theatre, Milan, [288].
[Lasso, Orlando], [40], [49];
his Mater, mia cara, [49], [51]-[53];
his works, [49];
a complete master of counterpoint, [49];
his "Penitential Psalms," [50], [73];
his use of chromatics, [50], [51], [73], [80], [120], [387].
"Last Judgment, The," Spohr's, [225].
Last Supper, the, [2].
Lauda Sion, [9].
Laufenberg, Heinrich von, [60].
Lauska, [324].
"Legato," meaning of, [110].
Legend, the, Wagner's use of, [361].
Legendary stories, as subjects for librettos, [359].
"Leges Tabulaturæ," [59].
Legrenzi, Giovanni, [79], [80].
"Lehrcompendium," Zeelandia's, [60].
Leipsic, [121], [134], [339], [340], [357].
Leit motiv, Wagner's, [364], [365].
"Lenore," Burger's poem, [180].
"Lenore," Spohr's, [180].
Leo, [275].
Libretto, the, Weber's idea of, [351].
"Life of Bach, The," Spitta's, [120], [189].
"Limburg Chronicle," the, [59].
"Linda di Chamounix," Donizetti's, [280].
Liszt, Franz, [113];
his development of touch, [114];
his piano concertos, [179];
the inventor of the symphonic poem, [181];
his work, [181], [382], [387], [388].
Litany and Responses, Tallys', [80].
Liturgy, the church, [3], [6], [7], [36], [68], [385], [386].
"Locheimer Liederbuch," the [60].
Logroscino, [275].
"Lohengrin," Wagner's, [267]-[269], [329], [358], [360].
London, [137], [358].
Lorraine, Christine de, [236].
Lotti, Antonio,
works of, [79];
operas of, [271].
Louis XI., [40].
Louis XII., of France, [43].
Louis XIII., [294].
Louis XIV., [295], [301].
Louis XV., of France, [57].
"Lucia di Lammermoor," Donizetti's, [280].
"Lucio Silla," Mozart's, [340].
"Lucrezia Borgia," Donizetti's, [280].
[Lulli, Giovanni Battista,]
overtures of, [159];
the virtual founder of French grand opera, [300];
acquires the opera patent, [301], [302];
his operas, [302];
influence of his operas, [302];
criticism of his work, [302], [303], [307], [308];
his recitative, [306];
influence of Monteverde on, [306];
Rameau's improvements on the style of, [309]-[311], [312], [319], [328], [332], [334], [357].
Lully, Jean Baptiste. See [Lulli, Giovanni Battista].
Luscinius, Ottomarus, on the virginal, [91].
Lutes, [147], [148], [188], [250].
Luther, Martin, [44];
his music contrasted with that of the Roman Catholic Church, [71].
Lydgate, "Reson and Sensualité" of, [85].
Lyons, [10]
Lyres, [239], [250].
Machaut. See [William of Machaut].
Madrigals, [39];
Di Rore's, [47], [240].
Monteverde's, [260].
Maffei, Scipione, [93], [94].
Magdalen College, [63].
Magdeburg, the Cathedral of, [85].
"Mage, Le," Massenet's, [333].
Maggini, Giovanni Paolo, the violin maker, [150], [188].
Magnificat, the, [8].
Mailly, the Abbé, the "Akebar, Roi de Mogol" of, [295].
Mainz, [10].
Major key, the modern, introduction of, [214], [243], [261].
Malvezzi, [236].
Mancinus, Thomas, [209].
Mandolin, the, [92].
Mannheim, [164].
Mannheim band, Mozart's, [164], [165].
"Manon," Massenet's, [333].
Mantua, the home of opera, [253].
Mantua, the Duke of, [254].
Marais, Marin, [308].
Marchand, [308].
Marenzio, [236].
Margherita, Infanta of Savoy, [254].
Maria, the Empress, [78].
Marschner, Heinrich, music of, [355].
Marseilles, [334].
Mass, the, early arrangement of, [8].
Mass, the Marcellus, [72], [73].
"Massaniello," Auber's, [323].
Massenet, Jules Émile Frédéric, operas of, [333], [378].
Masses,
Machaut's, [34];
Dufay's, [36], [37];
Palestrina's, [72];
Anerio's, [78];
Lotti's, [79];
Mozart's, [80];
Beethoven's, [80];
Cherubini's, [80].
Masters, the Netherlands, [117], [119].
Masters, the Venetian, [122].
Materia musicæ, [385].
Matheson, the "Musikalische Kritik" of, [93].
Matthew, St., [212].
"Matona, mia cara," Lasso's madrigal, [49], [51]-[53].
"Matrimonia Segreto, Il," Cimarosa's, [276].
Maximilian I., Emperor of the Netherlands, [43].
Mazarin, Cardinal,
attempts to revive Italian opera in France, [295], [300].
Measure,
dual and triple, [12];
the musical, [17], [19].
"Medécin malgré lui, Le," [329].
Médicis, Catherine de, [290].
Medicis, Mary de, [245], [247].
"Mefistofele," Boito's, [284].
Méhul, Étienne Henri, operas of, [322], [323].
Meissen, Heinrich von, [56].
"Meistersinger, Die," Wagner's, [22], [63], [343], [358].
Meistersingers, the, [55];
become the musical lawgivers of Germany, [59];
the songs of, [59].
Meistersong, the, [60].
Melody,
modern, first appearance of, [10];
production of, [10], [11], [21].
"Melusine," Mendelssohn's, [180].
Melzi, Prince, [313].
Mendelssohn, Bartholdi Felix,
orchestra of, [154];
his symphonic writing [179], [180];
chamber music of, [196];
his "St. Paul," [213], [226], [227], [228];
resurrects Bach's St. Matthew Passion, [221], [227];
oratorios of, [225], [226];
his "Songs Without Words," [226];
his "Midsummer Night's Dream" overture, [226];
his "Hebrides" overture, [180], [226];
attracted toward the Protestant oratorio, [227];
his "Elijah," [229]-[231];
his choruses, [229];
his use of the chorale, [229];
his fusion of styles, [230], [232], [352].
Mercadante, Saverio, operas of, [281].
"Merlin," Goldmark's, [356].
Mersenne, Marin,
describes the clavicymbalum, [91];
his "Harmonie Universelle," [100].
Merulo, Claudio,
the "toccata" of, [104], [122];
his festival play, [237].
"Messiah, The," Handel's, [152], [207], [212];
most popular oratorio in the United States, [215], [232], [223], [272].
Meyerbeer, Jacob, [281], [323];
his early work, [324];
his operas, [324], [325];
his grandiose style, [325], [326];
his powers of characterization, [327], [330];
his influence on Gounod, [331];
his influence on Saint-Säens, [333], [334], [356], [358].
Michaelis, Theodore, [296].
"Midsummer Night's Dream" overture, Mendelssohn's, [226].
Milan, [49], [281], [288], [308].
Milton, John, [185].
Minnesingers, the, [55], [56];
the era of, [58].
Minnesingers, the German, [56].
Minnesong, the, [58].
Minor key, the modern, introduction of, [214], [243], [261].
Minstrels, the, [55];
songs of, [57], [240].
Minuet, the, [138], [139], [144], [168].
Minuet movement, the, [139], [144].
Minuets,
Haydn's, [144];
Beethoven's, [144].
Miracle plays, the, [56], [201];
abuses of, [202];
Neri's reforms in, [202]-[203].
"Mireille," Gounod's, [329].
"Misere," Allegri's, [78].
"Mitridate, Re di Ponto," Mozart's, [340].
Mohammed II., [67].
Molière, [301].
Monochord, the, [71], [86], [87], [88], [103].
Monody, Italian, [291], [292].
Monophonic era, the, [81].
Monophonic style, the, [115];
development of, [126]-[146];
sonata form tending towards, [160], [251].
Mons, [49].
Montalto, Cardinal, [246].
Montaud, [333].
Monte, Cardinal dal, [246].
[Monte, Philip de], [40], [49].
Montpensier, Mlle. de, [301].
Monteverde, Claudio,
development made in the orchestra by, [149];
his "Orfeo," [149], [254];
significance of his work, [150];
his operas, [150], [157];
his early work, [253], [254];
his "Arianna," [254];
his "Tancredi e Clorinda," [259], [262];
the Wagner of his time, [260];
innovations of, [260];
Parry's comments on the work of [261], [262], [264];
his influence on Lulli, [306], [307].
Morley, "Plain and Easy Introduction to Practical Music," [128].
Morzin, Count, [136].
Motets,
Brumel's, [43];
Willaert's, [48]
Motive, the Walhalla, [377].
Mouton, Jean, [45].
Mozart, Wolfgang Amadeus,
masses of, [80], [92], [95], [103];
vocal playing of, [110];
his operas, [110], [111], [137];
life of, [139], [140];
criticism of his work, [140];
his piano sonatas, [140], [141];
his quartets, [140], [192];
a master pianist, [141], [142], [143], [145], [153], [162];
his influence on Haydn, [163];
symphonies of, [164], [167], [169];
his Mannheim band, [164], [165];
his extraordinary genius, [164], [165];
his style, [165];
his notable system, [166];
influence of the opera upon, [166];
transforms the treatment of the orchestra, [168];
his chamber music, [191], [192];
his part writing, [192];
his quartets compared with Haydn's, [192], [222];
his "Don Giovanni," [266], [273], [275];
his "Nozze di Figaro," [285], [320], [328], [331];
his operas, [340];
his German spirit, [341];
his "Don Juan," [343]-[346];
a master of form, [347], [358], [387], [390], [392].
"Muette de Portici, La," Auber's, [323].
Mülhausen, [121].
Munich, [49], [337].
[Muris, Jean de], on musical instruments, [87], [90].
Music,
the three elementary constituents of, [10];
relation of poetry to, [316];
primary laws of, [386].
Musical art, system of, [380].
Musical learning, diffusion among the people of, [67].
Musical science, formulation of, [387].
Music, ancient, [240].
Music, chamber,
defined, [186];
origin of, [187];
development of, [188], [189];
Germany the home of, [189];
Bach's, [189], [190];
Haydn's, [190], [191];
Mozart's, [191], [192];
Beethoven's, [193];
Schubert's, [196];
Schumann's, [196];
Mendelssohn's, [196];
Spohr's, [196];
German, French, and Italian composers in, [196];
reasons for retrograding, [196];
Brahms', [197];
Dvorak's, [197].
Music, church,
attempts to form a system in, [3], [19];
German, [60];
its cultivation in Paris, [24];
simplification of, [65];
methods in writing, [66];
reforms in, [67]-[74];
Roman Catholic, [77];
borrows from the opera and the oratorio, [79], [240].
Music, dramatic, attempt to improve the state of, [237], [252].
Music, ecclesiastical, [19], [54].
Music, English cathedral, [80].
Music, Greek, [2], [4], [6], [14], [16], [238].
Music, homophonic, [252].
Musicians, early secular, [55], [61].
Music, Italian, [139];
influences Handel's work, [206], [214].
Music, modern,
early cultivation of, [1];
gains independence as an art, [9];
its melodic basis established, [10];
introduction of harmony into, [12];
Italy becomes the home of, [50].
Music, opera, Italian, influence in Germany of, [211].
Music, orchestral, [187].
Music, organ, [102].
Music, passion,
the history of, [207], [208], [209];
influence of Schütz upon [209];
Sebastiani's, [211];
Bach's, [212], [217].
Music, piano,
origin of, [101];
evolution of, [108], [115].
Music, popular, examples of, [63], [64], [67], [69].
Music, programme, [177];
defined, [177], [178].
Music, recitative, [252].
Music, secular, [39];
development of, [47];
new developments in, [74].
Music, vocal, [106], [108], [116], [234].
"Musikalische Kritik," Matheson's, [93].
"Musurgia," Luscinius', [91].
Mysteries, the, [56].
Myth, the, Wagner's use of, [361], [362], [363].
Mythical stories, as subjects for librettos, [359].
Nanini, Giovanni Maria, [75], [77];
his "Hodie nobis coelorum Rex," [77].
Naples, [49], [265].
Naumann, [37], [43].
Nazianzen, St. Gregory, Patriarch of Constantinople, [200].
Neapolitans, the, [302].
Neapolitan School of opera writers, the, [265], [270], [275], [280].
[285], [357].
Neri, St. Philip, reforms the early Christian drama, [202]-[203].
"Nerone," Boito's, [288].
Netherlands, the, [17], [44].
Netherlands school, the great,
over-shadows the Gallo-Belgic school, [37];
periods of, [38]-[40];
formation of its character, [40], [45], [48], [60], [73], [102], [189], [387], [392].
Neumes, the, [17], [18], [19], [383].
New College, [63].
New Haven, [87].
New Testament, the, study of, [68].
"Nibelungen Lied," the, [348].
Nokter, Balbulus, [9].
"Nonne Sanglante, La," Gounod's, [329].
"Norma," Bellini's, [280].
Notation, the earliest form of, [17].
Nottinghamshire, [63].
"Nozze di Figaro," Mozart's, [285], [340], [341], [342].
"Nozze di Tito e di Peleo," Cavalli's, [263].
"Nuove Musiche," Caccini's, [241].
Nuremberg, [209].
"Oberon," Weber's, [349].
"Oberto, Conte di San Bonifazio," Verdi's, [281].
Oboes, [148], [152], [153], [155], [156], [157], [162], [164], [191].
Octets, [186], [193].
Odington, Walter, [28].
Okeghem, Johannes, [39], [40], [41], [42], [43], [50], [63], [141], [386], [387].
"Olympie," Spontini's, [323].
"Omme Armée, L'," [36], [45].
Opera, [79], [106], [160];
its effect on Mozart, [166], [203];
origin of, [234]-[241];
early development of, [243]-[252];
Monteverde's innovations in, [259]-[262];
becomes public and popular, [262];
shows a step in advance, [264];
three kinds of vocal music in, [265]-[267];
the position of the aria established in, [270];
rules for, [273], [274];
Weber's definition of, [351].
Opera Buffa, the. See [Opera, comic grand].
[Opera, comic grand], [275], [276], [279], [280].
Opera, pastoral, [291].
Opera, the comic Italian, [236].
Opera, the French, [277];
early history of, [290];
the real development of, [294]-[296];
Lulli the virtual founder of, [300];
Lulli's influence upon, [301]-[308];
Rameau's influence upon, [309]-[311];
Gluck's influence upon, [321].
Opera, the German, [233];
early history of, [336]-[339];
development of, [339], [340];
the school of, [341];
Weber's influence on, [348];
enormous influence of Wagner on, [355].
Opera, the Italian, [141];
advent of, [148];
Europe addicted to the habit of, [220];
opposition to, [221], [222];
production of the first, [247];
Scarlatti's improvements in, [265]-[269];
the laws of, [272];
new school of, [286], [287];
in France, [294], [295], [312];
in Germany, [337];
fatal weakness of, [341].
Opera houses, [262].
Opera per Musica, the title, [252].
Opera writers, Italian, [264], [265], [271].
Operas,
Gluck's, [222], [313];
Monteverde's, [150], [259];
Cavalli's, [263];
Scarlatti's, [265]-[269];
Rossi's, [271];
Caldara's, [271];
Lotti's, [271];
Buononcini's, [271];
Handel's, [272];
Cimarosa's, [276];
Rossini's, [277];
Donizetti's, [280];
Bellini's, [280], [281];
Mercadante's, [281];
Verdi's, [281], [282];
Perrin's, [295];
Lulli's, [302];
Rameau's, [309];
Méhul's, [322];
Cherubini's, [322];
Spontini's, [323];
Auber's, [323];
Halévy's, [323];
Meyerbeer's, [324];
Gounod's, [329];
Bizet's, [331];
Saint-Säens', [332];
Massenet's, [333];
Reyer's, [334];
Keiser's, [339];
Mozart's, [110], [140], [340];
Weber's, [349];
Beethoven's, [353];
Marschner's, [355];
Cornelius', [355];
Goldmark's, [356];
Wagner's, [358].
Operatic declamation, [129].
Operatic finale, Piccini's development of, [275].
Opitz, Martin, [336].
Oratorio, [48], [79];
advent of, [148];
origin of, [199];
influence of Greek plays upon, [200];
Neri's influence upon, [202], [203];
effect of dramatic recitative upon, [203];
first performance of, [203];
improvements of Carissimi, Stradella, and Cesti in, [204], [205];
dates from Handel, [207];
its decadence after Handel and Bach, [220];
descriptive orchestration in, [224];
its popularity in England, [232];
improvement in the dramatic recitative and the choral part of, [264].
Oratorio, Passion, [212].
Oratorio, Protestant,
Mendelssohn attracted towards, [227], [230].
Oratorios,
Handel's, [201], [207], [313];
Carissimi's, [204];
Scarlatti's, [205];
Bach's, [207];
Haydn's, [221], [222], [224], [225];
Spohr's, [225];
German, [232];
Italian, [232].
Orchestra, the, [121];
evolution of, [147]-[157];
early arrangement of, [147], [148];
first organized use of, [148];
Monteverde's influence on, [149];
plan of the contemporaneous, [156]-[157];
transformed in its treatment by Haydn and Mozart, [168].
Orchestras,
continental town, [61];
Hungarian, [84].
Orchestration, Wagnerian, [233].
"Orfeo," Gluck's, [314], [317], [318], [319].
"Orfeo," Monteverde's, [149], [337].
Organ, the, [10], [22], [77], [85], [86], [101], [102];
first systematic method of playing, [105], [121], [149], [153], [188].
Organists, [101], [102];
Venetian school of, [102], [209];
Roman school of, [104].
Organ playing, [115].
Organ school, the,
of Venice, [102], [209];
of Rome, [104].
[Organum, the, of Hucbald], [14], [35].
Orléans, [10].
"Orpheus," Schütz's, [337].
"Otello," Rossini's, [277], [278].
"Otello," Verdi's, [282], [283], [284], [285], [286].
Overture, the,
Gluck's idea of, [316];
advancement of, [353].
"Overture, the Italian," [159], [160].
Overture, the programme, [178].
Overtures,
Lulli's, [159];
their influence upon the symphony, [161];
Weber's, [353];
Beethoven's, [353].
"O Welt, ich muss dich lassen," [60].
Oxford, [63].
Paderewski, [114].
Padua, [93].
"Pagliacci," [287].
Paisiello, [221], [275].
Palazzo Bardi, the, [239], [244].
Palestrina, [44], [45], [49];
his masses, [72];
his development of church polyphony, [74];
his career, [74];
his style, [75], [76], [77], [78], [80], [120], [328], [338], [387].
Paliarino, an instrument maker, [94].
Pandæan pipe, the, [149], [250].
Papal Chapel, the, [75], [77].
"Papillons," Schumann's, [180].
"Pardon de Ploermel, Le," Meyerbeer's, [325].
Paris, [2], [24], [28], [45], [87], [277];
Italian ballet introduced to, [291], [294], [301], [306], [308], [312], [313], [314], [315], [328], [358].
"Paris and Helen," Gluck's, [314].
Paris Grand Opéra, the, [296].
Paris, the University of, becomes the centre of European study, [24], [87].
Parisian symphony, Mozart's, [165].
Parry, Dr. C. H. H.,
on the "Evolution of the Art of Music," [81], [120], [129], [130];
on Beethoven and the symphony, [167], [168], [169];
on Stradella and Cesti, [205], [216];
his comments on the work of Monteverde, [261], [262];
on Gluck, [320];
on Meyerbeer, [326];
on Mozart, [342];
on classicism, [381].
"Parsifal," Wagner's, [358], [360].
Pasquine, Bernado, the works of, [105].
Passacaglia, a, [129].
"Passage work," [131].
Passion, the,
Bach's settings of, [122], [207];
Schütz's settings of, [210], [211];
Brockes' text of, [211].
Pasticcio, a, [313].
"Pastorale," Cambert's, [295].
Paul, Saint, [2].
Pavanes, the, [128].
Pedal, the "celeste," [97].
Pedalling, [113].
"Penitential Psalms," Lasso's, [50], [73].
Penna, Lorenzo, [105];
rules of, [108].
Pergolesi, [275].
Peri, Jacopo,
the "Daphne" of, [244], [245];
his "Eurydice," [149], [245], [246];
his theory of recitative, [247], [248], [249], [250];
peculiarities of his music, [250]-[252], [253], [254], [264], [285], [290], [303], [307], [315], [318], [336], [337], [345], [352], [357];
Wagner's theories compared with those of, [359], [361], [377].
Pericles, [319].
Perotin, the "Posui adjutorum" of, [25], [27].
Perrin, Pierre, operas of, [295], [296], [300], [301].
"Persée," Lulli's, [302].
Persephone, the rape of, [200].
Pesaro, [277].
"Peter Schmoll," Weber's, [349].
Philadelphia, [98].
"Philémon et Baucis," Gounod's, [329].
Philip the Fair, [24].
"Phryne," Saint-Säens', [333].
Pianists, professional, [102];
their rules, [108].
Piano,
the, precursors of, [71];
the result of a long development, [83];
its fundamental principle, [83];
evolution of, [85]-[98];
the Steinert collection, [87];
equal temperament in, [98]-[100], [186], [191], [193], [194];
technics of, [388].
Piano, the English, [97], [111].
Piano playing, evolution of, [101]-[115].
Piano style, the polyphonic, [116]-[125].
Pianos, Viennese, [96], [97].
"Pianoforte, The," Rimbault's, [93].
"Pianoforte Sonata," the, Shedlock's, [133].
Picardy, [292].
Piccini, [275];
his development of the operatic finale, [275], [314], [315].
Piccolo, the, [149], [155].
Piedmont, [290].
Pipers, town, [61].
"Piramo e Tisbe," Gluck's, [313], [315].
Pius IX., Pope, [72].
Pizzicato, the, invention of, [151].
"Plain and Easy Introduction to Practical Music," Morley's, [128].
Plays, Greek, influence upon oratorio of, [199], [200], [201].
Plays, secular, [235].
Plays, the pastoral, [291], [292].
Pliny, the Younger, [2].
Poetry, German, [392].
Poetry, relation of music to, [316].
Poets, Italian, [203].
Polka, the, [20].
"Polyeucte," Gounod's, [329].
Polyphonic era, the, [81].
Polyphonic forms, the, [22], [25], [27];
difference between the sonata and, [125].
Polyphonic motet style, the old, [210].
Polyphonic period, the, characteristics of, [387], [389], [391].
Polyphonic playing, [106]-[108].
Polyphonic style, the, [115], [190].
Polyphonic writing, [44], [73];
a new kind of, [112], [117], [124].
Polyphony, church, [74];
England's mastery of, [80], [129].
Polyphony, English, [27].
Polyphony, instrumental, [124];
comes to an end with Bach, [124];
on a new basis, [214].
Polyphony, vocal, [148].
"Pomone," Perrin and Cambert's, [296], [300].
"Pompeo," Scarlatti's, [265].
Ponte, Lorenzo da, the "Don Juan" of, [343].
"Posui adjutorum," the, of Perotin, [25].
"Power of Love and Wine, The," Weber's, [349].
"Power of Sound," Spohr's, [180].
Preludes, Bach's, [122], [123].
Printing,
invention of, [67];
introduction of, [68].
"Prophète, Le," Meyerbeer's, [325].
"Proserpine," Saint-Säens', [332].
Protestant Church, the, [71];
in Germany, [217], [218], [228], [229].
Protestantism, the spirit of, [212].
Provence, [292].
Psalms, Hebrew, [2];
in the early Church, [3];
antiphonal chanting of, [3].
Ptolomæus, Claudius, [86].
Pythagoras, the musical system of, [14], [85].
"Quartet, American," Dvorak's, [198].
Quartet, string, the,
Haydn the father of, [137];
Monteverde's use of, [150];
Scarlatti's use of, [151], [190], [193];
the opportunities offered by, [194], [197].
Quartets,
Haydn's, [137], [190], [191];
Mozart's, [140], [192], [168], [186], [189];
Gossec's, [190];
complete establishment of, [192];
Beethoven and romanticism in, [192]-[196].
Quartets, piano, [186], [191], [193], [196], [197].
Quartet writing,
Gossec's, [190];
Haydn's, [190], [191].
"Queen of Sheba," Goldmark's, [356].
"Quintet, American," Dvorak's, [198].
Quintets, [186], [191].
Quintets, piano, [187], [193], [196], [197].
Quintets, string, [191], [193].
Quintilianus, Aristides, [86].
Racine, [310], [314].
Rameau, Jean Philippe,
the French opera composer, [98];
his "Traité de l'Harmonie," [100], [308];
his theoretical works, [308];
his "Hippolyte et Aricie," [309];
operas of, [309], [313];
his improvements on Lulli's style, [309]-[311], [312], [319], [321], [328], [330], [332], [334], [352], [357].
Rassoumoffsky, Count, [194].
"Rassoumoffsky Quartets, The," Beethoven's, [194].
Reading, [28].
Recitative, dramatic,
invention of, [203];
its effect on oratorio, [203], [235], [239], [240];
improvement in, [264].
Recitative, the Florentine, [292].
Recitative, French, [313].
Recitative, the Greek, [243].
Recitative secco, [266], [278], [279].
Recitativo stromentato, [267], [278], [279].
"Redemption," Gounod's, [233].
Reformation, the, [60], [71], [104].
Regal, the, [149].
Regensburg, [10].
"Reine de Saba, La," Gounod's, [329].
Reinken, John Adam, the "Hortus Musicus" of, [189].
Renaissance, the, dawn of, [67], [69], [70].
"Reson and Sensualité," Lydgate's, [85].
Reszke, Jean de, [329].
"Rêve, Le," Bruneau's, [334].
Reyer, Ernest, operas of, [334].
"Rheingold, Das," Wagner's, [358], [368], [377].
Rhine, the, [58].
Rhythm, [10], [11];
the appearance of, [16], [21];
elementary attraction of pure, [70];
Aristoxenus on, [238];
Veron on, [384].
Ricercari,
Buus', [103];
Frescobaldi's, [104].
"Ricercari da cantare e sonare," Buus', [103].
"Ride of the Valkyrs," [154], [260].
"Rienzi," Wagner's, [281], [358].
"Rigoletto," Verdi's, [281], [282].
Rimbault, on "The Pianoforte," [93].
"Rinaldo," Handel's opera, [206].
"Ring des Nibelungen, Der," Wagner's, [358], [360].
Rinuccini, Ottavio,
intermezzi of, [236];
his work on "Daphne," [244], [245];
his "Eurydice," [245], [246], [247], [249], [251], [285], [294], [315], [336].
"Ripieno" instruments, [160].
"Ritorno di Tobia, Il," Haydn's, [221].
Ritter, Dr. F. L., [249].
Ritter, Fanny Raymond, on the Troubadours, [57], [58].
Ritual, the Roman, [9], [10].
"Robert le Diable," Meyerbeer's, [324], [325].
Rohran, Austria, [136].
"Roi de Lahore, Le," Massenet's, [333].
"Roland," Lulli's, [302].
Roman Catholic Church, the,
medieval priests of, [1];
artistic music of, [1];
psalms in, [3];
the Sequence in, [8], [16];
connection between France and, [24], [49];
musicians of, [62];
authorized language in, [68];
its music contrasted with Luther's, [71], [72];
prepares religious dramas, [200];
Holy Week in, [208].
Romans, the, [200], [246].
Romanticism, [178], [380], [381];
contest between classicism and, [382], [389].
Romanticists, the, [178], [179];
new, [356].
Romantic period, the, characteristics of, [392], [393].
Romantic school, the,
Beethoven's symphonies the connecting link between the classic school and, [176], [177], [180], [342].
Romantic writers, the, [170].
Rome, [2];
singing-schools at, [3];
Sistine Chapel at, [43], [45], [49], [51], [55], [67], [68], [71];
the pontifical chapel at, [74];
school of Catholic composition at, [77];
Christianity introduced into, [200];
oratorio first performed in, [203], [219], [244].
"Romeo and Juliet," Berlioz's, [180].
"Romeo et Juliette," Gounod's, [284], [329], [330], [331].
Roncole, [281].
[Rore, Cyprian di], [39], [45];
his "Chromatic Madrigals," [47], [49], [50], [77].
Rossi, Francesco, operas of, [271].
Rossini, Gioachino Antonio,
operas of, [277];
his abilities, [277];
his methods, [277];
his improvements, [278];
popularity of his operas, [279];
his style, [279], [280], [281].
Rousseau, [310].
Rubinstein, [114].
Ruckers, Andreas, the harpsichord builder, [92].
Ruckers, Hans, the harpsichord builder, [92].
Ruckert, [349].
"Rules of the Minnesingers," Cersne's, [87].
Ruta, Girolamo di, [105].
Sablières, the Sieur de, [300].
Sacchini, [221], [275].
St. Bartholomew, the massacre of, [45].
St. Étienne, [333].
"St. Franciscus," Tinel's, [233].
St. Gall, the convent of, [9], [10].
St. Gregory's Cathedral, [62].
St. John Lateran, the Church of, [49].
St. John's College, [63].
St. Mark's, at Venice, [45], [46], [263].
St. Martin's, the Cathedral of, [40].
St. Matthew Passion,
Bach's, [212];
resurrected by Mendelssohn, [221], [227], [233].
St. Michael Royal, the Church of, [63].
"St. Paul," Mendelssohn's, [213].
St. Peter's, Rome, [75].
Saint-Säens, Camille,
operas of, [332];
influence of Meyerbeer upon, [333].
"Sakuntala" overture, Goldmark's, [179].
"Salammbô," Reyer's, [334].
Salmon, [291].
Salo, Gasparo di, the first violin maker, [149].
Salzburg, [139].
"Samson," Handel's, [213], [223].
"Samson et Dalila," Saint-Säens', [332], [333].
Sängerkrieg, the great, [58].
Sante, Giovanni Pierluigi. See [Palestrina].
"Sapho," Gounod's, [329].
"Saul," Handel's, [153], [207].
Scale, the Æolian, [6].
Scale, the Doric, [5].
Scale, the Lydian, [5], [6].
Scale, the Phrygian, [5].
Scale playing, [108].
Scales, ecclesiastical, [235], [243], [261].
Scales, the Greek, [4], [5], [6].
Scales, the Gregorian, [47].
Scales, modern, [6].
Scales, modern major, [4].
Scales, the old church, disappearance of, [214].
Scaliger, [90], [91].
Scarlatti, Alessandro,
operatic works of, [107];
his use of the string quartet, [151];
his "Sinfonia avanti l'Opera," [159];
his concertos, [160];
his oratorios, [205];
his treatment of the aria, [206];
his career, [265];
the founder of the Neapolitan school, [265];
his operas, [265];
characteristics of his writing, [265], [266];
his improvements in Italian opera, [265]-[269];
his development of the aria da capo, [269], [270], [280].
Scarlatti, Domenico, [92], [106];
his harpsichord style, [107], [120], [127];
sonatas of, [130], [131].
Scherzo, the, [144], [145].
Schiller, [349].
Schink, on "Don Juan," [345], [346].
Schröter, Christopher G., the claims of, [93].
Schubert, Franz,
symphonic writing of, [179], [180];
orchestra of, [154];
chamber music of, [196], [348];
his "Erl-König," [389].
Schulz, Christopher, [209].
Schumann, Robert, [113];
his original style, [114];
his music, [114];
orchestra of, [154], [185];
his symphonies, [179], [180];
chamber music of, [196], [325], [346], [382], [387], [388].
Schütz, Heinrich,
the "Seven Last Words" of, [209];
his settings of the Passion, [210];
writes the first German opera, [336], [337];
his "Orpheus," [337].
Sculpture, Greek, [69].
"Seasons, The," Haydn's, [167], [213], [225].
"Seasons, The," Thompson's, [225].
Sebastiani, Giovanni, passion music of, [211].
Second viola, the, [187].
Second violin, the, [151], [155], [162], [186], [187].
Second violoncello, the, [187].
"Semiramide," Rossini's, [277], [278].
Senesino, the singer, [271].
Septets, [186], [193].
Sequence, the, origin of, [8], [9].
"Seraglio, Il," Mozart's, [341].
"Seven Last Words of Christ," Schütz's, [209], [336].
Sextets, [186], [193], [197].
Shedlock, J. S., on "The Piano Sonata," [133].
"Shepherds, The," [201].
Shepherd's pipe, the, [154].
"Siegfried," Wagner's, [358], [370], [372].
"Sigurd," Reyer's, [334].
Silbermann, Gottfried, the claims of, [93], [94], [95].
Simicon, the, [90].
Simius, [90].
Simon, Leonard Fitz, the first salaried organist, [63].
Sinay, Belgium, [232].
Sinchard, Henri, [300].
"Sinfonia," the term, [158], [159].
"Sinfonia avanti l'Opera," [159];
its development into overture, [159].
Singers, Roman, [9].
Singing, congregational, [67];
revival of, [71].
Singing-schools, at Rome, [3], [4].
Singing style, the, advent of, [108].
"Singspiel," the German, [339], [350].
Sistine Chapel, the, at Rome, [43], [75].
Sixtus IV., [43].
Snare-drums, [155].
"Solomon's Judgment," Carissimi's, [204].
Solo singing, introduction of, [106], [121], [239], [340].
Sonata,
the development of, [115];
its difference from the polyphonic forms, [125];
early scheme of, [130];
C. P. E. Bach the father of, [132];
general plan and purpose of the early, [135], [136];
early experiments with, [141].
Sonata, the orchestral, [165].
Sonata form, the modern, [132], [135];
Beethoven's improvements in, [142], [143];
tending towards the monophonic style, [160];
establishment of, [161], [171], [182], [183], [188], [190], [382].
Sonata method, the, [132].
"Sonata," meaning of, [103].
Sonatas,
Beethoven's, [113], [138], [145];
Bach's, [122];
Corelli's, [128], [139];
Scarlatti's, [130], [131];
Haydn's, [137];
Biber's, [139];
Mozart's, [140];
Clementi's, [142].
Sonatas, chamber, [188].
Sonatas, church, [188].
Sonatas, classic piano, [158].
Sonatas, piano,
C. P. E. Bach's, [130], [161];
Haydn's, [137];
Mozart's, [140], [141];
Beethoven's, [145], [146], [193].
Sonatas, violin, [129];
Bach's, [131].
"Sonate da Camera," [188];
Corelli's, [188].
"Sonate di Chiesa," [188].
Song-forms, [263].
Song-plays, German, [339], [340].
Songs,
Roman kithara, [2];
popular, [51];
Roman lyre, [2];
Mozart's, [140];
negro, [181];
secular, [39], [235].
"Songs Without Words," Mendelssohn's, [226].
"Sonnambula, La," Bellini's, [281].
Sophocles, the "Thamyris" of, [239].
Soprano, the, [270], [271], [273].
Sopranos, male, [271], [272], [273].
Sourdeac, the Marquis de, [300], [301].
Southwell, collegiate churches of, [63].
Spain, [44], [57].
"Spem in alium non habui," Tally's, [80].
Spinet, the Italian, [87], [88], [90], [91], [103].
Spinetti, Giovanni, [90], [91].
Spiritual songs, [2].
Spitta, Dr. Philip, "The Life of Bach," [120], [190].
Spohr, Ludwig,
orchestra of, [154];
his symphonic writing, [179], [180];
chamber music of, [196];
oratorios of, [225].
Spontini, Gasparo, operas of, [323].
Square pianos, the first, [94], [95].
Stabat Mater, [9].
Stage, the Italian lyric, dramatic truth restored to, [288].
Staff, the musical, [18], [19].
Steffani, [339].
Stein, Andrew, [95].
Stein, John Andrew, [95], [96].
[Stein, Nanette], [95], [96].
Steinert, Mr. Morris, piano collection of, [87], [92].
Stephani, Clemens, passion music of, [209].
Stile parlante, the, [252], [264].
Stile rappresentativo, the, [252].
"Story of Music," Henderson's, [249].
Stradella, Alessandro,
the orchestra of, [151];
his instinct for choral effect, [205], [264].
"Stratonice," Méhul's, [322].
Streicher, Mrs. See [Stein, Nanette].
Stretto, the, [119].
Strozzi, Pietro, [236].
"Studies in the Wagnerian Drama," Krehbiel's, [238].
"Suite," a, [128], [189].
Suites, Bach's, [122].
"Sumer is icumen in," [26], [28], [35], [80].
"Surprises d'Amour, Les," Rameau's, [309].
"Surrexit Christus," Gabrieli's, [79].
Susannah, the story of, [48].
Swelinck, Jans Peters, [40], [49], [189].
Sylvester, Pope, founds singing-schools at Rome, [3].
Symphonic band, the modern, [152].
Symphonic poem, the, [178];
Liszt the inventor of, [181].
Symphonic writers, the, [179].
Symphonies,
Haydn's, [137], [161], [163];
C. P. E. Bach's, [161];
Mozart's, [164];
Schumann's, [179];
Spohr's, [179];
Schubert's, [180];
Mendelssohn's, [180];
Belioz's, [180];
Tschaikowsky's, [181];
Dvorak's, [182].
Symphonies, Beethoven's, [145];
the highest types of absolute music, [172];
the connecting link between the classic and the romantic schools, [176].
Symphonies, English, Haydn's, [137].
Symphony, the,
Haydn the father of, [137];
definition of, [158];
characteristics of, [158];
development of, [159], [160];
influence of the overture upon, [161];
establishment of, [162];
its condition when Beethoven began writing, [167], [168].
Symphony, the classical, [161].
"Symphony Pathetique," Tschaikowsky's, [181].
Tallys, Thomas, the father of English cathedral music, [80];
his works, [80].
"Tancred," Rossini's, [277].
"Tancredi e Clorinda," Monteverde's, [259], [262].
"Tannhäuser," Wagner's, [58], [154], [306], [358], [360].
Teatro San Cassiano, the, [262].
Technic, difference between piano and organ, [106].
Technics, Chopin, Schumann, and Liszt, [113].
Te Deum, the, [8].
Temperament, equal, [98]-[100], [107], [124].
"Templar and Jewess," Marschner's, [355].
Tenors, [17], [272], [273].
Tenor tubas, [155].
Tenor viols, [149].
"Teseo," Handel's, [273].
Tetrachord, the, [5].
"Thamyris," Sophocles, [239].
Théâtre Lyrique, the, at Paris, [329].
Theile, Johann, the "Adam and Eve" of, [338].
Theorbo, the, [149].
"Thesée," Lulli's, [302].
Thibaut, King, of Navarre, [56], [63].
Thirty Years' War, the, [337].
Thomas School, the, in Leipsic, [121].
Thompson, "The Seasons" of, [225].
Thumb, the, use of, [109].
"Timbre d'Argent, Le," Saint-Säens', [332].
Time, dual, [19].
Time, triple, [19], [20].
Tinel, Edgar, oratorio of, [232], [233].
"Toccata," the, [104].
Toccatas, organ, Bach's, [122].
Tone art, the, [346];
development, [380].
Tone color, development of, [112], [113].
Tone coloring, instrumental, Mozart's experiments in, [167], [222].
Tone painting, development of, [39].
"Total Blindness," Handel's, [219].
Touch, variety of, [113], [114].
Tournay, the mass of, [35].
Tournay Cathedral, the, [35].
Tours, [40].
Tragicomedia, [345].
Tragic writers, Greek, [238].
"Traité de l'Harmonie," Rameau's, [100], [308].
"Tragos ode," the, [200].
Trapini, Sicily, [265].
"Traviata, La," Verdi's, [278], [281].
Tremolo, the, invention of, [151].
Trent, the Council of, [72];
orders a reform in church music, [72], [73].
"Tribut de Zamora, Le," Gounod's, [329].
Trinity College, Oxford, [63].
Trios, [139], [168], [186], [191], [193], [196], [197].
"Tristam and Isolde," Wagner's, [154], [358].
"Triumph of Apollo, The," [236].
Trombones, [148], [149], [153], [155], [156], [164], [193].
Troubadours, the, [55], [56];
songs of, [57], [62], [240], [292].
"Trovatore, Il," Verdi's, [281], [282].
Trumpets, [149], [153], [155], [156], [162], [164].
Turkey, the Christian scholars of, [67].
Turks, the, [67].
"Tutti" passages, [151].
Tschaikowsky, Peter Ilitisch,
symphonies of, [181];
his "Symphony Pathetique," [181];
his "Hamlet" overture, [179];
his symphonic writing, [179], [382].
Tschudi and Kirkman, the harpsichord builders, [92].
Tympani, [153], [155].
Upright piano, the, [98].
"Vampire, The," [355].
Vatican, the, at Rome, [75].
Vaudemont, Mlle. de, [291].
Venetians, the, [104].
Venetian school, the, [77], [78].
Venice, [45], [50], [71];
school of Catholic composition at, [77];
the home of opera, [253], [259], [263], [344], [357].
Veni Sancte Spiritus, [9].
Verdi, Giuseppe, [277];
his "La Traviata," [278];
his operas, [281], [282];
his three styles, [282];
accused of imitating Wagner, [284];
his work in "Falstaff," [285], [287];
his development of the arioso style, [287], [288], [331], [332], [378], [390].
Vernio, Count of, [236], [237], [238], [240], [243], [244].
Veron, Eugene, on rhythm, [384].
"Vestale, La," Spontini's, [323].
Victimæ Paschali, [9].
Vienna, [95], [136], [140], [143], [337], [339], [340], [344].
Viols, [147].
Violas di gamba, [148], [149], [150], [151], [153], [162], [186], [187], [189].
Violin, the, [83];
its rapid development as a solo instrument, [127], [148], [149];
assumes its proper place in the orchestra, [150], [153], [154], [155], [162], [168], [187], [188], [189], [190], [193], [250].
Violins, French, [149].
Violoncellos, [148], [153], [154], [162], [186], [187], [188]-[193].
"Violons du Roi, Les," [301].
Vincennes, [295].
Vinci, Leonardo da, [69].
Virginal, the, [87], [91].
Vitellozzi, Cardinal, [72].
Vittoria, Tommaso Ludovico da, [77];
his works, [77], [78].
Vivaldi, [131].
Vogelweide, Walther von der, [58].
Vogler, [324].
Volkslieder, the old, [59];
essential features of, [60].
Voltaire, [310].
Vulgate, the Latin, [68].
Vulpius, Melchior, [209].
Wagner, Richard,
music of, [47], [58], [59], [63], [78], [137], [154];
orchestra of, [154], [155], [260], [266];
his "Lohengrin," [267]-[269], [329];
his "Rienzi," [281], [358], [284], [285];
his "Tannhäuser," [306], [314], [320], [325], [331], [332], [333], [334], [335], [342];
"Die Meistersinger," [343], [347];
Weber the artistic forerunner of, [350], [351];
his debt to Weber, [352];
on Beethoven's "Fidelio," [353], [354];
his enormous influence on German opera, [355], [356];
the greatness of his genius, [357];
his operas, [358];
his system, [358];
his theories compared with Peri's, [359];
his use of the myth as a subject, [361]-[363];
abandons the old style and creates a new, [361], [362], [364];
his leit motiv, [364], [365];
his motives, [366]-[368];
his works self-explanatory, [371];
his recitative, [372];
importance of his work, [379], [388].
Waits, the, [62].
"Walküre, Die," Wagner's, [154], [358], [369].
"Walther, Jonathan, passion music of, [209].
"Walther von Stolzing," [59].
Waltz, the, [20].
Wartburg Castle, [58].
Weber, Carl Maria von, [111];
his music, [113];
his orchestra, [154];
"Der Freischütz" of, [342], [349], [346], [347], [348];
his influence upon German opera, [348], [349];
operas of, [349];
the artistic forerunner of Wagner, [350], [351];
his definition of opera, [351];
his theory of the lyric drama, [351];
his genius, [352];
his overtures, [353], [355], [356], [378], [389].
Weidenwang, [313].
Weimar, [121], [132];
the ducal court of, [189];
music at, [189].
Wekerlin, J. B., [296].
Wells Cathedral, [62].
"Well-Tempered Clavichord," Bach's, [100], [122], [139].
"Werther," Massenet's, [333].
Westminster Cathedral, [63].
"What is Good Music?", Henderson's, [383].
Whittington, Dick, [63].
Willaert, Adrian, [39], [45];
his work, [46];
his monets, [48], [50], [71], [77], [79], [103];
his church vocal music, [104], [387].
[William of Machaut], [34].
"William Tell." See [Guillaume Tell].
William the Conqueror, [62].
"Willow" song, Verdi's, [283].
Wind instruments, [151], [153], [155], [162], [166], [193].
Wooden wind instruments, [153], [154], [155], [156], [162], [187].
Worship, Italian system of, [68], [69].
Writers, church, [386].
Würzburg, [10].
Yorkshire, [63].
Zachau of Halle, [206].
Zarlino, [240].
"Zauberflöte, Die," Mozart's, [340], [342], [348].
Zeelandia, H. de, "Lehrcompendium" of, [60].
Zither, the, [85].
"Zoroastre," Rameau's, [309].
Zumpe, Johannes, [95].