Mantua, birthplace of secular drama[35]
sketch of the marquisate[35] et seq.
literary and artistic importance[36]
music at[40] et seq.
musical relations with Ferrara[46]
Marenzio, Luca[50]
"Marienklage, die," liturgical drama[9]
"Mary Magdalen," sacred play[33]
Masques[32], [33]

Medici, Lorenzo de, writer of sacred plays

[29]

Merulo, Claudio, his "Tragedia"

[171]
Minuccio[119], [120]
Monody, movement toward[149]
Caccini's[222], [225]

Music, in sixteenth century lyric dramas

[164]

The letter N is absent from the Index. Possible entries include:
Namur, Naples, Narcissus, Naumann, Nero Neri, Netherlands, Noirville, Novellara, Nuove Musiche, Nuremberg, nymphs.

Oboe[145]
Opera buffa, germs of[188]

Orchestra, in "Sacre Rappresentazioni"

[30], [31]
at Mantua[44]
in first secular drama[89]; [136] et seq.
Striggio's[138], [185], [186]
in other early lyric plays[161], [162], [174], [175], [177], [199]
"Orfeo," performed at Mantua[52], [55], [68]
Italian estimates of[55], [56]
importance of its production[57], [66]
its lyric character[66], [77], [79]
description of poem[76] et seq.
how written[72]
Sismondi's comments on[73]
Symonds on[74]
editions compared[75], [79], [80]
how performed[85] et seq.
examination of its music[98] et seq.
choruses[101], [116]
solo parts[101], [117] et seq.
solo parts, frottola as basis of[124]
instrumental parts[101], [129], [136] et seq., [144]
Orpheus, embodiment of Arcadian ideal[63], [65]
Paganism, Italian medieval[62]
Pageant of St. John's Day, Florence[28]
Pageants, relation to "Sacre Rappresentazioni"[27]
Part singing, its popularity in fifteenth century[103]
Passion, early performances of[17]
French fourteenth century version[17]
Pastoral drama[170]
Peri, Jacopo[216], [219]
Petrarch[59]
Philosophy, its effect on medieval literature[64]
Poliziano, Angelo[52], [55]
sketch of career[68] et seq.
Procession, succeeds dance[3]
Prompter[200]
Realism, Italian[61]
"Recitar alla lira"[114], [170]
Recitative, in liturgical drama[10]
in first secular plays[114]
Florentine[118], [212], [224]
beginnings[177]
in comic opera[181]
impulses leading to modern[207] et seq.
Caccini's[224], [225], [229]
Peri's[227], [229]
Romano, Giulio[39]
"Sacre Rappresentazioni"[13], [21] et seq.
music of[24]
time of origin[27]
sources of[27]
their construction and performance[29]
scenic effects[30]
as forerunners of opera[32]
"Saint Uliva," sacred play[29]
Sannazzaro, Jacopo, his "Arcadia"[62]
Scene painting, in early plays[93]
Scenic effects, in "Sacre Rappresentazioni"[30]
in Poliziano's "Orfeo"[86], [93]
Schalmei[145]
Sensualism, esthetic in Italy[61]
Singing, development of technic[214], [215]
Solo, superseded by part song[117]
in madrigal drama[198], [205]
vocal[114], [119], [222] et seq., [227]
adapted from part songs[119] et seq.
florid element abused[222]
Songs, arranged for lute accompaniment[121]
Spectacular, element in early plays[93], [155], [166]
in early dramatic music[158]
predominance of the[160] et seq.
in music of sixteenth century[207] et seq.
in music of sixteenth century, revolt against[212]
Striggio, Alessandro[51], [185]
his art work[185]
Table music[139]
Tasso, "Aminto," music of[172]
Technic, vocal[214]
Thoroughbass[154], [232]
Todi, Jacopone da[23]
Tromboncino, Bartolomeo[46], [115]
Ugolino, Baccio, original Orfeo[79], [87]
Vecchi, Orazio[190] et seq.
artistic theories[192]
Viadana, Ludovico[232]
"Vierges sages et Vierges folles"[6] et seq.
Villanelle[112]
Violinists, early[142]
Virgil, Italian worship of[59]
Visconti, Nicolo de Corregio, his "Cephale et Aurore"[163]
Voices, in madrigal plays[200], [203]
Voice, technic in early music[215]
Wert, Jacques de[49]
Willaert, Adrian[104], [112], [151], [165]