Early beginning — use of the bow — national instruments — the vina — theory — ravanastron — music exclusively melodic — saying of the Emperor Tschun — the ke — Japanese ko-ko.
[BOOK SECOND — APPRENTICE PERIOD OF MODERN MUSIC]
| [CHAPTER V] — THE TRANSFORMATION AND ITS CAUSES | [81]-86 |
General view of the transformation to modern music — causes co-operating — difference between ancient and modern music — harmony and tonality — consonance and dissonance — three steps in the development of harmonic perceptions — when were these steps taken? — tonality defined — growth of tonal perception — unconscious perception of implied or associated tones.
| [CHAPTER VI] — THE MINSTRELS OF THE NORTH | [87]-108 |
Importance of Celtic development of minstrelsy — origin of the Celts — the minstrel — old Breton song — the druids — classification of bards — degrees — Fétis on the Welsh minstrel — "Triads of the Isle of Britain" — old harp music — "The Two Lovers" — Gerald Barry on the Welsh — old Welsh song — the Irish — Sir Brian Boirohen's harp — English and Saxon music — King Arthur as minstrel — organ at Winchester — Scandinavian scalds — Eddas — "Sumer is Icumen in" — Anglo-Saxon harp — source of the harp in Britain — the crwth — melody in pentatonic scale.
| [CHAPTER VII] — THE ARABS, OR SARACENS | [109]-114 |
The Arab apparition in history — their taste for poetry — competitive contests of poetry and song — encouragement of literature — rebec — eoud — santir.
| [CHAPTER VIII] — ORIGIN OF THE GREAT FRENCH EPICS | [115]-120 |
Period of the Chansons de Geste — social conditions of France as given by M. Léon Gautier — "Cantilena of St. Eulalie" — subjects of the Chansons de Geste.