Chapter XVIII: Part 18

=The Older Critics=.—The first of these critics to claim our attention is =John S. Dwight=, born in Boston, in 1813, a graduate of Harvard, and a student of theology as well. Gifted with a sound taste in art matters, his reviews of musical works, concerts, etc., were very useful and helpful and much appreciated by the best circles of the city, for his associations were with the most famous literary and scientific men of his day. In 1852, he established a musical paper, _Journal of Music_, which lasted nearly thirty years. He died in 1893. Another of the older writers is =George P. Upton=, born in Boston, in 1834, a graduate of Brown University, who entered journalism at twenty-one, as a member of the staff of the Chicago _Journal_; after some years of service with that paper, he went to the _Tribune_, with which he has ever since been associated. Mr. Upton’s critical work covers the period of the growth of Chicago, which has been phenomenal in art as well as in commercial directions, and has been a most valuable factor in musical upbuilding. In recent years his pen was a great aid to Theodore Thomas in his efforts to establish the Chicago Symphony Orchestra. His works in permanent form are “Woman in Music,” a series of books descriptive of the principal oratorios, operas, cantatas, and symphonies, translations from the German of Nohl’s biographies of musicians, and a “Life of Theodore Thomas.” Coincident with Mr. Upton’s work in the West is that of =W. S. B. Mathews=, born in London, N. H., in 1837. He was educated in Boston; after some years of musical work in the South, he located in Chicago, as organist, teacher, writer on musical matters. His reviews on local musical affairs appeared in several of the leading dailies, he was a contributor to Dwight’s _Journal_, and to all the musical papers that have come into the field since. Perhaps no contemporary writer on education in music has influenced, and so strongly, as many teachers and students of music as Mr. Mathews. He has written a “Popular History of Music,” “Hundred Years of Music in America,” “How to Understand Music,” “Primer of Musical Forms,” and several works on the great composers, with critical studies of their works.

W. S. B. MATHEWS. G. P. UPTON. L. C. ELSON.

H. E. KREHBIEL. PHILIP HALE. W. F. APTHORP.

JAMES HUNEKER.]

=Boston Writers=.—The three leading Boston writers of recent years are Louis C. Elson, Wm. F. Apthorp and Philip Hale. =Louis C. Elson= was born in Boston, in 1848. He was educated for the musical profession, at home and at Leipzig. In 1880, he became connected with the New England Conservatory, and at the present time is head of the theory department of that institution. His journalistic activity covers a period of about thirty years and his writings have appeared in Boston and New York papers, as well as in the leading musical journals. His works in book form are ten in number, the most valuable to the student of history being a large volume on the “History of American Music.” The other works are critical, technical, and biographical. =Wm. F. Apthorp= was born in Boston, in 1848, graduated at Harvard, and began his critical work in music in 1872, being connected with several Boston papers. Mr. Apthorp’s published works are few in number, “Musicians and Music Lovers” and “The Opera, Past and Present.” In addition to this he supplied program material for the Boston Symphony Concerts for a number of years, educational as well as descriptive and critical. =Philip Hale= was born at Norwich, Vt., in 1854, graduated from Yale and was admitted to the Bar in New York in 1880. His interest in music and musical work proved too strong for him and he went abroad to Germany and France to study. In 1889, he located in Boston and began work as musical critic on the staff of several of the papers. For a number of years he was Boston correspondent for the _Musical Courier_ of New York. Two other men whose work in musical literature has been significant are =Alexander W. Thayer=, born at Natick, Mass., in 1817, who wrote the standard biography of Beethoven, and =Thomas Tapper=, of Boston, who has written a number of valuable educational works in music.

=New York Critics=.—New York City has four men of the first rank as writers on music, not only for critical acumen and technical knowledge, but also for literary style. =Henry T. Finck= was born in Missouri, in 1854, graduated from Harvard University, and studied at German universities for three years. When he returned to the United States he joined the editorial staff of the _Evening Post_ and the _Nation_, which places he still holds. His works in musical literature are “Wagner and His Works,” “Paderewski and His Art,” “Songs and Song Writers,” and “Chopin and Other Essays.” =Henry E. Krehbiel= was born at Ann Arbor, Mich., in 1854. His first newspaper experience was in Cincinnati; later he went to New York to the _Tribune_, which place he still holds. His contributions to musical literature are “Studies in the Wagnerian Drama,” “How to Listen to Music,” and “Music and Manners in the Classical Period,” besides contributions to the leading musical papers and general magazines. =William J. Henderson= was born at Newark, N. J., in 1855, graduated from Princeton University, afterward entering journalism in New York City, being connected with the _Times_, and later with the _Sun_. His books are distinctly educational in tone: “The Story of Music,” “How Music Developed,” “What is Good Music,” “The Orchestra and Orchestral Music,” “Richard Wagner: His Life and Dramas,” and “The Art of the Singer.” A writer on music who has made a fine reputation in literary and dramatic criticism as well is =James Huneker=, a native of Philadelphia, whose active work has been done in New York City. His books of interest to the musician are a “Life of Chopin,” “Mezzotints in Modern Music,” “Melomaniacs,” “Overtones,” “Iconoclasts” and “Visionaries.”

=Other Writers= in this field whose work deserves mention are =Edward Dickinson=, of Oberlin, O., with two works, “History of Music in the Western Church” and “The Study of the History of Music”; =Philip Goepp=, of Philadelphia, “Symphonies and their Meanings”; =Daniel Gregory Mason=, of Boston, “From Grieg to Brahms”; =Lawrence Gilman=, of New York, “Phases of Modern Music”; Professor =Hugh A. Clarke=, of the University of Pennsylvania, “Music and the Comrade Arts,” “Highways and By-ways of Music,” and several excellent theoretical works; =O. B. Boise=, Peabody Conservatory of Baltimore, with a work of a historical and critical nature, “Music and Its Masters,” and some theoretical works; =Rupert Hughes=, “Contemporary American Composers.

LESSON LX.

MUSICAL EDUCATION.

=Early Musical Education=.—The training of students in music has been the special care of the greatest men connected with the art, a subject close to the heart of men of rank and of means, and the object of Governmental and municipal subvention. In most of the countries and many of the larger cities of Europe, Art is considered a legitimate object for public aid and fostering, and music receives a fair share of funds set aside for that purpose. In the period before the Christian Era, musical education was carried on to prepare singers and players either for the religious service, and in the hands of the priests, or for entertainment and by slaves. Pope Sylvester founded a school for singers, at Rome, in the 4th century, and the Church all through its history has laid stress on means for training executants for its musical services. Guido of Arezzo, credited with a number of reforms in the teaching of vocal music, is said to have had a school for training singers to read musical notation. Like him, many of his successors in prominence were in charge of classes of pupils, yet this method by no means accords with our ideas of systematic, logical education in music. It was largely the personal power and eminence of the master that attracted and retained pupils.

=Musical Education in Italy=.—The first examples of the founding of schools of music or conservatories take us to Italy. The noted theorist Tinctor or Tinctoris started a school at =Naples=, in 1496, but this did not last very long. In the early part of the 16th century, several institutions were founded by private contribution for the purpose of affording homes and instruction to orphaned children. Ecclesiastical music was at first the special object of these schools. The pupils sang in choirs, various religious offices, processions, etc. There were four of these institutions: _Santa Maria di Loreto_, founded in 1535, which had on its roster such eminent musicians as Alessandro Scarlatti, Durante, Porpora, Sacchini and Guglielmi; _San Onofrio_, founded in 1576, some famous pupils being Gizzi, Jommelli, Piccini and Paisiello; _De Poveri di Gesù Cristo_, established in 1589, numbering among its pupils, Greco, Vinci, and Pergolesi; _Della Pietà de’ Turchini_, started in 1584, having among its pupils, Leo, Cafara, and Feo. In 1797, the first two named were united, the third was changed into a seminary for priests in 1744, and in 1808, the last was closed, and a school of music was established to take the place of the remaining institutions. This school, which received the title _Reale Collegio di Musica_, still exists.

=Venice= rivaled Naples in devotion to music, and early took measures to give musical instruction to the wards of charitable institutions. These schools were not named _Conservatorio_, as at Naples, but _Ospedale_ (hospital), since they were a part of the foundation for institutions to receive the poor and infirm, their work as conservatories developing gradually. Such masters as Lotti, Galuppi, Scarlatti, Cimarosa presided over the four schools best known. When the Republic fell, these institutions collapsed in the financial crisis that followed. The principal music school in Venice at the present time is the _Liceo Benedetto Marcello_, which is subsidized by the city. An Italian conservatory of ancient date is the one at =Palermo=, which was established in 1615. At the present time it is a State institution. The Academy of St. Cecilia, at =Rome=, dates its original foundation to a society of musicians formed in 1566, a charter being granted by Pope Gregory XIII, in 1584. The Academy possesses the largest and most important musical library in Italy. =Milan= had a school of music as early as 1483. The celebrated theoretician, Gafurio, was the first great teacher. It was not permanent, however, and though there were schools for singers there from time to time, it was not until 1807 that the municipality established a regular school of music. The first school of music at =Bologna= was established in 1482, but it did not become permanent. In later years, musical affairs were in the hands of academies for the promotion of arts and sciences. In 1864, a school was opened on modern lines. =Genoa= has a school which was founded in 1829; it is subsidized by the city. The school at =Florence= was opened in 1862, and is richly endowed. A school was heavily endowed by Rossini and located at =Pesaro=, his birthplace.

=The Paris Conservatoire=.—To France belongs the honor of following closely in the footsteps of the Italian authorities. In 1784, a Royal School of Singing was opened in =Paris=, under the direction of Gossec, the composer; in 1793 it was enlarged in scope and was called the National Institute of Music; in 1795 the name was changed to the _Conservatoire de Musique_, which it still bears. In 1800 the organization was further modified by Bonaparte. The institution receives an annual subvention from the Government. This school is justly considered as one of the greatest in existence and has been the centre of musical training for practically all the prominent French musicians. A great incentive is the celebrated _Prix de Rome_ (Roman Prize), which enables the winner to spend three years in study in Italy and Germany. The library is one of the most important in France, and dates from the foundation of the school. The Museum, which has one of the finest collections in Europe, was established in 1864. Affiliated schools have been established in the principal French cities, such as: =Marseilles=, =Toulouse=, =Nantes=, =Dijon=, =Lyons= and =Rouen=.

=Musical Education in Germany=.—Among the German conservatories, that at =Prague= is the oldest. It was founded in 1811. Besides music, the course of study provides for instruction in general branches. The violin department of this school is one of its strongest features. The conservatory at =Vienna= was opened in 1817, under the direction of Salieri, as a vocal school; other branches were added and by 1821 the foundation was that of a true conservatory. The course of study is comprehensive and the school has graduated a number of eminent musicians. It is under the patronage of the Society of the Friends of Music. Probably the German conservatory best known to American readers is that founded at =Leipzig=, in 1843, by Mendelssohn, and of which he was the first director. The fund used in starting the school was one of 20,000 thalers bequeathed by a Government official “for the purposes of art and science.” Such masters as Schumann, Moscheles, Ferdinand David, Plaidy, Richter and Reinecke were members of the faculty at different periods in the history of the school. This conservatory has had a larger number of American pupils than any other German institution. The oldest conservatory in =Berlin= was a private institution. The most important school is the Royal High School for Music, which is a branch of the Royal Academy of Arts, and is under the patronage of the Prussian Government. This school has three sections, the one for church music was opened in 1822, for musical composition in 1833, that for executive art in 1869. The violin school, under the direction of Joseph Joachim, attracts pupils from all parts of the world. =Cologne= has a conservatory which is aided financially by the municipality. This school was established in 1850, Ferdinand Hiller being the first director. The Royal Conservatory at =Dresden= was organized in 1856, and has paid considerable attention to its department for opera. =Munich= has a school which receives State aid. It was founded in 1867. Rheinberger, who was teacher of composition here, drew a number of Americans to the school. Other schools receiving State or municipal subventions are those at =Wuerzburg=, =Weimar=, =Frankfort= and =Wiesbaden=.

=Other European Music Schools=.—The other European countries have also promoted the organization of schools for teaching music. The strongest schools in Switzerland are those at =Zurich=, =Geneva=, =Basle= and =Berne=. In Belgium are several fine schools: at =Brussels=, founded in 1813, which is now a Government institution, at =Liége= (1827), at =Ghent= (1833), and at =Antwerp=, the latter founded in 1867, by the noted Belgian composer, Peter Benoit. These four schools receive State aid. Holland has three conservatories in her three large cities, =Amsterdam=, =Rotterdam= and =The Hague=. Scandinavian musical education is cared for by the conservatories at =Copenhagen=, =Christiania= and =Stockholm=, the last being under Government patronage. Spain has conservatories at =Madrid=, =Saragossa= and =Valencia=, and Portugal, one at =Lisbon=. Greece sustains a school at =Athens=.

=St. Petersburg Conservatory=.—A conservatory of great importance is that founded at =St. Petersburg= through the exertions of the famous composer, Anton Rubinstein. In 1859, he organized the Russian Musical Society, the first object of which was to give amateurs an opportunity to practice orchestral playing. Changes in the policy of the Society were gradually introduced, branches were founded in several other cities, among them Moscow, and serious efforts were inaugurated to organize a music school in the Capital. The first instruction was given gratuitously, money was raised in private circles and a floor was rented in a private house in 1862 for the use of the school. The Emperor Alexander II gave to the school an annuity of 5000 rubles and a building which was the property of the Crown. In 1866 the name was officially designated as Conservatory, and from that time on several members of the Royal family became patrons of the school, socially as well as financially. Rubinstein was the first director. The building at present occupied by the school was formerly the Grand Theatre and is very completely furnished for the purposes of the Conservatory, having two concert halls, museums, library, class rooms, chapel, etc. Among the graduates of the institution are Tchaikovsky, Glazounoff, Balakireff, Arensky, Liadow, Gabrilowitsch, Sapellnikoff and Felix Blumenfeld.

=Musical Education in England= is well cared for, principally by the strong schools in London, of which there are four that call for particular notice. =The Royal Academy of Music= is the oldest; it was founded in 1822. This institution has had royal patronage from the beginning. The British public has generously replied with subscriptions to appeals made for funds at different periods in the history of the school, the Government grant being revoked on several occasions. At the present time the revenues are a Government grant, subscriptions, donations, and students’ fees. Such eminent musicians as Dr. Crotch, Sterndale Bennett and Sir George Macfarren have filled the position of principal of the school. Sir A. C. Mackensie is the present head. A strong rival to the Royal Academy is the =Royal College of Music=, which is the outgrowth of the National Training School for Music, founded by the Society of Arts in 1876, Sir Arthur Sullivan, first principal. It was in 1883 that the institution passed into the hands of the newly-organized Royal College of Music. The funds of the college come from fees, subscriptions and endowments. Sir George Grove was director for a number of years and was succeeded by Sir C. H. Hubert Parry, the eminent composer and theorist. =Trinity College= is the outgrowth of the activity of a musical society formed to promote church music and singing. In 1881 it was incorporated under the name it now bears and the scope of its instruction extended. The =Guildhall School of Music= is under the patronage of the authorities of the City of London. This institution was founded in 1880, and has a very large attendance. The present director is Mr. W. H. Cummings. The leading English universities, Cambridge, Oxford, London, Durham, and that at Edinburgh and Dublin have courses in the theory of music, leading to degrees.

=Musical Education in the United States: Boston=.—The United States has no schools of music under Governmental or municipal direction, and none which receive subventions, and but one, established in 1905, in New York City, which is endowed. The spread of musical education has been due to the energies and in many cases the sacrifices of musicians and music lovers in the larger cities. In Lesson LVII reference was made to societies in the three large American cities, Boston, New York and Philadelphia, to further musical education. The oldest true music school in the United States is the =New England Conservatory of Music=, in Boston, founded by Dr. Tourjée, in 1867. A notable feature was the dormitory for female students. Eminent instructors were engaged, both foreigners and Americans, and the school quickly established a reputation as the leading institution for musical education. Dr. Tourjée was succeeded in the directorship by Mr. Carl Faelten, who resigned after several years of service and was followed in the office by Mr. George W. Chadwick, the present director, in 1897. In 1902 a new building was erected largely through the benefactions of several public-spirited citizens of Boston. Among the teachers who exerted a strong influence on American pupils may be mentioned Stephen A. Emery, A. D. Turner, Lyman W. Wheeler, Carlyle Petersilea, Otto Bendix and George E. Whiting. A school in Boston, with special strength in the violin department, was the Boston Conservatory, founded by Julius Eichberg.

=The West=.—In 1878, several music-loving citizens of Cincinnati established the =Cincinnati College of Music=, with Theodore Thomas as the first director. After him came various members of the faculty, and in 1897, Mr. Frank Van der Stucken accepted the post of dean of the faculty. In connection with the Cincinnati Symphony Orchestra and the Festival Association, the College of Music has been a powerful factor in the musical life of the city. As an educational force it has done much for music in the West and the Southwest, and its pupils have carried into all sections of the tributary States sound musical precepts. =Chicago= has, at the present day, several schools, organized and conducted by private enterprise, which are doing splendid work and have made the city the musical centre of the West. Musicians of the highest rank have been brought to the United States by several of these conservatories, to the benefit of musical art in Chicago and the Western States.

=Oberlin Conservatory of Music=, a department of Oberlin College, may be taken as a type of the American idea of musical work in an institution of learning. The school has a strong faculty and a large number of pupils, whose work receives credit for graduation in the college courses; the students in music have all the privileges of those entered in the regular colleges. Oberlin has been a great factor for musical progress in the Middle West.

=The East=.—New York City has two schools that deserve mention: the =National Conservatory of Music=, founded by Mrs. Jeannette Thurber, a school which has offered as teachers to the American pupils such musicians as Rafael Joseffy and Antonin Dvořák; the =Institute of Musical Art=, opened in 1905, with Frank Damrosch as director, with a faculty of high repute, both Europeans and Americans. This school started with an endowment of $500,000 given by Mr. James Loeb, a New York banker. A school of music managed on conservative lines has existed for a number of years in =Baltimore=, in connection with the Peabody Institute, which was endowed by the banker, George Peabody. At the present time nearly every city of importance in the United States contains one or more conservatories, managed on a strictly business basis, and furnishing to the people of their communities thorough instruction at reasonable cost.

=In the Colleges=.—The important American institutions for higher education, both for men and for women, have recognized the claim of music to a place in the curriculum, and have provision for instructions in the theory, history and esthetics of music, many also having facilities for instructions in the practical side of music. =Harvard=, =Yale=, =Columbia=, =Pennsylvania=, =Michigan=, =California= and =Northwestern= Universities have established professorships of music, and have called eminent musicians to the posts. The work done in hundreds of schools of less reputation is a great factor in spreading musical culture throughout the country.

INDEX.

Adam, 355
Aeolian, 30
Akkadians, 25, 36
Albeniz, 497
Alberti, 252
Alkan, 443
Amati (_Amáhtee_), 317
Ambrose, 63
American Indian Music, 531
American Music, 525
Anglebert d’, 258
Antiphony, 59
Apollo, Hymn to, 48, 49
Apthorp, 550
Archæology, 20
Archer, 168
Archilute, 151
Arensky, 521
Arghool, 150
Aria, 190
Aristotle, 47
Aristoxenus, 47
Arkadelt, 128, 136, 140, 143
Astorga, 229
Auber (_O-bare_), 355, 357
Authentic, 64, 66

Babylonian Music, 24, 36
Bach (_Bakh_), C. P. E., 279
Bach, J. C., 278
Bach, J. S., 128, 164, 228, 244, 269, 337, 439
Bach, W. F., 278
Baillot (_Ba-yo_), 328
Balakireff (_Balakeéreff_), 442, 517
Balfe (_Bolf_), 210
Ballad, 455
Ballad Opera, 210
Ballet (_Ballay_), 203
Bantock, 502
Bards, 77
Bassoon, 149
Batiste (_Bateest_), 166
Bauer (_Bower_), 447
Beach, 541
Beethoven (_Baytoven_), 18, 22, 231, 299, 307, 338, 439
Bellini (_Belleénee_), 362
Benda, 277, 350
Bennett, W. S., 405, 459
Benoit (_Benwah_), 503
Bergonzi (_Bergontsee_), 319
Bériot, de (_Bareeoh_), 332
Berlin, 555
Berlioz (_Bareleoh_), 339, 433, 459, 463
Bernhard, 159
Bernacchi (_Bernákkee_), 199
Best, 167
Biber, (_Beeber_), 323
Billings, 526
Binchois (_Banshwah_), 112
Bizet (_Beezeh_), 374
Blockx (_Block_), 505
Blow, 164
Blumenfeld, 522
Boethius, 48, 70
Böhm, J. (_Bame_), 331
Böhm, T., 338
Boieldieu (_Bwah-el-dyu_), 355
Boise (_Boyce_), 551
Boïto (_Boéto_), 375
Bologna, 554
Borodin, 519
Boschi (_Boskee_), 201
Bossi (_Bossee_), 167, 495
Brahms, 439, 458, 459, 463
Brassin (_Brahssan, nasal n_), 438
Breitner (_Britener_), 445
Bridge, 501
Broadwood, 243
Bruch (_Brookh_), 478
Brumel (_Broomel_), 126
Bruneau (_Bruno_), 485
Brussels, 555
Buck, 460, 543
Bull, J., 164, 257
Bülow (_Beelow_), von, 437
Bungert (_Boóngert_), 374, 476
Buonamici (_Bonameéchee_), 448
Buongiorno (_Bonzhórno_), 496
Busnois (_Binwah_), 112
Busoni, 448
Buxtehude (_Bookstehóodeh_), 163, 265
Byrd (_Bird_), 121, 144, 164, 256

Caccini (_Cacheénee_), 175, 177
Caffarelli, 199
Caldara (_Caldáhra_), 226
Cambert (_Cambare_), 204
Canon, 109, 111, 126
Cantata, 174
Capocci (_Capóchee_), 167
Carestini (_Caresteénee_), 201
Carissimi, 184, 226
Carreño (_Carainyo_), 451
Cassi odorus, 74
Cavalière (_Cavaliáire_), 179
Cavalli (_Cavállee_), 184
Celts, 77
Censorinus (_Censoreenus_), 74
Cesti (_Chestee_), 184
Chabrier (_Chahbrieh_), 487
Chadwick, 536, 544
Chaldæans, 24, 36, 37
Chambonnières (_Shambonniair_), 258
Chaminade (_Shaminahd_), 488
Chanson (_Shanson, nasal n_), 144, 455
Charlemagne (_Charlmanye_), 77
Charpentier (_Sharpahntieh_), 485
Chausson (_Showson_, _nasal n_), 487
Che, 26, 28
Chelys (_Kellis_), 56
Cherubini (_Karoobeénee_), 223
Chinese Music, 25-29
Chopin (_Showpan, nasal n_), 387, 417, 425
Chorale, 165, 227
Chorus, Greek, 57
Chromatic Scale, Greek, 55
Church Scales, 64
Cimarosa (_Chimaroza_), 193
Cincinnati College of Music, 558
Cithara (_Kítara_), 56
Clarinet, 150, 338
Clarke, 551
Claudius Ptolemy, 48, 63
Clavicembalo (_Clavichembálo_), 240
Clavichord, 237
Clementi, 18, 380
Coleridge-Taylor, 502
Cologne, 555
Concerto (_Conchairto_), 323
Conductus, 83, 101
Confucius, 26, 27, 29
Contra Bass, 321
Corelli, 250, 323
Cotton, John, 75
Council of Trent, 141
Counterpoint, 111
Couperin (_Kooperan, nasal n_), 258
Cowen, 500
Cramer (_Krahmer_), 382
Crescentini (_Creschenteénee_), 201
Cristofori (_Cristofóree_), 241
Crouth (_Crooth_), 77, 153
Cui (_Koóee_), 518
Czerny (_Chairny_), 384, 425

D’Albert (_Dolbare_), 437, 477
Damrosch, W., 529, 544
Dance Tunes, 248
Daquin (_Dahkan, nasal n_), 259
David (_Dahvid_), 330
Debussy (modified _u_, similar to German ü), 486
DeHandlo, 121
Dekoven, 544
Delaborde, 444
Delibes, (_Deleeb_), 483
Diapason, 59
Diaphony, 73, 93
Dickinson, 551
Didymus, 48
Dièmer (_Diaimeh_), 444
Di Ruta (_Di Roota_), 250
Di Salo (_Di Sahlo_), 316
Discant, 73, 104
Dominant, 66
Donizetti, 361
Dont (_Don, nasal n_), 331
Dorian, 30, 52, 54, 64
Dowland, 144
Drama, 172
Dresden, 555
Dubois (_Doobwah_), 167, 487
Ducis, 161
Dufay, 112
Dulcimer, 237
Dunstable, 121
Dupont (_Doopon, nasal n_), 439
Durante (_Dooráhntay_), 252
Dvořák (_Dvorzhak_), 377, 459, 508
Dwight, 547

Ecclesiastical Scales, 52, 64
Eck, 329
Eddy, 547
Edwardes, 144
Egyptian Music, 38-41
Elgar, 460, 501
Elson, 550
English Music, 80, 115
English Opera, 207
English Opera, typical, 209
Enharmonic Scale, Greek, 56
Enna, 512
Equal Temperament, 243
Erard (_Airar_), 243
Erkel (_Airkle_), 510
Ernst, (_Airnst_), 331
Essipoff, 451
Ethnology, 21
Euclid, 48

Faburden, 73
Farinelli, 200
Fasch (_Fahsh_), 277
Fauré (_Foray_), 413, 487
Ferri, 199
Fibich (_Feebikh_), 510
Fidelio (_Fidaylo_), 222
Fidula, 153
Field, 387, 421
Finck, 551
Finland, 81
Fiorillo (_Feeorillo_), 329
Florence, 173, 554
Florentine School, 177
Flute, 28, 38, 56, 149, 338
Folk-Song, 85, 96, 111, 507, 516, 531
Foote, 539
Form, 18
Franchetti (_Frankettee_), 494
Franck, 167, 459, 483
Franco of Cologne, 72, 104
Franco of Paris, 104
Franz (_Frahnts_), 457
French Opera, 203
Frescobaldi (_Frescobahldee_), 162, 249
Froberger (_Frobairger_), 162, 264
Fugue (_Fewg_), 111, 126, 265
Fux (_Fooks_), 163

Gabrieli, A., 136, 162, 247
Gabrieli, G., 136, 162, 248
Gabrilowitsch (_Gabrílovitch_), 447
Gade (_Gahdeh_), 405
Gagliano (_Galyáno_), 177, 319
Galilei (_Galilaee_), 174
Galio-Belgic School, 107, 124
Gamut, 67
Gastoldi, 144
Gauls, Music of the, 77
Gaviniés (_Gavíniez_), 328
Geminiani (_Zhemineáhnee_), 325
Genoa, 554
German, E, 503
German Opera, 211
Gevaërt, 438
Gibbons, 121, 144, 164, 257
Gilchrist, 536
Gilson (_Zhilson, nasal n_), 504
Giordano (_Zhordáhno_), 493
Gipsies, 33
Glazounoff (_Glazoónof_), 520
Glinka, 377, 516
Gluck (_Glook_), 215
Godowsky (_Godóffsky_), 449
Goldmark, 472
Gombert (_Gombare_), 128, 134
Goss, 167
Gottschalk, 546
Goudimel (_Goodimel_), 128, 136, 140, 142
Gounod (_Goonoh_), 374, 459
Grand Opera, 349, 353, 356
Graun (_au_, like _ow_ in _how_), 227
Gravicembalo (_Gravichembahlo_), 240
Greater Perfect System, 51, 64
Greek Drama, 172
Greek Music, 46
Greek Scale, 50, 52, 55
Gregorian, 43
Gregory, Pope, 63, 70
Grétry (_Greatry_), 353
Grieg (_Greeg_), 448, 511
Guadagnini (_Gwahdanyeénee_), 319
Guarnerius (_Gwarnáirius_), 316, 318
Guglielmi (_Goolyélmee_), 230
Guido (_Gweédo_), 67, 74, 95
Guilmant (_Geelman, nasal n_), 167, 487

Hadley, 540
Hale (_Hahl_), Adam de la, 84
Hale, P., 550
Halévy (_Halaivy_), 359
Hallstrom, 513
Handel, 164, 213, 229, 266, 337
Handel and Haydn Society, 526
Hambourg, 447
Harmony, 18, 19, 59, 73, 75
Harp, 39, 44, 150
Harpsichord, 237
Hasler (_Hassler_), 263
Hasse (_Hasseh_), 230
Haupt (_Howpt_), 166
Hausegger (_Howsegger_), 468
Haydn (_Hyden_), 18, 237, 283, 295, 299, 307, 311, 337
Hebrew Music, 41
Heller, 449
Hellmesberger, 331
Henderson, 551
Henselt, 443
Herbert, 544
Hérold, 355
Hesse, 166
Hexachord, 67, 68
Hiller, F., 405
Hiller, J. A., 220
Himmel, 302
Hindoo Music, 30-33
Hobrecht, 127, 145
Hofmann, J., 450
Hopkins, 167
Huber (_Hoober_), 470
Hucbald (_Huckbald_), 67, 74, 95
Humfrey, 207
Hummel (_Hoommel_), 383
Humperdinck (_Hoomperdinck_), 374, 473
Huneker, 551
Hurdy Gurdy, 153
Hydraulic Organ, 157

Imitation, 102, 109
Indian Music, 531
Indy d’ (_Dandy, French nasal n_), 413, 484
Intermezzo, 192
Ireland, 79
Isidore of Seville, 74
Italian School, Early, 131

Japanese Music, 29, 30
Jean de Garlande (_Zhan, nasal n_), 104
Jean Scot Erigene, 74
Jensen (_Yensen_), 413
Jerome de Moravie (_Morahvee_), 104
Joachim (_Yoáhkim_), 331
Jommelli (_Yomméllee_), 193, 230
Jongleurs (_Zhongler_), 83
Joseffy (_Yoséffy_), 449, 546
Josquin de Pres (_Zhoskan, nasal de Pray_), 127, 145

Keiser (_Kyser_), 213, 227
Kelley, 544
Kerl (_Kairl_), 162, 264
Keyboard, 159
Kienzl (_Keenzel_), 474
Kin, 26, 27
Kistler, 475
Klindworth (_Klindwort_), 443
Klotz, 319
Koto, 30
Krehbiel (_Kraybeel_), 551
Kreutzer (_Kroitzer_), 329
Kuhnau (_Koonow_), 276

Landino (_Landeeno_), 161
Lassen (_Lahssen_), 513
Lasso (_Lahsso_), di, 128, 134, 136, 144, 173
Lawes, 207
Leclair, 328
Lefébure-Wéy (_Lefayber-Waily_), 166
Legrenzi (_Legrentsee_), 184
Leipzig Conservatory, 401, 555
Lekeu (_Lekuh_), 504
Lemare, 168
Lemmens (_Lemman, nasal_), 166
Leo (_Lao_), 226
Leoncavallo, 376, 492
Leonin (_Leonan, nasal_), 104
Leschetizky (_Leshetitsky_), 388, 446
Lesser Perfect System, 51, 64
Lewts, Denis, 75
Liadoff (_Leahdoff_), 521
Lied (_Leed_), 455
Liszt, 425, 436, 459, 463, 465
Locatelli, 325
Lock, 164, 207
Loeffler (_Lerfler_, not sounding the first _r_), 541
Logroscino (_Logrosheéno_), 192
Lolli, 329
Lortzing, 351
Lotti, 184
Lully, 204
Lupot (_Lüpoh_), 319
Lute, 151
Luther, 138
Lydian, 52
Lyre, 39, 50, 56, 150

MacDowell, 450, 538
Mackenzie, 460, 500
Madrigal, 143
Magadis, 58, 92
Maggini (_Madgeéni_), 317
Mahler, 469
Marchand (_Marchan, nasal_), 165, 259
Marenzio (_Marentsio_), 144
Marpurg (_Marpoorg_), 277
Marschner, 351
Martucci (_Martoóchee_), 495
Mascagni (_Mascányee_), 376, 491
Mason, L., 527
Mason, Wm., 450, 546
Masque, 203, 209
Massenet (_Massenay_), 482
Mastersingers, 85
Mathews, 548
Mathias (_Matiah_), 444
Mattheson (_Matteson_), 213, 268
Measured Music, 74, 100
Méhul (_Mahul_), 354
Melodrama, 350
Melody, 18, 19, 20, 21, 59
Mendelssohn, 166, 232, 400
Merbecke, 121, 164
Merkel (_Mairkel_), 166
Merulo (_Maróolo_), 162, 247
Mese (_Mayseh_), 51
Meyerbeer, 358
Milan, 553
Minnesingers, 84
Minstrels, 81
Miracle Plays, 179, 213
Mixo-Lydian, 52
Monochord, 47, 237
Monophony, 88
Monteverde (_Montevairday_), 180, 188, 336
Morley, 144, 164
Moscheles (_Móschehless_), 383, 401
Moszkowski (_Moskoffskee_), 449
Motet, 83, 101, 103
Moussorgsky, 518
Mozart (_Motsart_), 219, 231, 291, 299, 307, 311, 337
Muffat, 265
Munich, 555
Musica Ficta, 75
Music Drama, 175
Mysteries, 179, 213

Naples, 552
Nardini (_Nardeénee_), 327
Neapolitan School of Opera, 187
Negro Music, 531
Neri (_Néhree_), 140
Netherlands, 107, 123
Neumes (_Nooms_), 70
Nevin, 544
New England Conservatory of Music, 557
Nicordé (_Nikóhday_), 470
Nocturne, 387, 421
Notation (Greek), 58, 70

Oberlin, 558
Oboe, 149, 337
Octave System (Greek), 54
Odington, 101, 118, 121
Odo (Otger), 74, 94
Offenbach, 356
Okeghem, 126, 134, 145
Opera, 175, 196, 336
Opera Buffa (_Booffa_), 191, 349, 356
Opéra Comique (_Comeek_), 349, 353
Oratorio, 179, 226
Orchestra, 308, 334
Organ, 125, 156, 236
Organ Pedals, 159
Organum, 73, 93, 101
Organum (Secular), 94
Orpheus, 46
Overture, 191, 205, 342

Pachelbel (_Pakhelbel_), 163
Pachmann (_Pakhmann_), de, 449
Paderewski (_Padreffski_), 446, 511
Paganini (_Paganeénee_), 331, 426
Paine, 460, 535
Paisiello (_Paheesiéllo_), 193, 230
Palermo, 553
Palestrina (_Palacetreena_), 136, 139, 173
Pan’s Pipes, 22, 148, 156
Parabosco, 247
Paradies (_Paradees_), 253
Parallelism in Hebrew Poetry, 43
Paris Conservatoire (_Conservatwar_), 554
Paris School, 99
Parker, H., 460, 539
Parker, J. C. D., 543
Parry, 500
Parthenia, 257
Pasquini (_Paskweénee_), 250
Passion Music, 227, 233
Paumann (_Powman_), 161
Pedals (Organ), 159
Pentatonic, 27, 30, 32, 56, 60, 70
Pergolesi, (_Pergolazy_), 192, 228
Peri (_Perry_), 175, 177
Perosi (_Perozy_), 460, 494
Perotin (_Perotan, nasal n_), 104
Perry, 546
Petrucci (_Petroóchee_), 145
Philipp, 444
Phorminx, 56
Phrygian, 52, 54, 64
Pianoforte, 241, 295, 308
Piano Playing, 295, 420, 430
Piccini (_Picheénee_), 193
Pizzicato (_Pitsicácto_), 183
Plagal, 64, 66
Plato, 48
Planquette (_Planket, nasal n_), 356
Polyphony, 88, 129, 132, 164, 337
Porpora, 193, 230, 285
Prætorius, 163
Prague, 554
Program Music, 312, 465
Psalms, 42, 43
Psaltery, 237
Puccini (_Poocheénee_), 376, 493
Pugnani (_Punyáhnee_), 327
Pugno (_Poonyo_), 444
Purcell, 121, 164, 207, 258
Pythagoras, 41, 47

Rachmaninoff (_Rakhmaneénoff_), 443, 521
Rameau (_Rahmo_), 206, 244, 260
Ravanastron, 32
Rebec, 151, 152
Recitative (_Resitateév_) 174, 189
Reed, 149
Reformation, The, 138
Reinecke (_Rynekeh_), 405
Reinken (_Rhineken_), 163, 265
Remenyi, 331
Renaissance (_Renasahns, nasal n_), 171, 246
Reyer (_Ryer_), 483
Rheinberger (_Rhineberger_), 166
Rhythm, 18, 19
Ries (_Reese_), 305
Rimsky-Korsákoff (_Rimsky-Kórsakoff_), 519
Rinck, 165
Rinuccini (_Rinoocheenee_), 175, 177
Risler, 445
Rode, 328
Roentgen (_Rentghen_), 505
Roman Music, 62
Romantic Movement, 345, 404, 407, 423, 439
Rome, 553
Rondeau (_Rondo_), 83
Rore (_Roara_), 128, 136, 144, 162
Rosenthal (_Rosentall_), 437
Rossini (_Rosseénee_), 224, 229
Roundel, 101
Rubinstein, A., 405, 441, 459
Rummel (_Roomel_), 449
Russian Music, 441

Sacchini (_Sakeénee_), 230
Sachs (_Sakhs_), 86
Safonoff (_Safónoff_), 443
Saint Petersburg Conservatory, 556
Saint-Saëns (_San-Sahnz, nasal n_), 167, 444, 459, 481
Salieri (_Solyairee_), 223
Sambuca, 37
Santir, 38
Sapellnikoff (_Sapéllnikoff_), 442
Sauer (_Sour_), 438
Scales, 22, 29
Scandinavian Music, 80
Scarlatti, A., 187, 196, 226, 250, 336
Scarlatti, D., 251, 266
Scheidemann (_Shydemann_), 163
Scheidt (_Shite_), 163
Schillings, 475
Schmidt, B., 162
Schneider, 166
Schopenhauer (_Shopenhower_), 21
Schröter (_Shrayter_), 242
Schubert, 391, 456
Schumann, Clara, 451
Schumann, R., 18, 395, 401, 407, 417, 425, 439, 457
Schütz (_Sheets_), 211, 227
Schytté (_Skittay_), 513
Scottish Music, 79
Scriabine (_Skreáhbeen_), 443, 522
Se, 28
Seidl (_Sidle_), 533
Senesino (_Seneseeno_), 199
Sevcik (_Shevchik_), 333
Sgambati (_Sgambáhtee_), 448, 494
Shawm, 150
Shelley, 542
Sheng, 26
Sherwood, 450
Sho, 29
Shofar, 150
Sibelius (_Seebailius_), 513
Sieveking (_Seevehking_), 447
Silbermann, 242
Siloti, 442
Sinding, 448, 511
Sinfonia, 191, 322
Singing, 195
Singspiel (_Singspeel_), 212, 220
Sjögren (_Shagreén_), 513
Slavinski, 447
Smart, 167
Smetana, 377, 507
Somis (_Somee_), 325
Sonata, 247, 274, 288, 295, 303, 309, 322, 411
Song, 395, 454, 468
Spark, 167
Spieloper (_Speeloper_), 351
Spinet, 239
Spohr (_Spoar_), 232, 329, 350
Spontini (Sponteénee), 223
Stabat Mater (_Stahbat Mahter_), 228
Stainer, Jakob (_Styner, Yahkob_), 319
Stainer, John (_Stayner_), 167
Stanford, 497
Stavenhagen (_Stahvenhahgen_), 438
Stcherbatcheff, 521
Stein, (_Stine_), 243
Sternberg, von, 546
Stojowski (_Stoyoffski_), 447
Stradella, 226
Stradivarius, 319
Strauss (_Strous_), R., 339, 374, 433, 458, 463
Streicher (_Strikher_), 243
Stringed Instruments, 147, 150
Suite, 249
Sullivan, 210, 460
Sumer is Icumen in, 117
Sumerians, 25
Svendsen, 512
Sweelinck (_Swalink_), 128, 162
Sylvester, Pope, 63
Symphonia, 37
Symphonic Poem, 342, 433
Symphony, 59, 342, 411
Syrinx, 62, 148, 156
Szumowska-Adamowska, 447

Tablatura, 86, 151
Tallis, 121, 164, 257
Taneiéff (_Tanaéeff_), 521
Tangent, 238
Tartini (_Tarteénee_), 325
Tausig (_Tousig_), 436
Tchaikovsky (_Chikoffsky_), 522
Tche, 28
Terpander, 47
Tetrachord, 47, 50
Tetrachordon, 56
Thayer, 550
Theile (_Tyleh_), 212
Theorbo, 151
Thiele (_Teeleh_), 166
Thomas (_Toamah_), A., 483
Thomas, T., 528
Tieffenbrucker (_Teefenbrooker_), 316
Tinctoris, 127, 135
Tinel, 504
Ti-Tzu, 28
Tonus Peregrinus, 63
Torelli, 323
Tosi (_Tozy_), 198
Tourte (_Toort_), 320
Tremolo, 183
Trent, Council of, 141
Tritone, 75
Tromba Marina (_Mareéna_), 151, 152
Troubadours, 83
Trouvères (_Troovair_), 82
Trumpet, 150
Tye, 121

Ugab (_Oogabh_), 148
Unity, 102, 109
Upton, 548

Van der Stucken, 540
Venetian School, 184
Venice, 553
Veracini (_Vairacheénee_), 325
Verdi (_Vairdee_), 361, 375
Vienna, 554
Vieuxtemps (_Vyutom, nasal_), 332
Vina (_Veena_), 31, 32
Viol, 145, 151, 154, 315
Violin, 315, 320
Violin Bow, 319
Violin Playing, 322
Violoncello (_Veeolonchéllo_), 320
Viotti (_Veeótti_), 328
Virginal, 239
Virginal Book, 256
Vitali (_Vetáhlee_), 323
Vivaldi (_Veeváhldee_), 325
Vuillaume (_Vweleyome_), 319

Waelrant (_Walerant_), 144
Wagenseil (_Vahgensile_), 278
Wagner (_Vahgner_), R., 339, 360, 364, 458
Wagner’s (R.) Theory, 369, 433
Wagner, S., 476
Weber (_Vaber_), 346, 397
Weelkes, 144
Weingartner (_Vinegartner_), 470
Well-Tempered Clavichord, 271, 300
Wesley, 167
Widor (_Weedo_), 167, 487
Wieck (_Veek_), 408
Wilbye, 144
Wilhelmj (_Vilhelmyeh_), 330
Willaert, 128, 135, 143, 162, 247
Wind Instruments, 147, 148
Wolf, H., 478
Wolf-Ferrari (_Ferráhree_), 496

Ysaye (_Esyeh_), 332

Zeelandia (_Zalahndia_), 112
Zeisler (_Ziseler_), 451

FOOTNOTES:

[1] In his work “The Power of Sound” Gurney has taken up in detail Herbert Spencer’s theory of the origin of music.

[2] Stainer, in “Music of the Bible,” inclines to believe that the Sambuca was a large harp of the kind used in Egypt.

[3] Maspéro, the Egyptologist, says that after the tomb has been sealed, the family and guests return to the house of the deceased, to a banquet, after which the “last link which holds the dead to the family is broken. The sacred harpist plays a prelude, then, standing before a statue of the deceased, chants the dirge first sung long ago at the funeral of the Pharaoh Antouf: ‘The world is but perpetual movement and change.... Not all the lamentations in the world will restore happiness to the man who is in the sepulchre; make then a good-day and do not be idle in enjoying thyself.’”

[4] Smith.

[5] This treatise is now attributed to Cleonidas, writing about 120 A. D.

[6] By this is meant that all intervals of the major second, so-called, are not equally large and cannot be, if a correct division of fourths and fifths be desired. Didymus made the interval from C to D smaller than the other seconds of the scale; Ptolemy put the “minor” tone between D and E, where it is now placed.

[7] Some investigators claim that some of these melodies were part of the Temple service at Jerusalem, making the specific statement that the melody used in some liturgical services, and known as the _Tonus Peregrinus_, is based on a Temple chant.

[8] A fine account of their methods is found in Robert Louis Stevenson’s novel “Kidnapped.”

[9] Mention of prominent American organists and teachers is made in Lesson LIX.

[10] See especially Op. 14, No. 2, first movement.

[11] Grove’s Dictionary says 1611.

[12] See Wasielewski: _Die Violine und Ihre Meister_.

[13] This third sound will correspond to the difference of the vibration numbers of the other two.

[14] 1907.

[15] His mother’s name, Bartholdy, was added to distinguish this branch from other Mendelssohn families.

Transcriber's Notes:

Underscores "_" before and after a word or phrase indicate _italics_
in the original text.
Equal signs "=" before and after a word or phrase indicate =bold=
in the original text.
Small capitals have been converted to SOLID capitals.
Illustrations have been moved so they do not break up paragraphs.
Old or antiquated spellings have been preserved.
Typographical errors have been silently corrected but other variations
in spelling and punctuation remain unaltered.