Chapter XIII: The English Musical Renaissance (3)

ABRAMO BASEVI: Studie sulle opere di Giuseppe Verdi (Florence,
1859).

B. BERMANI: Schizzi sulla Vita e sulle Opere del Maestro,
Giuseppe Verdi (Milan, 1846).

G. PEROSIO: Cenni Biografiei su Giuseppe Verdi, etc. (Milan,
1875).

MARCHESE G. MONALDI: Verdi e le sue Opere (Florence, 1877).

V. SASSAROLI: Considerazioni sulla Stato attuale dell'Arte
Musicale in Italia, etc. (Genoa, 1876).

SPECIAL LITERATURE FOR VOLUME III

LITERATURE FOR CHAPTER I

_In English_

HENRY FOTHERGILL CHORLEY: Modern German Music, 2 vols. (London,
1854).

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

LOUIS C. ELSON: The History of German Song, 1888.

HENRY T. FINCK: Songs and Song Writers (New York, 1900).

JAMES G. HUNEKER: Mezzotints in Modern Music (New York, 1899).

ERNEST NEWMAN: Musical Studies (London, 1905).

FELIX WEINGARTNER: Symphony Writers since Beethoven, Eng.
transl. (London, 1907).

_In German_

HUGO BOTSTIBER: Geschichte der Overtüre (Leipzig, 1913).

HANS VON BÜLOW: Briefe und ausgewählte Schriften, ed. by Marie
von Bülow, 8 vols. (1895-1898).

P. J. DURINGER: Albert Lortzing, sein Leben und Wirken
(Leipzig, 1851).

FERDINAND HILLER: Aus dem Tonleben unserer Zeit, 2 vols.
(Leipzig, 1868-1871).

FERDINAND HILLER: Musikalisches und Persönliches (Leipzig,
1876).

JOSEPH JOACHIM: Briefe von und an Joseph Joachim; ed. by J. J.
and A. Moser (1911).

OTTO KRONSEDER: Franz Lachner (In Altbayrische Monatsschrift,
IV, 2-3, 1903).

OTTO NEITZEL: Camille Saint-Saëns (Berlin, 1899).

WALTER NIEMANN: Die Musik seit Richard Wagner (1913).

ARNOLD NIGGLI: Adolf Jensen (1900).

ARNOLD NIGGLI: Theodor Kirchner (1888).

MORITZ VON SCHWIND: Die Lachner-Rollen (1904).

E. SEGNITZ: Karl Reinecke (1900).

KARL THRANE: Friedrich Kuhlau (1886).

BERNHARD VOGEL: Robert Volkmann (1902).

HANS VOLKMANN: Robert Volkmann (1875).

JOSEPH VON WASIELEWSKY: Karl Reinecke (1892).

_In French_

A. JULLIEN: Musiciens d'aujourd'hui, 2 vols. (Paris, 1891-92).

E. BAUMANN: L'Œuvre de Saint-Saëns (1905).

ANTOINE FRANCOIS MARMONTEL: Symphonistes et virtuoses (1881).

ANTOINE FRANCOIS MARMONTEL: Art classique et moderne du piano
(Paris, 1876).

JULES MASSENET: Mes Souvenirs, 1842-1912 (Paris, 1912).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (1908).

CAMILLE SAINT-SAËNS: Portraits et Souvenirs (Paris, 1900).

OCTAVE SÉRE: Musiciens français d'aujourd'hui (Paris, 1911).

E. SCHNEIDER: Massenet (1908).

E. DE SOLENIÈRE: Massenet (1897).

_In Italian_

R. GANDOLFI: La musica di G. Raff (1904).

LITERATURE FOR CHAPTER II

_In English_

JOHN BENNETT: Russian Melodies (London, 1822).

CÉSAR CUI: Historical Sketch of Music in Russia (reprinted in
the Century Library of Music), (New York, 1900).

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

EDWARD EVANS: Tschaikowsky (1906).

JAMES HUNEKER: Mezzotints in Modern Music (New York, 1899).

M. MONTAGUE-NATHAN: A History of Russian Music (1914).

ROSA NEWMARCH: The Russian Opera (New York, 1914).

ROSA NEWMARCH: Tschaikowsky (London, 1900-1908).

EDWARD STILLMANN-KELLEY: Tschaikowsky as a Symphonist (New
York, 1906).

MODEST TCHAIKOVSKY: Peter Ilyitch Tchaikovsky (2 vols., Eng.
transl. by Rosa Newmarch), (London, 1906).

_In German_

N. D. BERNSTEIN: Anton Rubinstein (Leipzig, 1911).

M. GLINKA: Gesammelte Briefe; transl. by Findeisen (1908).

NIKOLAI KASCHKIN: Erinnerungen an P. I. Tschaikowsky (Leipzig,
1896).

IVAN KNORR: Tschaikowsky (Berlin, 1908).

N. RIMSKY-KORSAKOFF: Musikalische Aufsätze und Skizzen, German
transl. (1869-1907).

ANTON RUBINSTEIN: Erinnerung aus fünfzig Jahren, 1839-1889
(German transl. by Kretzschmar, 1893).

EUGEN ZABEL: Anton Rubinstein (Leipzig, 1892).

_In French_

M. D. CALVOCORESSI: Glinka (1910).

J. P. O. COMMETTANT: Musique et musiciens (Paris, 1862).

CÉSAR CUI: La Musique en Russe (1882).

CAMILLE FAUST: Histoire de la musique européenne, 1850-1914
(Paris, 1914).

ALFRED HABETS: Borodine et Liszt (1894).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

ALBERT SOUBIES: Histoire de la musique en Russe (Paris, 1898).

_In Russian_

N. KASHKIN: Istory russkoi musyki [History of Russian Music],
(Moscow, 1898).

A. ILINSKY: Biografii kompositorov (Moscow, 1904).

N. MAKLAKOFF: O russkoi narodnoi musyki [On Russian National
Music], (Moscow, 1898).

N. A. RIMSKY-KORSAKOFF: Letopis moei musykalnoi zhizni [The
Memoirs of my Musical Life], (St. Petersburg, 1909).

N. A. RIMSKY-KORSAKOFF: Musykalnie statii [Musical Articles],
(St. Petersburg, 1911).

V. STASSOV: Alexandre Porf. Borodine (St. Petersburg, 1887).

NIKOLAI FINDEISEN: Yeshegodnik imperial teatrov, vol. 2, pp.
87-129 (1896-7).

LITERATURE FOR CHAPTER III

_In English_

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

L. GILMAN: Phases of Modern Music (New York, 1904).

JAMES HUNEKER: Mezzotints in Modern Music (New York, 1899).

A. E. H. KREBHIEL: The Pianoforte and its Music (New York,
1911).

DANIEL GREGORY MASON: From Grieg to Brahms (1903).

_In German_

DAGMAR GADE: Niels W. Gade (Notes and Letters), (Basle, 1894).

WALTER NIEMANN: Die Musik Skandinaviens (Leipzig, 1906).

WALTER NIEMANN: Die moderne Klaviermusik in Skandinavien. _Die
Musik_, vol. 14, No. 5, p. 195.

WALTER NIEMANN (with Schjelderup): Grieg (1908).

HUGO RIEMANN: Neuskandinavische Musik, eine orientierende
Übersicht (_Signale_, vol. 61, pp. 124-127, 186-190, Leipzig,
1903).

_In French_

M. CRISTAL: La musique en Suède, en Islande, en Norvège, et
dans le Danemark (Revue internat. de musique, Paris, 1898, pp.
683-694).

WILLIAM RITTER: Smetana (Les Maîtres de la musique, Paris,
1907).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

ALBERT SOUBIES: Histoire de la musique en Danemark et Suède
(1901).

ALBERT SOUBIES: Histoire de la musique en Norvège (1903).

PAUL VIARDOT: Rapport officiel sur la musique en Scandinavie
(1908).

_In Swedish_

TOBIAS NORLIND: Svensk musikhistoria (1901).

LITERATURE FOR CHAPTER IV

_In English_

H. T. FINCK: Modern Russian School of Composers (Musician, v.
9, no. 3, pp. 87-9, Boston, 1904).

H. E. KREBHIEL: Musical Literature. The Russian School and Its
Leaders. A Bibliography (New York, 1899).

H. E. KREBHIEL: Russian Music. Folk Songs of Russia (New York,
1899).

PETER KROPOTKIN: Russian Literature (1908).

M. MONTAGUE-NATHAN: History of Russian Music (1914).

ROSA NEWMARCH: The Russian Opera (New York, 1914).

ALFRED HABETS: Borodine and Liszt. Transl. by Rosa Newmarch
(London).

_In French_

M. D. CALVOCORESSI: Moussorgsky (1908).

COMTESSE MERCI-ARGENTEAU: César Cui (1888).

N. A. RIMSKY-KORSAKOFF: Chants nationaux Russes (St.
Petersburg, 1876).

ALBERT SOUBIES: Histoire de la musique en Russe (1897).

_In Russian_

NICOLAI RIMSKY-KORSAKOFF: Musykalnie statii [Musical Articles],
1869-1907.

LITERATURE FOR CHAPTER V

_In English_

Modern Russian Instrumental Music (Musical Standard, v. 18, no.
465-469, v. 19, no. 470-472).

M. MONTAGUE-NATHAN: History of Russian Music (1914).

ROSA NEWMARCH: The Russian Opera (New York, 1914).

Program Books of the Boston Symphony Orchestra, Chicago
Symphony Orchestra, and the Symphony Society of New York.

_In German_

WALTER NIEMANN: Die Musik seit Richard Wagner, 1913.

_In French_

CAMILLE FAUST: Histoire de la musique européenne, 1850-1914
(Paris, 1914).

_In Russian_

A. ILINSKY: Biographii Kompositirov (Moscow, 1904).

LITERATURE FOR CHAPTER VI

_In English_

G. BANTOCK: One Hundred Folk-Songs of All Nations.

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

W. H. HADOW: Studies in Modern Music (London, 1895).

PHILIP HALE: Modern Composers and their Works (Boston, 1900).

J. KALDY: History of Hungarian Music (London, 1902).

WILLIAM RITTER: Smetana (1907).

Program Books of the Boston Symphony Orchestra, Chicago
Symphony Orchestra, and the Symphony Society of New York.

_In German_

RICHARD BATKA: Geschichte der Musik in Böhmen (Prague, 1906).

_In French_

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

ALBERT SOUBIES: Histoire de la musique en Bohème (Paris, 1898).

ALBERT SOUBIES: Histoire de la musique en Hongrie (Paris, 1898).

_In Italian_

G. B. MARCHESI: La musica boema (Riv. d'Italie, Roma, 1910,
anno 13, v. 2, p. 5-25).

LITERATURE FOR CHAPTER VII

_In English_

H. F. CHORLEY: Modern German Music (London, 1854).

J. A. FULLER-MAITLAND: Masters of German Music (London, 1894).

ERNEST NEWMAN: Richard Strauss (London, 1908).

_In German_

OSKAR BIE: Die moderne Musik und Richard Strauss (1906).

FRANZ BRUNNER: Anton Bruckner (1911).

FRANZ GRÄFLINGER: Anton Bruckner, Bausteine zu seiner
Lebensgeschichte (1911).

WALTER NIEMANN: Die Musik seit Richard Wagner (1913).

HUGO RIEMANN: Max Reger (in Musiklexikon, ed. of 1909).

LOUIS RUDOLPH: Die deutsche Musik der Gegenwart (1909).

LOUIS RUDOLPH: Anton Bruckner (1905).

ARTHUR SEIDL: Richard Strauss, eine Charakterstudie (1895).

MAX STEINITZER: Straussiana (1910).

MAX STEINITZER: Richard Strauss (1911).

_In French_

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

PAUL DE STOECKLIN: Max Reger (Le Courrier musical, April, 1906).

LITERATURE FOR CHAPTER VIII

_In English_

H. T. FINCK: Songs and Song Writers (New York, 1900).

W. H. HADOW: Studies in Modern Music (London, 1895).

EDGAR ISTEL: German Opera since Richard Wagner (In the _Musical
Quarterly_, April, 1915).

ERNEST NEWMAN: Richard Strauss (London, 1908).

ERNEST NEWMAN: Hugo Wolf (London, 1907).

FELIX VON WEINGARTNER: Symphony Writers since Beethoven, Eng.
trans. (London, 1907).

_In German_

MICHAEL HABERLANDT: Hugo Wolf, Erinnerungen und Gedanken (1903).

WALTER NIEMANN: Die Musik seit Richard Wagner (1913).

LEOPOLD SCHMIDT: Zur Geschichte der Märchenoper (1896).

LEOPOLD SCHMIDT: Die moderne Musik (1905).

EUGEN SCHMITZ: Hugo Wolf (1906).

EUGEN SCHMITZ: Richard Strauss als Musikdramatiker (1907).

HUGO WOLF: Musikalische Kritiken, ed. by R. Batka and Heinrich
Werner (1911).

HUGO WOLF: Briefe an Emil Kauffmann (1903), Hugo Faisst (1904),
Oskar Grohe (1905), Paul Müller (Peters Jahrbuch, 1904).

_In French_

MAURICE KUFFERATH: La Salomé de Richard Strauss (1908).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

EGON WELLESZ: Schoenberg et la jeune école Viennoise (S. I. M.,
March, 1912).

LITERATURE FOR CHAPTER IX

_In English_

A. HERVEY: Masters of French Music (London, 1894).

EDWARD BURLINGAME HILL: Vincent d'Indy: an Estimate (Musical
Quarterly, April, 1915).

_In German_

WALTER NIEMANN: Die Musik seit Richard Wagner (1913).

HANS M. SCHLETTERER: Studien zur Geschichte der Französischen
Musik (1884).

_In French_

CAMILLE FAUST: Histoire de la musique européenne, 1850-1914
(Paris, 1914).

A. JULLIEN: Musiciens d'aujourd'hui, 2 vols. (1891-92).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

OCTAVE SÉRE: Musiciens français d'aujourd'hui (Paris, 1911).

GEORGES SERVIÈRES: Emanuel Chabrier (1911).

LITERATURE FOR CHAPTER X

_In English_

M. D. CALVOCORESSI: Claude Debussy (_Musical Times_, v. 49, no.
780, pp. 81-2, London, 1908).

LAWRENCE GILMAN: The Music of Claude Debussy (_The Musician_,
v. 12, no. 10, pp. 480-1), (Boston, 1907).

A. DE GUICHARD: Clash between Two Parties in Modern French
School of Music (_Musical America_, v. 17, July 27, p. 21, New
York, 1912).

PHILIP HALE: History, criticism and story of L'Enfant prodigue
(v. 29, pp. 368-371, v. 30, Boston, 1909-10).

E. B. HILL: Rise of Modern French Music (_Étude_, vol. 32, no.
4, pp. 253-4, no. 5, pp. 489-90).

_In German_

WALTER NIEMANN: Die Musik seit Richard Wagner (1913).

_In French_

DANIEL CHENNEVIÈRE: Claude Debussy et son œuvre (Paris, 1913).

ROMAIN ROLLAND: Musiciens d'aujourd'hui (Paris, 1908).

OCTAVE SÉRE: Musiciens français d'aujourd'hui (Paris, 1911).

LITERATURE FOR CHAPTERS XI AND XII

_In English_

CARLO EDWARDS: Music in Italy of To-day (_Musical America_,
Oct., 1914, p. 13-4).

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

R. LUECCHESI: Music in Italy. Impressions after Thirty-two
Years' Absence (_Musical Courier_, IV, 47, no. 13, pp. 30-31).

_In French_

CAMILLE FAUST: Histoire de la musique européenne, 1850-1914
(Paris, 1914).

MAURICE TOUCHARD: La musique espagnole contemporaine (Nouvelle
Revue, March, 1914).

_In Italian_

GIUSEPPE ALBINATI: Piccolo Dizionario di Opere Teatrali,
Oratori, Cantate, etc.

LITERATURE FOR CHAPTER XIII

_In English_

J. R. ST. BENNETT: The Life of Sterndale Bennett (London, 1907).

CECIL FORSYTH: Music and Nationalism (London, 1911).

F. J. CROWEST: Dictionary of British Musicians (London, 1895).

ERNEST NEWMAN: Elgar (London, 1906).

J. A. F. MAITLAND: English Music in the Nineteenth Century (New
York, 1902).

ARTHUR ELSON: Modern Composers of Europe (Boston, 1905).

J. B. BROWN and ST. STRATTON: British Musical Biography
(London, 1897).

_In German_

WALTER NIEMANN: Die Musik seit Richard Wagner (1913).

_In French_

ALBERT SOUBIES: Histoire de la musique dans les îles
britanniques, 2 parts (1904-5).

INDEX FOR VOLUME I-III
_Figures in italics indicate major references_

A

Abel, Carl Friedrich, II. 62;
influence on Mozart, II. 102.

Abert, Joseph, III. 212, 257.

Ábrányi, E., III. 199.

Abt, Franz, III. 19.

Academicism, I. lx.

Académie de Musique. See Paris Opéra.

Academies. See Verona and Bologna.

Accidentals (origin of), I. 156.

Accompagnato. See Recitative (accompanied).

Accompanied recitative. See Recitative.

Accompaniment, I. xx, lii;
(instrumental, in polyphonic period), I. 246;
(in early vocal solos), I. 262;
(in madrigals), I. 281;
(in early Italian recitative), I. 332;
(17th cent.), I. 353f;
(in early Italian opera), I. 332f, 342f, 380ff;
(in early oratorio), I. 386;
(in early German opera), I. 424;
(in Händel oratorio), I. 439;
(in sacred music, 18 cent.), I. 453;
(Bach), I. 466, 470;
(in passion music), I. 480f;
(in Wolf's songs), III. 261f;
(in Strauss' songs), III. 266.

Acoustics, I. 105ff.

Adam, Adolphe-Charles, II. 211f.

Adam de la Halle (or Hâle), I. 211, 213.

Adams, Stephen. See Maybrick, M.

Addison, Joseph, on Italian opera, I. 431.

Æolian mode, I. 137.

Æolian school (of Greek composition), I. 115.

Æschylus, I. 120, 329;
III. 149.

Africa, primitive music in, I. 27ff.

Agathon, and early church music, I. 147.

Agazzari, I. 379.

Agostini, Muzio, III. 394.

[d']Agoult, Countess, II. 250.

Agricola, II. 31.

Aimara Indians, I. 45.

Akerberg, Erik, III. 85.

Akimenko, Feodor, III. 160.

Albéniz, Isaac, III. 362f, 404, _405f_.

[d']Albert, III. viii, 243, _244_, 268.

Albert V, Duke of Bavaria, I. 307ff.

Alberti, Domenico, II. 55, 56.

Albrechtsberger, Johann Georg, II. 63, 138.

Alfano, Franco, III. 389, _390_.

Alfvén, III. 69, 75, _84_.

Alkaios, I. 115.

Allan, Maud, III. 321.

Allegro (cantabile form of), II. 8.

Alleluia, the Hebrew, I. 149.

Allemande, I. 371f, 375.

Allitsen, Frances, III. 443.

Alpheraky, A., III. 136.

Amalarius, I. 137f.

Amani, A., III. 145.

Amati family, I. 362.

Ambros, A. W., quoted (on early Italian music), I. 263;
(on the frottola and madrigal), I. 271ff;
(on early church music), I. 315.

Ambrosian hymns, I. 135ff, 142f.

America (Tschaikowsky quoted on), III. 56;
(conditions in, for composers, compared to England), III. 435.

Amphion, I. 93f, 111.

Anakreon, I. 115f.

Ancient Civilized Nations, music of, I. 64ff.

Andamanese Islanders, I. 8, 41.

Anders, G. E., II. 405.

Andersen, Hans Christian, III. 71, 74.

Anerio, Felice and Giovanni, I. 321.

Anglican Church, III. 410.

Animal cries, I. 2, 6.

[d']Annunzio, Gabriele, III. 381, 389.

Anschütz, Carl, II. 134.

Anthem, English, I. 295, 390, 433.

Antiphonal psalmody, I. 142f.

_Antiphonarium Romanum_, I. 148.

Antiphons, I. 140.

Antiphony (in Greek music), I. 161.

Apel (author of 'Ghost Tales'), II. 374f.

Apollo, I. 122.

Appenzelder, Benedictus, I. 297.

Arabs (music of), I. 43, 52, 55, 63.

Arcadelt, Jacques, I. 273f, 305.

Arcadians, I. 95.

Archaism, intentional in modern music, III. 331, 334, 337.

Archangelsky, A. A., III. 143.

Archilei, Vittoria, I. 342.

Archilochos (Greek poet), I. 114f.

Architecture and music in 18th cent., II. 60.

Arensky, Anton Stephanovich, III. 28, 143, _146ff_.

[d']Arezzo, Guido. See Guido d'Arezzo.

Aria, I. liv;
(in early Italian opera), I. 341, 381f, 385, 393f, 428;
II. 3, 16;
(in church music), I. 453;
(Bach), I. 476, 480, 491;
(Mozart), II. 179.

Aria form, I. 1;
(in the sonata), II. 54;
(Beethoven's use in song), II. 278.
See also Da capo.

Arion, I. 118.

Arioso, II. 26, 431.
See also Recitative.

Ariosti (Attilio) and Händel, I. 435.

Ariosto, I. 328;
II. 27.

Aristides Quintilianus, compiler of musical tables, I. 91.

Aristotle, I. 89, 97.

Aristoxenus, I. 99, 110.

Arius, I. 141.

[d']Arneiro, III. 408.

Arnaud, Abbé, on Italian opera, II. 179.

Arnold, Matthew, quoted, III. 238.

Arnould, Sophie, II. 33.

Ars nova, I. 228ff, 257, 262ff.

Arts (plastic) and music, I. 64, 66;
(in Ital. Renaissance), I. 267f.

'Art and Revolution,' essay by Wagner, II. 415.

Art-song, the (before Schubert), II. 30, 269ff, 278;
(Schubert), II. 279ff;
(Schumann), II. 280ff;
(other romanticists), II. 289ff;
(Brahms), II. 465;
III. 259;
(modern development), I. lviii;
III. xiv;
(minor Romantics), III. 18ff, 24;
(Russians), III. 47, 51, 106, 119, 153, 154;
(Scandinavians), III. 79, 87, 89, 95, 99;
(Bohemians), III. 178;
(modern Germans), III. 257ff;
(Wolf), III. 259ff;
(modern French), III. 292f, 309, 311, 328f;
(modern Italian), III. 298ff;
(English), III. 442.

'Art Work of the Future' (The), essay by Wagner, II. 415.

Arteaga, on Stamitz, II. 67.

Artificial sopranos, I. 426;
II. 10, 21, 26, 29.

Artusi, Giovanni Maria, on Monteverdi, I. 337f.

Ashantees, I. 29f.

Asia. See Oriental music.

Asor (Assyrian instrument), I. 65f, 78.

Assyria, I. 65ff;
II. 79, 83ff.

Attaignant, Pierre, I. 286.

Atmospheric school, III. 317ff.

Aubade, I. 207, 218.

Auber, Daniel-François-Esprit, II. 210;
III. 278;
influence on Meyerbeer, II. 20.

Aubert, Louis, III. 363.

Auer (violinist), III. 148.

Augustus the Strong, II. 6, 12, 78.

Aulin, Tor, III. 85.

Aulos (Greek wind-instrument), I. 121ff.

Aurelian, on early church music, I. 145.

Australian aborigines, I. 7, 12;
(dance of), I. 18.

Austrian National Hymn, II. 91.

[d']Auvergne, Peire, I. 211.

Aztecs, music of, I. 44f, 52, 53, 55f.

B

Babylonians (ancient), I. 64ff, 73, 83.

Bach, August Wilhelm, III. 16, 95.

Bach, Bernard, I. 461.

Bach, Carl Philipp Emanuel, I. x, 471, 486;
II. 46, 56, _58ff_, 139.

Bach, Johann Christian, II. 61f;
(influence on Mozart), II. 102.

Bach, Johann Christoph (uncle of J. S. Bach), I. 455.

Bach, Johann Christoph (brother of J. S. Bach), I. 456.

Bach, Johann Michael, I. 455.

Bach, Johann Sebastian, I. ix, 1, lii, 353, 416, 419, _449-491_;
III. vii, 2;
(compared with Händel), I. 419f, 445;
(his use of the ternary form), II. 56;
(in rel. to the song), II. 273;
(modern influence), III. 231, 235, 281.

Bach Society, II. 60.

Bach, Wilhelm Friedemann, I. 461, 468, 471, 483f;
_II. 60f_;
III. vii.

Backer-Grondahl, Agathe, III. 99.

Baini (Abbate), quoted, I. 253.

Baker, Theodore (quoted), I. 37.

Balakireff, III. xii, xiv, xvi, 107f, 109ff, 128, 319;
(and Tchaikovsky), III. 111 (footnote);
(and Rimsky-Korsakoff), III. 124;
(influence), III. 138.

Ballad opera, English, II. 9.
See Beggar's Opera.

Ballard family, I. 287.

Ballata, I. 264.

Ballet (early Italian _intermedii_), I. 327;
(in early Italian opera), I. 336, 382;
(in French and Italian opera), I. 384f;
(source of French opera), I. 402ff;
(Noverre's reforms), II. 13;
(in 19th-century French opera), II. 389ff;
(in modern music), III. 162f, 321, 343, 360, 364.

Ballet-comique de la royne, II. 401ff.

Baltasarini, I. 401ff.

Bamboo drums, I. 16f.

Banchieri, Adriano, I. 279f, _281_.

Bantock, Granville, III. x, xi, xiv, xix, 422, 424, 425.

Barbier (librettist), II. 205, 241.

Barbieri, Mario, III. 340.

Bardi, Giovanni, I. 329ff.

Barcelona, III. 404f.

Barezzi, Margarita, II. 482.

Barezzi, patron of Verdi, II. 48.

Bargiel, Woldemar, III. 14.

Barnett, J. F., III. 91.

Barrie, J. M., III. 432.

Barry, Mme. du, II. 33.

Bartók, Béla, III. xxi, 198.

Bass. See Figured Bass; Ground-bass.

Bass clarinet, II. 341.

Bass drum, II. 342.

Bass voice, Russian, III. 144.

Bassano, I. 327f.

Basso continuo. See Figured bass.

Basso ostinato. See Ground-bass.

Bassoon, II. 340, 341, 343.

Bastille (capture of), II. 213.

Batteaux, on relation of arts, II. 24.

'Battle of the Huns,' II. 367.

'Battle of Vittoria,' II. 352.

Batten, Robert, III. 443.

Baudelaire, II. 418;
III. 293.

Bayreuth, II. 423.

Bax, A. E. T., III. 441.

Bazzini, II. 503 (footnote).

Beaujoyeulx, Baltasar de, I. 401ff.

Beaulieu (Sieur de), I. 401ff.

Beaumarchais, II. 182.

Beccari, I. 328.

Becker, Albert, III. 212.

Becker, Dietrich, I. 373.

Bedouins, I. 28.

Beecham, Godfrey Thomas, III. 422, 424, 443.

Beethoven, Ludwig van, I. xv, li, lix, lv, lvi, lviii, 471, 478, 487;
II. 54f, 115, _128ff_, 227, 228f, 443, 444, 445;
III. xi, 2, 95, 201, 202, 230, 282;
(influence of), III. 230, 281;
(influence on Wagner and Brahms), III. 207.

'Beggar's Opera,' II. 8.

Behrens, Johann D., III. 88.

Belgian school, rise of, I. 234ff.

Bell, W. H., III. 441.

Bellini, Vincenzo, II. 195f.

Belloc, Teresa, II. 185.

Bells, Assyrian, I. 67.

Benda, Franz, II. 7, 58.

Benda, Georg, II. 58, 168;
III. 168.

Bendix, Victor, III. 76.

Bendl, Karl, III. 180.

Benelli (manager of King's Theatre, London), II. 184.

Bennett, W. Sterndale, II. 263 (footnote), 322, 348f;
III. 414.

Bentwa (primitive instrument), I. 31f.

Berger, Wilhelm, III. 209, _211_.

Berlin (Frederick the Great and his composers), II. 58, 78;
(Spontini), II. 198;
(Meyerbeer), II. 203;
(Mendelssohn), II. 261.

Berlin circle (19th cent.), III. 15f.

Berlin Conservatory, III. 15.

Berlin Domchor, III. 15.

Berlin Hochschule für Musik, III. 15.

Berlin Neue Akademie für Tonkunst, III. 15.

Berlin school (18th cent.), II. 51, 57f.

Berlin Singakademie, III. 15.

Berlioz, Hector, I. xvii;
II. _253ff_, _348_, _352ff_, _382ff_;
III. vii, x, xii, 2, 69, 204, 278, 282, 323;
quoted (on Chinese music), I. 48;
on Gluck, II. 29;
on French Revolution, 241.

Berselli (opera singer), I. 434.

Berwald, Franz, III. 78.

Bezzi, Giuseppe, III. 383.

Bianchi, Renzo, III. 383.

Bianchini, Guido, III. 400.

Bible, cited (on Assyrian music), I. 68;
(on musical instruments), I. 70ff.

'Biblical Sonatas' (Kuhnau), I. 416.

Bie, Oskar, quoted, on opera at Stuttgart, II. 13;
on Gluck, II. 17;
on Kreisleriana, II. 308ff;
on Viennese dilettante music, II. 312f;
on effect of Paganini on Liszt, II. 324.

Bihari, III. 188.

Billroth, [Dr.] Theodor, II. 455.

Binary form, I. xxi-f;
_II. 55f_.

Binchois, Giles, I. 244.

Birds, song of, I. 2, 6, 8.

Bis, Hippolyte (librettist), II. 188.

Bizet, Georges, II. 53, _390ff_;
III. 7, 278, 283.

Björnsen, III. 87, 89.

Blaramberg, Paul Ivanovich, III. 135f.

Blech, Leo, III. 249.

Bleichmann, J. I., III. 155.

Bloch, J., III. 196.

Blodek, Wilhelm, III. 180.

Blumenfeld, F., III. 145.

Boccherini, Luigi, II. 67, 68f, 97, _70_;
III. 386;
influence on Mozart, II. 114.

Böcklin, Arnold, III. 152.

Boethius, I. 151.

Bohemia, III. 165;
(political aspects), III. 168.

Bohemian school (modern), III. xv, 166ff.

Bohemianism, III. 349.

Böhm, Georg, I. 451, 457.

Boieldieu, François-Adrien, II. 209;
III. 278.

Boïto, Arrigo, III. 93, _368f_;
Wagner assisted in Italy by, II. 440;
friend of Verdi, II. 478;
librettist for Verdi, II. 493, 500ff;
_Mefistofele_ prod. by, II. 503.

Bologna, Philharmonic Academy of, II. 103.

Bonaparte, Jérome, II. 132.

Bonaparte, Napoléon. See Napoléon.

Bononcini, Giovanni Battista, I. 421, 434ff.

Borchmann, A. von, III. 155.

Bordes, Charles, III. 313.

Bordoni, Faustina. See Hasse.

Born, Bertrand de, I. 211.

Borodine, Alexander, III. ix, xi, xiv, xvi, 38, 107, 109,
_112ff_, 319;
and Liszt, III. 112;
and Moussorgsky, III. 118;
(influence), III. 145.

Börreson, Hakon, III. 76.

Borsdorf, Oskar, III. 441.

Bortniansky, III. 107, 143.

Bossi, Marco Enrico, III. 397.

Boucheron, Raimondo, II. 503 (footnote).

_Bouffes Parisiens_, II. 393.

Bourgeois, Loys, I. 294.

Bourrée, I. 373.

Bowdich, T. A., quoted, I. 31, 32.

Bowen, York, III. 441.

Bowing, style of, in early violin music, I. 369.

Bradsky, Menzel, Theodore, III. 180.

Braganza, Duke of, II. 30.

Brahms, Johannes, I. lvii, 478;
II. 230, 437, _443-469_;
III. x, xii, xiii, 4, 69, 148, 201f, 203, 206f, 222, 258, 413;
(influence), III. 183, 184, 196, 231, 234, 245;
(influence in Italy), III. 387, 395;
(and Bruckner), III. 220f;
(as song writer, compared to Wolf), III. 263f.

Brass instruments, perfection of, II. 117, 340.

Braun, Baron von, II. 161.

Breitkopf and Härtel (music publishers), II. 139, 146, 147;
III. 11.

Brentano, Bettina, II. 139f, 145.

Breton folk-songs, use of, by Ropartz, III. 314.

Breuning, Stephan von, II. 133, 139, 142, 144.

Briard, Étienne, and music printing, I. 286.

Bridge, Frederick, III. 421, 422.

British folk-song. See Folk-song.

Broadwood (pianoforte maker), II. 163.

Brockes, B. H., I. 425, 433, 480.

Brogi, Renato, III. 383.

Bronsart, Hans von, III. 237.

Bronsart, Ingeborg von, III. 237.

Bruch, Max, III. xii, 93, _207f_.

Bruckner, Anton, II. 438;
III. viii, x, xiii, 201f, _219ff_, 227;
influence of, III. 230.

Brüll, Ignaz, III. 256.

Bruneau, Alfred, III. viii, ix, _342ff_.

Brunswick, Countess von, II. 145.

Bücher, Karl, cited, I. 6, 96, 195.

Buck, Percy C., III. 429.

Budapest, III. 191.

Bull, John, I. 306.

Bull, Ole, III. 87, 91.

Bülow, Cosima von. See Wagner, Cosima, II. 422.

Bülow, Hans von, III. 18, 23, 235;
and Wagner, II. 422;
and Brahms, II. 455;
on Verdi's 'Requiem,' II. 498.

Bulwer-Lytton (Wagner's adaptation of Rienzi), II. 406.

Bungert, August, III. viii, 240, 268.

Bürger, II. 223.

Burma, music in, I. 62.

Burney, Charles, quoted, I. 84f;
on 17th century opera, I. 377;
on madrigal by Festa, I. 276;
on relation of music to poetry, II. 27;
on Viennese musical supremacy, II. 50;
on Stamitz, II. 64, 67;
travels of, II. 76 (footnote);
description of Vienna, II. 80ff;
and Haydn, II. 89.

Burton, Frederick R., cited, I. 39.

Bushmen (Australian), dance of, I. 18.

Busnois, Antoine, I. 244, 245.

Busoni, Ferrucio, III. xxi, 275.

Busser, III. 363.

Bussine, Romain, III. 284.

Bustini, Alessandro, III. 383.

Buttykay, A., III. 199.

Buva (Japanese lute), I. 53.

Buxtehude, Dietrich, I. 361, 451, 458, 471, 476.

Buzzola, Antonio, II. 503 (footnote).

Byrd, William, I. 305ff.

Byron, II. 155, 316.

Byzantine influence, I. 143, 146.

C

Caccia, I. 264.

Caccini, Francesca, I. 378.

Caccini, Giulio, I. 329ff, 333ff, 366;
(influence on Gluck), II. 26.

Cadences, I. liv, 229.

Cadenza, Rossini's use of, II. 186.

Cafaro, Pasquale, I. 400;
II. 6.

Caffarelli (sopranist), II. 4.

Cagnoni, Antonio, II. 503 (footnote).

Caldara, Antonio, I. 479.

Calvin, I. 294.

Calzabigi, Ranieri di, II. 18f, 26.

Cammarano (librettist for Verdi), II. 490.

Cambert, Robert, I. 405ff.

Cambodia, music of, I. 57f.

Cambodian scale, modern use of, III. 327.

Camerata, Florentine, I. 329ff.

Campion, Thomas, I. 385.

Camussi, Ezio, III. 383.

Cannabich, Christian, II. 67.

Canon (definition), I. 228;
(early English), I. 237f;
(early use of), I. 242ff, 247ff, 312;
(Bach), I. 474;
(modern 'reincarnation'), III. 282.

Cantata (sacred), I. 302, 387;
(secular), I. 393;
(Händel), I. 420;
(dramatic element in), I. 453;
(Bach), I. 478, 479, 490;
(Porpora), II. 4.

Cantori a liuto, I. 261, 266, 268.

Cantu, Agostino, III. 383.

Cantus firmus (in early church music), I. 312ff;
(Palestrina), I. 320.

Canzona, I. 207, 356f, 363ff.

Canzona da sonar, II. 54.

Canzonetta, II. 69.

Capocci, Filippo, III. 397.

Caribs, music of, I. 6, 8.

Carissimi, Giacomo, I. 386f.

Carlyle, II. 213.

Carré, II. 205.

Carse, A. von Ahn, III. 443.

Caruso, Enrico, III. 374.

Cascia, Giovanni da, I. 263, 266.

Casella, Alfred, III. xxi.

Cassiodorus, cited, I. 135, 148.

Castanets, primitive, I. 14.

Castes, in relation to Egyptian music, I. 76.

Castillon, Alexis de, III. xviii, _212f_.

Castrati. See Artificial sopranos.

Catalani, Angelica, II. 185.

Catharine, Empress of Russia, II. 15, 16, 40;
III. 41.

Catoire, George, III. 154.

Cavalieri, Emilio de', I. 328f, 334ff, 385.

Cavalli, Francesco, I. 346, 380ff, 407;
(and Rossini), II. 181.

Cavedagni (teacher of Rossini), II. 180.

Cavos, C, III. 41.

Celestine I, Pope, I. 143.

Cello. See Violoncello.

Celtic influence on early music, I. 196.

Ceremonies (in rel. to Indian music), I. 33;
(Oriental music), I. 45, 56;
(Hebrew), I. 74f.

Cesti, Marc'Antonio, I. 382f.

Chabrier, Emanuel, III. viii, ix, xviii, 2, 268;
(influence), III. 341.

Chamber music, I. xviii, lviii;
(Bach's period), I. 462ff;
(Schobert), II. 68;
(Viennese period), II. 96ff, 114f, 165f, 167, 170;
(Romantic period), II. 293-333;
(modern Italian), III. 387;
(modern English), III. 442.
See also String Quartet, etc.

Chambonnières, Jacques Champion, I. 375.

Champfleury, II. 418.

Chandos, Duke of, I. 433f.

Chanson, of polyphonic period, I. 207, 230f, 245, 254;
(programmistic), I. 276f;
II. 69.
See also Art Song.

Chant. See Plain-chant.

Chants (Aztec), I. 55;
(Japanese), I. 60;
(exotic religious), I. 66f;
(kitharœdic), I. 132ff, 138;
(early Christian), I. 135ff, 480.

Chanteurs de Saint Gervaise, III. 285.

Characterization (in opera), II. 123, 377;
III. 326;
(in 17th cent. harpsichord music), I. 411f;
(in the song), III. 263f;
(in chamber music), III. 274.

Charles VII, Emperor, II. 64.

Charles X, King of France, II. 188.

Charpentier, Gustave, II. 439;
III. viii, ix, _348ff_.

Charpentier, Marc Antoine, I. 410.

Chateaubriand, II. 184.

Chausson, Ernest, III. viii, ix, xiii, 308.

Che (Chinese instrument), I. 53.

Cherubini, Luigi, II. 40ff.

Chesnikoff, P. G., III. 143.

Chevillard, Camille, III. 285, 363.

China, music in, I. 46ff, 56f;
(instruments), I. 52ff.

Chivalry, I. 215.

Chivalry (Age of). See Troubadours, Trouvères, Minnesinger.

Choirs (early church), I. 140;
(in Lutheran Church), I. 289, 291f;
(antiphonal), I. 299f;
(divided, of St. Mark's, Venice), I. 311.

Choir-training (Bach and), I. 464ff, 470.

Chopin, Frédéric, I. xvi, lvi;
_II. 256ff_, 291, 305, _314ff_;
III. vii, xii, 49;
(influence), III. 157, 332.

Choral Dances, Greek, I. 116, 121.

Choral lyricism (Greek), I. 118f.

Choral ballad, rise of, III. 7.

Choral competitions, III. 434.

Choral music, I. xlviii.
See Chorus; Vocal Music.

Chorale, Protestant (origin), I. 225, 322, 360, 476;
(Bach's), I. 480ff;
(relation to song), II. 273, 274;
(modern 'reincarnation'), III. 282.

Chorale-fantasias (Bach), I. 451, 479.

Chorale-prelude (origin), I. 292, 360f;
(development by Bach), I. 451, 476, 490f.

Chord progressions (in early Italian music), I. 269f;
(in early choral music), I. 300;
(in early Protestant church music), I. 293;
(vs. old polyphony), I. 322;
(in early 17th cent. music), I. 352f;
(in Bach's music), I. 476f, 490.

Chords. See Harmony.

Chorley, Henry Fothergill, on Verdi, II. 485.

Chorus (in early Italian opera), I. 326, 336, 342, 378, 383f;
(in early oratorios), I. 386f;
(of Henry Purcell), I. 390;
(in early French ballet), I. 402f;
(of Lully), I. 408;
(in passion oratorio), I. 425f, 481;
(developed by Händel), I. 438, 441, 447;
(of Bach), I. 473, 482;
(in symphonic music), II. 171;
III. 228f, 341.

Choruses, primitive, I. 17;
ancient (Assyrian), I. 68f;
(Greek), I. 118, 121.

Christian music, conflict with Pagan, I. 188f.

Christianity, music of early era of, I. _129ff_.

Chromaticism, Wagner's use of, II. 433f.

'Chromatic school' (16th cent.), I. 301f.

Chrysander, Friedrich, quoted on Händel, I. 437, 444.

Church, Anglican, III. 410.

Church, Greek. See Church, Russian.

Church, Lutheran, II. 288ff, 479ff.

Church, Roman (suppression of folk-song), I. 202f;
(in rel. to early 17th cent. music), I. 348ff;
(influence on early opera and oratorio), I. 378f.
See also Church music; also Mass.

Church, Russian, III. 108f.

Church modes. See Modes, ecclesiastical.

Church music, I. xii, xlvi, lviii;
(modern), I. liv;
(early), I. 129ff, _133ff_, 187ff, 192;
(development of polyphony), I. _226ff_;
(use of secular melodies), I. 283;
(Renaissance), I. 296f;
(Roman, before Palestrina), I. 312f;
(Palestrina period), I. 313ff;
(Monteverdi), I. 344;
(Bach), I. 452ff, 472;
(German Protestant), I. 478ff;
(Russian), III. 108f, 130, 141ff.
See also Church; Reformation.

Cicognani, Giuseppe, III. 383.

Cilea, Francesco, III. 369.

Cimarosa, Domenico, II. 15.

Clarke, Coningsby, III. 443.

Clarinet, II. 265, 339, 340, 341, 342.

Classicism, definitions of, II. 267.

Classic Period, foundations of, II. 45ff.
See Viennese classics.

Classicism (definition), II. 45;
(modern revival of), III. 5.

Clavecin. See Harpsichord.

Clavicembalo, II. 162.
See also Harpsichord.

Clavichord, I. 462, 485;
II. 162;
(description), II. 294.

Clavichord music. See Harpsichord music; Pianoforte music.

Clavier. See Clavichord; Harpsichord; Pianoforte, etc.

Clavier à lumière. See Light keyboard.

Clefs, metamorphosis of, I. 155.

Clemens, Jacob (Clemens non Papa), I. 304.

Clement of Alexandria, quoted, I. 141.

Clementi, Muzio, II. 106 (footnote), 163.

Coates, Eric, III. 443.

Coccia, Carlo, II. 503 (footnote).

Coda, II. 95.

Coffey, Charles, II. 8f.

Colbran, Isabella, II. 184f.

Coleridge-Taylor, Samuel, III. 437.

Collan, Karl, III. 100.

Colonne, Édouard, II. 439.

'Color,' (in early church music), I. 296;
(in early orchestral music), I. 341f;
(in instrumental works of Haydn and Mozart), II. 118.
See also Local color; Tone color, orchestral.

Color symbolism, III. 158.

Coloratura, II. 26, 390.

Coloristic school (16th cent.), I. 301f.

Combarieu, Jules, quoted, I. 410.

Combined rhythms, I. xlix.

Comedy, Greek, I. 120.

Comedy scenes, in early Roman opera, I. 379f;
in early Venetian opera, I. 382f.

Comic Opera. See Opera buffa; Opéra comique; Singspiel;
Beggars' opera; Operetta; Musical comedy.

Commercialism, I. xxxii.

Concert des amateurs, II. 68.

Concertino, I. 394, 396, 482.

Composition (Schools of). See Schools of Composition.

Concerto (in Bach's period), I. 482;
(Bach), I. 490.
See also Pianoforte concerto, Violin concerto.

Concerto grosso (Corelli), I. 394ff.

Concerts du Conservatoire, III. 278.

Concerts Populaires, III. 278.

Concerts Spirituels, II. 65 (footnote), 68, 104.

Conflict of styles (in classic period), II. 62.

Congregational singing, in Lutheran Church, I. 289, 291f, 386.

Conservatoire de Musique (Paris), II. 42, 44, 254.

Conservatoire Populaire de Mimi Pinson, III. 350.

Conservatories (Berlin), III. 15;
(Cologne), III. 10;
(Leipzig), II. 261; III. 5;
(Naples), II. 7, 8, 11, 197;
(Paris), II. 42, 44, 254.

Conti, Prince, II. 68.

Continuo. See Figured bass.

Contrast, I. xxxviii, xlii;
(in sonata), I. xivf;
(germs of, in primitive music), I. 10;
(in Palestrina's music), I. 310;
(rhythmic, in sonata form), II. 52;
(rhythmic, between movements), II. 54f;
(intro. of principle in musical form), II. 63ff.

Conventions (in musical design), I. xxxv, xxxvii. lii.

Cook, James, I. 16f, 23.

Copenhagen, II. 40;
III. 62.

Coquard, Arthur, II. 471.

Corder, Frederic. III. 421.

Corea (musical instruments), I. 53.

Corelli, Arcangelo, I. 375, _394ff_, 452;
II. 51;
III. 385;
(influence on Händel), II. 446;
(influence on Bach), II. 472.

Cornelius, Peter, II. 380f;
III. viii, 235f, 239, 245.

Cornet à pistons, II. 340, 341.

Corroborie dance, I. 13.

Corsi, Jacopo, I. 329ff.

Cortopassi, Domenico, III. 384.

Costa, P. Mario, III. 401.

Costumes, in early Italian opera, I. 336.

Cotto, Johannes, I. 172f.

Council of Trent, I. 312ff.

Counterpoint, I. xliii, xlvi, 227;
(in early Italian music), I. 269ff, 282f;
(reaction against), I. 311, 330;
(Palestrina), I. 319f;
(Monteverdi's violation of rules), I. 338ff;
(influence of harmony), I. 352ff;
(Mozart), II. 111.
See Polyphonic style.

Couperin, François, I. 398, _410ff_, 485;
II. 60, 351.

Courante, I. 371f.

Courtney, W. L., III. 321.

Coward, Henry, III. 422.

Cowen, Frederic H., III. xiv, 415, _418_.

Crab canon, I. 248.

Cramer, Jean Baptiste, II. 259.

Cremona violins, I. 362.

Crescendo (intro. by Mannheim school), II. 12, 138;
(Jommelli's), II. 65;
(Rossini's), II. 181.

Croatian folk-song, Haydn's use of, II. 98.

Croche, Monsieur (pseudonym), III. 332.

Crotola (Egyptian instrument), I. 82.

Csermák, III. 188.

Cui, César, III. xvi, _131ff_;
(on Scriabine), III. 157.

Cumberland festival (England), III. 434.

Curschmann, Friedrich, III. 19.

Cuscina, Alfredo, III. 384.

Cuzzoni, Francesca, I. 437.

Cycle. See Song Cycle, etc.

Cyclic form. See Sonata.

Czech music, characteristics of, III. 166ff.

Czernohorsky, Bohuslav, II. 19.

Czerny, Carl, on Beethoven's playing, II. 162.

D

_Da capo_ (in aria form), II. 3, 10;
(Gluck), II. 25;
(Haydn), II. 273.

Dale, B. J., III. 442.

Dampers (in the pianoforte), II. 297.

Damrosch, Leopold, III. 237.

Dance music, I. xliv, xlvii, xlviii.
See also Ballet; Suite.

Dance rhythms, III. xv.

Dance song, I. 195f.

Dance tunes (as constituents of the suite), I. 369ff.

Dancing (primitive), I. 11f;
(Peruvian), I. 56;
(Oriental), I. 57ff;
(Egyptian), I. 84;
(Greek choral), I. 116ff, 121;
(mediæval), I. 195;
(Troubadours), I. 208f.
See also Ballet; also Folk-dances.

Dannreuther, Edward, III. 91, 430;
quot., II. 170, 174.

Dante (songs of), I. 260f, 264;
(Liszt's dramatic symphony), II. 259f.

Dargomijsky, Alexander Sergeyevitch, III. ix, xvi, xix, 38, 42,
_46ff_, 107, 121.

Darwin's theory of the origin of music, I. 4f.

Daudet (L'Arlésienne), II. 391.

Davey, Henry, III. 430.

David, Félicien, II. 390;
III. 7.

Davies, James A., cited, I. 40.

Davies, Walford. III. 426.

Day, C. R., cited, I. 49.

Debussy, Claude, I. xviii;
II. 439;
III. ix, xi, xiv, xviii, 250, _318ff_;
(quoted on Bruneau), III. 346;
(on modern French music), III. 333;
(influence of), III. 335, 336, 364;
(and Ravel), III. 341.

Declamation (in French opera), I. 408f;
(in song), III. 260.

Dehmel, Richard, III. 274.

Dehn, Siegfried, III. 16.

Délibes, Léo, II. 389;
III. 7, 278.

Delius, Frederick, III. x, xi, xiv, xix, _424f_.

Denmark (political aspects), III. 61ff, 62;
(folk-song), III. 65;
(modern composers), III. 70ff.

Dent, E. J., III. 431.

Denza, Luigi, III. 401.

Derepas, Gustave, quot. on Franck, II. 472.

Descant, I. 162, 235, 270.
See also Polyphony.

Descriptive color, in early music, I. 276f.

Després, or Desprez. See Josquin.

Devil dances, I. 58.

Diaghileff's Russian ballet, III. 331, 340.

Dialogue, musical. See Recitative.

Diaphony, I. 163ff, 237.

Diatonic scale (used by Egyptians), I. 86.
See Scales.

Dietrich, Albert, III. 14, 257;
(quot. on Brahms), II. 451.

Dietsch, Pierre, III. 291.

Dickinson, Edward, quoted on Beethoven, II. 130.

Dilettanti, Florentine, I. 329ff.

Discant. See Descant.

Dithyrambs, I. 119f.

Dittersdorf, Carl Ditters von, II. 2, 49, 63, 67, 71, 94, 114.

Doles, Johann Friedrich, II. 107.

Domchor, Berlin, III. 15.

Dohnányi, Ernst von, III. 195f.

Doni Giovanni Battista, quoted, I. 335.

Donizetti, Gaetano, II. 187, _192ff_.

Dorian mode, I. 100, 103, 113, 136.

Dorian school (of Greek composition), I. 117.

Dostoievsky, III. 40, 108.

Double-bass, II. 338.

Double-bassoon, I. 446;
II. 96, 341.

Double choir. See Choir (divided).

Double-stopping, in early violin music, I. 368.

Dowland, John, I. 306.

Draeseke, Felix, III. 235, 241.

Drama (Greek), I. 118ff, 329f;
(English, 17th cent.), I. 430;
(German, 18th cent.), II. 80f.
See Opera; Oratorio.

Dramatic element (in early madrigals), I. 277f, 281;
(in sacred music), I. 321f;
(in 17th cent. opera), I. 380ff, 384f;
(in 18th cent. opera), I. 428;
(in Händel's operas), I. 429, 435;
(in early oratorio), I. 386;
(in passion oratorio), I. 425, 480.

Drame lyrique, II. 209f, 390.
See Opera, French.

Dresden (early opera in), I. 384,416;
(in Hasse's period), II. 5, 78;
(Wagner), II. 406.

Drums (primitive), I. 15ff;
(Indian), I. 35;
(Aztec), I. 52;
(Assyrian), I. 67;
(Hebraic), I. 73f;
(modern), II. 265, 341.
See also Percussion, instruments of.

Drum-stick, II. 341.

_Du Schwert an meiner Linken_, II. 234.

Dubarry, Jeanne. See Barry, Mme. du.

Dubois, Théodore, III. 336.

Duchesne, cited, I. 146.

Ducis, Benedictus, I. 297.

Dudevant, Madame. See Sand, George.

Dudy (Czech instrument), III. 166.

Duet (in early passion oratorio), I. 425;
(in Italian opera), I. 427f.

Dufay, Guillaume, I. 235f, _240ff_.

Dukas, Paul, III. viii, ix, x, xi, xiv, xviii, 321, 334, _357ff_.

Dulcimer, Assyrian, I. 66.

Dumas, Alexandre, _fils_, (_Dame aux Camélias_), II. 492.

Dumka (Czech dance), III. 166.

Dunhill, T. F., III. 442.

Duni, E. R., II. 24, 122.

Dunstable, John, I. 236, 239ff;
III. 409.

Duparc, Henri, III. x, xviii, 287, _311_.

Duple rhythm (in early church music), I. 229.

Durante, Francesco, I. 400f;
II. 8, 11, 14.

Durazza, II. 31.

Durchkomponiertes Lied, II. 274, 280.

Dürnitz, Count von, II. 114.

Dussek, J. L., II. 90;
III. 165, 166.

Dvořák, Antonín, II. 455;
III. xiv, xv, 74, 165, 166, _175ff_, 181;
(influence of), III. 183, 184;
(influence in England), III. 437.

E

Ecclesiastical modes. See Modes, ecclesiastical.

Ecclesiastical music. See Church music.

Eckhardt, J. Gottfried, II. 67, 102.

Eclecticism, III. viii, xxii;
(in France), III. 25ff;
(in Russia), III. 146ff.

École de musique réligieuse, III. 279.

Egypt, music in, I. 65, 76ff;
(influence on Greece), I. 86;
(compared to Assyrian), I. 78, 82ff.

Egyptian Flutes, I. 26.

Ehlert, Louis, III. 20.

Eist, Diet von, I. 218.

Elgar, [Sir] Edward, II. 440;
III. x, xi, xiv, xviii, 415, _419_.

Elling, Cath., III. 98.

Eloy, I. 244.

El'ud (Arabian instrument), I. 54.

Emotion, I. xxxiv, xliv, li, ixi;
(primitive, as the cause of music), I. 5;
(musical expression of, by Monteverdi), I. 345.

Empiricists (school of Greek composition), I. 109.

Engel, Carl, quoted, I. 13, 16, 70, 80.

England (folk-song), I. xliii; III. 422f;
(minstrelsy), I. 200f;
(polyphonic period), I. 237ff, 257;
(Reformation), I. 295;
(16th-17th cent.), I. 305f, 369ff;
(17th cent. masque and opera), I. 385;
(Purcell's period), I. 388ff;
(18th cent.), I. 430ff;
(modern), III. x, xviii, 409ff.

English horn, II. 341.

English language (use of, in opera), I. 438.

English Musical Renaissance (The), III. 409-444.

English oratorio. See Oratorio (Händel).

'English suites,' of Bach, I. 490.

Enna, August, III. 73f.

Ensemble, operatic, II. 10;
(development by Mozart), II. 179.

Epic, mediæval, I. 168ff, 190ff.

Ephorus, cited, I. 95.

Epringerie, I. 208.

Equal temperament, I. 483, 485ff.

Equilibrium (in art), I. xxxv.

Érard, Sébastien, II. 163, 198.

Erkel, Franz, III. 190.

Ernst, Wilhelm, I. 460.

Eskimos, I. 11.

Esposito, E., III. 155.

Estampida, I. 208f.

Esterhazy, Princes Anton and Nicolaus, II. 87.

Etruscans, I. 131.

Eumolpos, I. 111.

Euripides, I. 120.

Eusebius, bishop of Cesarea, I. 139f.

Exotic music, I. 42-63.

Exoticism, in modern music, II. 42f, 389f;
III. 199, 269, 279, 327.

Expression (vs. organization), I. xxxiv;
(in early church music), I. 242;
(in polyphonic period), I. 245.

Expressive style, in early Italian opera, I. 330ff, 335.

F

Fabo, III. 200.

Fagge, Arthur, III. 422.

Fanelli, Ernest, III. 361.

Farinelli, I. 436f, 398;
II. 4, 185.

Farkas, III. 200.

Fasch, Johann Friedrich, II. 7, 8, 52, 56.

Fauré, Gabriel, III. ix, xiv, xviii, 2, 268, 285, 287, _291ff_, 325;
(influence of), III. 336, 341.

Faustina. See Hasse, Faustina.

Faux-bourdon, I. 235, 266.

Favart, II. 24, 31.

Feo, Francesco, I. 400f;
II. 6, 8, 11.

Feodor, Czar, III. 40.

Ferdinand, King of Naples and Sicily, II. 15, 197.

Ferrara (opera in), I. 327, 328.

Ferrata, Giuseppe, III. 397, 398.

Festa, Constanzo, works of, I. 273ff, 303f.

Festivals. See Music festivals.

Fétis, F. J., cited, I. 86f, 263.

Fibich, Zdenko, III. 181ff.

Field, John, II. 258.

Fielitz, Alexander von, III. 20.

Figuration (in Chopin's music), II. 321.

Figured Bass (origin), I. 353ff;
(in early violin music), I. 368;
(Corelli), I. 375;
(in monody), II. 51;
(Stamitz), II. 12, 65ff;
(Haydn), II. 95.

Filtz, Anton, II. 67.

Finale (operatic), II. 10, 179;
(sonata), II. 54.

Finck, Heinrich, I. 304.

Fingering. See Keyboard Instruments.

Finland (political aspects), III. 61ff;
(folk-music), III. 66ff;
(modern composers), I. 100ff.

Flat (origin of), I. 156.

Flemish school, rise of, I. 234.

Floridia, Pietro, III. 392.

Florence (ars nova), I. 230, 263ff;
(national festival), I. 324f;
(early opera), I. 326, 330ff, 379.

Florentine camerata, I. 329ff.

Florimo, Franc., quoted, II. 16.

Flotow, Friedrich von, II. 380.

Flute (in early Germany), I. 198;
(in early Italian opera), I. 333;
(in Händel's orchestra), I. 424;
(modern), II. 117, 265, 335, 337ff, 341.

Flutes, primitive, I. 22ff;
(Indian), I. 36;
exotic, I. 54;
(in Mohammedan funeral services), I. 62;
ancient (Egyptian), I. 80f, 84;
(Greek), I. 121ff.

Flutists (Greek), I. 112.

Foerster, Christoph, II. 7.

Fokine, M., III. 340.

Folk-dances, III. 39;
(Bohemian), III. 166f.
See also Dancing.

Folk-lore, II. 223.

Folk-music, I. xli, xlii-ff;
(Swedish), III. 65;
(Italian), III. 390f, 391;
(negro), III. 179;
(Spanish), III. 404f.
See also Folk-songs; Primitive music; Exotic music.

Folk-poetry, III. 61.

Folk-songs, I. xxxviii;
(in Middle Ages) _I. 186ff_;
(definition), I. 191ff;
(early French), I. 192ff;
(early German, etc.), I. 195ff;
(early English), I. 237f;
(used in the Mass), I. 242;
(Haydn's use of), II. 98;
(Schubert's use of), II. 273;
(Smetana's use of), III. 171ff;
(in rel. to art-song), II. 274;
(general), III. xv, xvi, 39, 61;
(Danish), III. 65;
(Norwegian), III. 66;
(Finnish), III. 66ff;
(Grieg's use of), III. 68;
(Swedish), III. 79;
(Russian), III. 139;
(Bohemian), III. 167;
(Magyar), III. 186;
(Hungarian), III. 198ff;
(Breton), III. 314;
(Italian), III. 391;
(British), III. 422f, 434, 437;
(Irish), III. 423.

Follino, quoted, I. 343.

Fontana, Giovanni Battista, I. 368.

Ford, Ernest, III. 430, 432.

Forkel, Nikolaus (opposition to Gluck), II. 31.

Form, I. xxiv-ff, xxxviii, lviii, 264, 350-376, 450;
II. 53ff;
III. 202f;
(conflict with matter), III. 206.
See also Aria, Canzona; Sonata; Song form; Symphonic form, etc.

Fortunatus, I. 136f.

Four-movement form. See Symphonic form.

France (folk-song), I. xliii, xliv, 191ff;
(primitive instruments), I. 24f;
(mediæval minstrelsy), I. 202ff;
(Troubadours, etc.), I. 204ff;
(polyphonic period), I. 228ff, 242f, 266;
(Reformation), I. 294;
(17th cent. harpsichord music), I. 374ff;
(17th century opera and ballet), I. 384, 401ff;
(opera after Lully), I. 413f;
(18th cent.), II. 23;
(early 19th cent.), II. 199ff;
(Romantic period), II. 241f, 253ff, 350ff, 385ff, 469ff;
III. 7;
(modern), III. ix, xvii, 277ff, 317-365;
(modern, influence on Spain), III. 406.

Franchetti, Alberto, III. 369, 392.

Francis I of Austria, II. 27.

Francis II of Austria, II. 91.

Franck, César, I. 478;
II. 439, _469ff_, 471f;
III. xi, xii, xiv, xviii, 205, 279, 281f;
(the followers of), III. 277ff;
(pupils of, enumerated by d'Indy), III. 296;
(influence of), III. 301, 314;
(and Debussy), III. 319.

Francke, Kuno, quoted, II. 48.

Franco-Prussian war, III. 284.

Franz, Robert, II. 289ff;
III. 18, 257.

Frauenlob (minnesinger), I. 220, 222.

Frederick the Great, I. 468f;
II. 31, 48, 50, 58, 70, 78, 107, 204, 277.

Frederick William III of Prussia, II. 198.

Frederick William IV of Prussia, II. 261.

Fredkulla, M. A., III. 88.

Freemasons, II. 76.

_Freischützbuch_ (_Das_), II. 375.

French Revolution. See Revolutions (French).

French schools, etc. See France.

Frescobaldi, Girolamo, I. 358ff;
III. 385.

Friskin, James, III. 442.

Froberger, John Jacob, I. 359f, 376.

Frontini, III. 394.

Frottola (the), I. 271, 326.

Fugue, I. xiii, xxxix, xli, lii;
(Dufay), I. 236;
(Sweelinck), I. 359;
(before Bach), I. 451, 476;
(Bach), I. 469, 473ff, 487, 489ff;
(after Bach), I. 478;
(modern), III. 282.

Fulda, Adam von, I. 304.

Fuller, Loie, III. 364.

Fuller-Maitland. See Maitland, J. A. Fuller.

Fumagalli, Polibio, III. 397.

Fürnberg (von), II. 86.

Furiant (Czech dance), III. 166.

Futurists, Italian, III. 392f.

Fux, Johann Joseph, I. 416;
II. 62.

Fyffe, quoted, II. 232, 237ff.

G

Gabrieli, Andrea, I. 330, 356.

Gabrieli, Giovanni, I. 356.

Gade, Niels W., II. 263, 347;
III. 69, 72, 92.

Gagliano, Marco da, I. 335, 378;
(quoted), I. 333.

Galeotti, Cesare, III. 397.

Galilei, Vincenzo, I. 329f.

Galliard (the), I. 371f, 375.

Gallo-Belgian school, I. 234ff.

Galuppi, Baldassare, II. 15, 179.

Garcia, Manuel, II. 185.

Gardiner, Balfour, III. 422.

Garibaldi Hymn, II. 504.

Gassmann, F. L., II. 62.

Gaultier, Denys, I. 374f.

Gavotte (the), I. 372.

_Gazette Musicale de Paris_, II. 247.

Geisha dance, I. 58f.

_Geistliche Lieder_ (Bach), II. 273.

Gelinek, Joseph, II. 161f.

Gellert, II. 49, 275.

Geminiani, Francesco, II. 51.

Generative theme, III. 282, 302, 314.

'Genre,' musical. See Miniature.

Genre symphony, III. 7.

George IV of England, II. 184.

Gerbert, Martin, I. 142;
II. 67.

German, Edward, III. 425, _426_, 432.

German influence (on Jommelli), II. 12;
(in English music), III. 413f.

'German Requiem' (Brahms), II. 455.

Germany (folk-song), I. xliii, 195ff;
(mediæval minstrelsy), I. 200ff;
(minnesingers), I. 214ff;
(Reformation), I. 288ff;
(15th-16th cent.), I. 304f;
(organ music, 16th-17th cent.), I. 359ff;
(instrumental music, 17th cent.), I. 371ff;
(harpsichord music, 17th cent.), I. 374ff;
(opera, oratorio, etc., 17th cent.), I. 384, 387;
(later 17th cent.), I. 414ff;
(opera, 18th cent.), I. 421ff;
(Bach), I. 448ff;
(reaction against Italian opera), II. 9;
(supremacy over Italy), II. 46;
(18th century, social and religious aspects), II. 48ff, 76ff;
(early classic period), II. 50ff;
(Viennese period), II. 75ff;
(Beethoven), II. 128ff;
(Romantic movement), II. 213ff;
(19th cent. national reawakening), II. 231ff;
(devel. of the _lied_), II. 269ff;
(pianoforte music, 19th cent.), II. 299ff;
(Romantic chamber music), II. 328;
(Romantic orchestral music), II. 343ff, 361ff;
(Romantic opera), II. 372ff;
(choral music of Rom. period), II. 394ff;
(Wagner), II. 401ff;
(neo-Romanticism), II. 443ff;
III. 1ff;
(modern symphonists), III. viii, 201ff;
(modern opera), III. 238ff;
(modern song), III. 257ff;
(the ultra-moderns), III. 268ff.

Gernsheim, Friedrich, III. 209f.

Gesellschaft der Musikfreunde, II. 134.

Gesualdo, Carlo, I. 276.

Gevaert, F. A., quoted, I. 131, 135, 140, 144, 146f.

Gewandhaus (Leipzig), II. 261;
III. 5.

Giammaria (lutenist), I. 328.

Gibbons, Orlando, I. xlvii, 306.

Gigue (the), I. 371f, 375.

Gilman, Benjamin Ives, cited, I. 14, 40.

Gill, Allen, III. 422.

Giordano, Umberto, III. 369, 377.

Giorgione, I. 327.

Gipsies. See Gypsies.

Glazounoff, Alexander Constantinovitch, III. x, xi, xii,
xiv, xvii, _137ff_.

Glière, Reinhold, III. xvii, 146, 150f.

Glinka, III. xvi, 38, 39, _42ff_, 107, 134.

Gluck, Christoph Willibald, II. 8, _17ff_;
(quoted), II. 208.

Gnecchi, Vittorio, III. 382.

Gobbi, III. 200.

Godard, Benjamin, III. 35f, 283.

Goethe, II. 49, 134, 140, 223, 232, 283;
III. 61, 267, 358.

Goetz. See Götz.

Gogol, III. 39, 108, 123, 136, 138.

Golden Spur, Order of, II. 23, 71, 103.

Goldicke, A., III. 155.

Goldmark, Karl, II. 455;
III. viii, x, 102, _241f_.

Goldschmidt, Adalbert, III. 241.

Golpin, F. W., III. 430.

Gombert, Nicolas, I. 296f.

Gomez, Carlo, III. 408.

Goodhart, A. M., III. 442.

Goosens, Eugène, Jr., III. 441.

Gossec, François Joseph, II. 41, 65, _68_, 106.

Götz, Hermann, III. viii, 209, 239, _245f_.

Goudimel, Claude, I. 294f.

Gounod, Charles, II. 207, _386ff_, 438;
III. 7, 278.

Goura (African instrument), I. 28.

Grädener, Karl, III. 14.

Granados, Enrico, III. 406.

Grandmougin, Charles, III. 293.

Grammann, III. 256.

Graun, Joh. Gottlieb, II. 58.

Graun, Karl Heinrich, I. 416;
II. 58.

Gray, Alan, III. 442.

Greco, II. 8.

Greece (Ancient), music of, I. 84ff, _88-127_;
(influence on Roman and early Christian music), I. 131ff, 136,
138, 151ff, 160, 165;
(influence in Italian renaissance), I. 329, 330, 332, 346.

Greek modes and scales. See Modes, Scales, Tetrachords.

Greene, Maurice, I. 432.

Greene, Plunket, III. 443.

Gregorian tones. See Plain-song.

Gregorian tradition, I. 145f.

Gregory I, Pope, I. 144ff, 151, 156.

Grell, Eduard August, III. 16.

Gretchaninoff, Alexander, III. 128, 143, _144f_.

Grétry, André E. M., II. 25, 41, 106.

Griboiedoff, III. 108.

Grieg, Edvard, II. 440;
III. xiv, xv, xvi, 64, 68, 69, 70, 77, _89ff_, 96;
(quoted on Hartmann), III. 72;
(influence of), III. 99, 332.

Grillo, Giovanni Battista, I. 364f.

Grillparzer, II. 134;
III. 190.

Grimm, [Baron] Melchior, II. 24, 31, 102 (footnote).

Grimaldi, Niccolini, I. 432.

Grisar, Albert, II. 211.

Grisi, Giulia, II. 193.

Ground-bass, I. 367.

Grove, [Sir] George (citations, etc.), I. 313;
II. 143, 150, 157, 162, 166, 168f, 344.

Grove's Dictionary of Music and Musicians, III. 430.

Grovlez, Gabriel, III. 407.

Guarneri family, I. 362.

Guecco, II. 187.

_Guerre des bouffons_, I. 414f;
II. 24, 35.

Guglielmi, Pietro, II. 14.

Guicciardi, [Countess] Giulia, II. 141, 145.

Guidicioni, Laura, I. 328.

Guido d'Arezzo, I. 167ff.

Guidonian Hand, I. 171.

Guillaume (the troubadour), I. 205.

Guilmant, Alexandre, III. 36, 285.

Gui, Vittorio, III. 400.

Guy, Abbott of Chalis, I. 174f.

Gypsies, II. 250, 322;
III. 187, 319.

H

Haarklou, Johannes, III. 98.

Hadow, W. H., II. 98;
III. 430;
quoted (on Paësiello), II. 15;
(on Sarti), II. 40;
(on Bach's influence), II. 59;
(on musical patronage), II. 88;
(on Mozart's 'Paris symphony'), II. 104;
(on development of art forms), II. 110;
(on difference betw. Haydn and Mozart), II. 112;
(on Mozart's concertos), II. 115;
(on Schubert), II. 227.

Hägg, J. Adolph, III. 79.

Häle, Adam de la. See Adam.

Halévy, Jacques Fromental E., II. 207.

Halévy, Ludovic, II. 393.

Halle a.d. Saale, I. 360, 419ff, 422f, 463;
II. 289.

Hallé, Sir Charles, III. 411.

Hallén, Andreas, III. 80f.

Halsley, Ernest, III. 442.

Hallström, Ivan, III. 79.

Halvorsen, Johann, III. 98.

Hamburg (17th century opera), I. 384, 414f, 422ff;
(Brahms), II. 454.

Hamerik, Asger, III. 73, _74f_.

Hammer-clavier. See Pianoforte.

Hammerschmidt, Andreas, I. 387.

Han, Ulrich, I. 285.

Hand-Clapping, I. 14, 69, 83.

Händel, George Frederick, I. 387, 393f, 397, 416f, _418ff_, 463;
II. 8, 56;
III. 410.

Hanslick, Eduard, II. 436;
(quoted, on Grieg), II. 440.

Harmonic alteration of melodies, I. xlix.

Harmonic style, I. xlvii.
See also Monody.

Harmony, I. xxxix, xl, xlix, l, 43;
(traces of, in primitive music), I. 16, 18ff;
(Oriental meaning of the term), I. 48;
(supposed traces of, in ancient music), I. 69, 88, 97;
(Greek use of the term), I. 90;
(harmonic foundation of early folk-songs), I. 198;
(mediæval beginnings) _I. 160ff_;
(13th cent. example), I. 237;
(15th cent.), I. 269ff;
(16th cent.), I. 293f;
(musica ficta), I. 301f;
(Palestrina), I. 320, 322;
(Monteverdi, chromaticism), I. 341;
(development in 17th cent.), I. 352ff;
(German and English instrumentalists), I. 371f;
(Purcell), I. 389;
(A. Scarlatti), I. 393;
(Lully), I. 409;
(Rameau), I. 414;
(Händel), I. 441;
(Bach), I. 475ff, 487, 489ff;
(influence on form), I. 51ff;
(Haydn and Mozart), II. 111f;
(Beethoven), I. 167;
(Schubert), I. 227;
(Schumann), II. 285, 286, 307;
(influence of the pianoforte), II. 298;
(Chopin), II. 320f;
(Liszt), II. 324f;
(Wagner), II. 433ff;
(Brahms), II. 463;
(Franck), II. 471;
(modern innovations), III. 155ff, 164, 198, 272, 275f, 290,
295, 325.

Harps (African), I. 29;
(Assyrian), I. 66;
(Egyptian), I. 78ff;
(Greek), I. 85, 125;
(modern), II. 341.

Harpsichord (or clavier, in early opera), I. 333;
(in the operatic orchestra), I. 424;
(as _basso continuo_), I. 354;
(description), II. 60, 373ff;
II. 294.

Harpsichord music (early English), I. 306, 369;
(Chambonnières), I. 375;
(Froberger), I. 376;
(Purcell), I. 390;
(Domenico Scarlatti), I. 398f;
(Couperin), I. 411f;
(Händel), I. 445;
(Bach), I. 471f.
See also Pianoforte music.

Harpsichord playing, I. 375;
(J. S. Bach's), I. 461, 489;
(improved systems of fingering), I. 484ff;
(C. P. E. Bach's), II. 59.

Hartmann, Georges, III. 320.

Hartmann, J. P. E., II. 347;
III. 71f, 73.

Hasse, Faustina (Bordoni), I. 416, 437;
II. 5ff.

Hasse, Joh. Adolph, I. 416, 427;
_II. 5ff_, 31.

Hauschka (author of Austrian national hymn), II. 91.

Hausegger, Siegmund von, III. 270.

Hawaiian Islands, I. 22f.

Hawley, Stanley, III. 441.

Haydn, Joseph, II. 49 (footnote), 55, 57, 68f, _83ff_;
(and Mozart), II. 105ff, 114, 115, 116;
(and Beethoven), II. 138;
(as song composer), II. 273.

Haydn, Michael, II. 73ff;
(influence on Mozart), II. 102.

Health, in relation to music, I. 90ff.

Hebbel, II. 380.

Hebrews (ancient), I. 70ff.

Heidegger, I. 437.

Heiligenstadt testament (Beethoven's), II. 136, 158, 159,
(illus. facing p. 158).

Heine, Heinrich, II. 224, 249, 288f.

Heinrich von Meissen. See Frauenlob.

Heise, Peter A., III. 73.

Helen, Grand Duchess of Russia, III. 49.

Helgaire, quoted, I. 189.

Heller, André, III. 321.

Heller, Stephen, II. 322;
III. 17.

Hemiolia, II. 461.

Henderson, W. J., quoted, I. 326;
II. 276, 282.

Henschel, Georg, III. 212.

Henselt, Adolf, II. 322;
III. 17.

Heptatonic scale, I. 46ff.

Herbeck, Johann, III. 212.

Herder, III. 61.

Hérold, L. J. F., II. 207, 211.

Herz, Henri, III. 18.

Hertzen, III. 108.

Herzogenberg, Heinrich von, III. 209, _210_.

Hesiod, I. 92.

Hexachordal system, I. 167ff.

Heyden, Sebald, cited, I. 240.

Hierocles, quoted, I. 90, 109.

Hilarius, I. 142.

Hildburghausen, Prince Joseph of, II. 71 (footnote).

Hill, Aaron, I. 431, 438f.

Hiller, Ferdinand, II. 263 (footnote);
_III. 9_, 256.

Hiller, Johann Adam, II. 8, 191.

Himmel, Friedrich Heinrich, II. 152, 162.

Hindoos, I. 47ff, 59ff.

Hinton, Arthur, III. 427.

History. See Musical History.

Hobrecht, Jacob, I. 248, 251.

Hoffmann, E. T. A., II. 308ff, 379.

Hoffmann, Leopold, II. 63.

Hoffmeister (publisher), II. 109.

Hofmann, Heinrich, III. 20, 212, 257.

Holbrooke, Joseph, III. viii, ix, x, xi, xix, 438.

Holmès, Augusta, III. 296.

Holstein, Franz von, III. 256.

Holtzbauer, Ignaz, II. 67.

Homer, I. 92.

Homophonic style, I. xiii. See also Monody.

Homophony (in Greek music), I. 161;
(and monody), I. 259.
See also Monody.

Honauer, Leonti, II. 102.

Hopi Indians, I. 38f.

Horns (primitive), I. 21;
(in mediæval Germany), I. 198, 218;
(in the classic orchestra), II. 65, 117, 335;
(in the Romantic period), II. 337ff;
(modern), II. 117, 265, 335, 337, 338, 340, 341;
(valve-horn), II. 340.

Hřimaly, Adalbert, III. 180.

Hubay, Jenő, III. 190, _194f_.

Huber, Hans, III. 212.

Hucbald, I. 162ff.

Hughes, Rupert (quot.), II. 331.

Hugo, Victor, II. 244, 486.

Hullah, John (quoted), I. 256.

Hummel, Johann Nepomuk, II. 259, 321.

Humor (in early polyphonic music), I. 254;
(in opera), see Opera buffa.

Humperdinck, Engelbert, II. 437;
III. viii, x, 238, 245, _247_, 267f.

Humfrey, Pelham, I. 385.

Huneker, James (quot.), II. 501.