CONTENTS.

PAGE.

LIST OF ILLUSTRATIONS4

CHRONOLOGICAL CHART OF GREATEST COMPOSERS11

CHRONOLOGICAL CHART OF ITALIAN COMPOSERS12

CHRONOLOGICAL CHART OF PRINCIPAL GERMAN COMPOSERS13

CHRONOLOGICAL CHART OF PIANISTS AND COMPOSERS FOR PIANO14

INTRODUCTION15-23

Music defined — general idea of musical progress — conditions of fine art — qualities of satisfactory art-forms — periods in musical history — difference between ancient and modern music.

BOOK FIRST — MUSIC OF THE ANCIENT WORLD.

CHAPTER I — MUSIC AMONG THE ANCIENT EGYPTIANS27-39

Sources of information — antiquity of their development — instruments — uses of music — their ideas about music and education — "Song of the Harper" — kindergarten.

CHAPTER II — MUSIC AMONG THE HEBREWS AND ASSYRIANS40-47

Music among the Hebrews — Jubal — kinnor — ugabh — musicians in the temple service — psaltery — flute — larger harp — Miriam — liturgy of the temple — musical ideal in Hebrew mind — music among the Assyrians — types of instruments.

CHAPTER III — MUSIC AMONG THE ANCIENT GREEKS48-69

Importance of this development — extent of the time — date of Homeric poems — epoch of Æschylus — extracts from Homer — Hesiod — patriotic applications of music — choral song — festivals — lyric drama — début of Æschylus, Sophocles and Euripides — nature of the classic drama — orchestic — Socrates — Aristoxenus — problems of Aristotle — Greek theory of music — Pythagoras and ratios of simple consonances — devotional use of music — Greek scales — Claudius Ptolemy — Didymus — the lyre and cithara — magadis — flute — æsthetic importance — Plato on the noble harmonies — loyalty to the true — Greek musical alphabet — notation — Ode from Pindar.

CHAPTER IV — MUSIC IN INDIA, CHINA AND JAPAN70-77

Early beginning — use of the bow — national instruments — the vina — theory — ravanastron — music exclusively melodic — saying of the Emperor Tschun — the ke — Japanese ko-ko.

BOOK SECOND — APPRENTICE PERIOD OF MODERN MUSIC

CHAPTER V — THE TRANSFORMATION AND ITS CAUSES81-86

General view of the transformation to modern music — causes co-operating — difference between ancient and modern music — harmony and tonality — consonance and dissonance — three steps in the development of harmonic perceptions — when were these steps taken? — tonality defined — growth of tonal perception — unconscious perception of implied or associated tones.

CHAPTER VI — THE MINSTRELS OF THE NORTH87-108

Importance of Celtic development of minstrelsy — origin of the Celts — the minstrel — old Breton song — the druids — classification of bards — degrees — Fétis on the Welsh minstrel — "Triads of the Isle of Britain" — old harp music — "The Two Lovers" — Gerald Barry on the Welsh — old Welsh song — the Irish — Sir Brian Boirohen's harp — English and Saxon music — King Arthur as minstrel — organ at Winchester — Scandinavian scalds — Eddas — "Sumer is Icumen in" — Anglo-Saxon harp — source of the harp in Britain — the crwth — melody in pentatonic scale.

CHAPTER VII — THE ARABS, OR SARACENS109-114

The Arab apparition in history — their taste for poetry — competitive contests of poetry and song — encouragement of literature — rebec — eoud — santir.

CHAPTER VIII — ORIGIN OF THE GREAT FRENCH EPICS115-120

Period of the Chansons de Geste — social conditions of France as given by M. Léon Gautier — "Cantilena of St. Eulalie" — subjects of the Chansons de Geste.

CHAPTER IX — TROUBADOURS, TROUVÈRES AND MINNESINGERS121-127

The troubadours — Count Wilhelm — varieties of their songs — melody from Thibaut — Adam de la Halle — "Story of Antioch" — "Song of Roland" — minnesinger Reinmar — Heinrich Frauenlob — minstrel harps — Hans Sachs — influence of these minstrel guilds.

CHAPTER X — INFLUENCE OF THE CHRISTIAN CHURCH128-133

Church not influential in the development of music as such — nature of the early Christian hymns — St. Ambrose — the Ambrosian scales — corruptions elsewhere — St. Gregory and his reforms — the Gregorian tones — many later reforms — limitations of these reforms — incidental influence of the Church through her great cathedrals.

CHAPTER XI — MUSICAL DIDACTIC FROM THE FIFTH TO FOURTEENTH CENTURY134-147

Macrobus — Martinus Capella — Boethius — Cassiodorus — Bishop Isidore — Venerable Bede — Aurelian — Rémi of Auxerre — Hucbald — examples — instruments of music during the seventh and eighth centuries — Odon of Cluny — Guido of Arezzo — staff — Franco of Cologne — Franco of Paris.

CHAPTER XII — THE RISE OF POLYPHONY; OLD FRENCH AND GALLO-BELGIC SCHOOLS148-159

Origin and meaning of polyphony — monodic and homophonic — canonic imitation — chords as incidents — variety and unity — early French school — Coussemaker's researches — Léonin — descant — Pérotin — names of pieces — Robert of Sabillon — Pierre de la Croix — Jean of Garland — Franco of Paris — Jean de Muris — fleurettes — John Cotton — Machaut — Gallo-Belgic school — Dufay — Hans de Zeelandia — Antoine de Busnois.

CHAPTER XIII — SCHOOLS OF THE NETHERLANDS160-167

Wealth of the Low Countries — freedom of the communes — strength of the burgher class — period of these schools — table of periods and masters — Okeghem — Tinctor — Josquin — his popularity — Arkadelt — Gombert — Willaert — Goudimel — Cypriano de Rore — Orlando de Lassus — his Munich school — his genius.

CHAPTER XIV — POLYPHONIC SCHOOLS OF ITALY — PALESTRINA168-178

Prosperity of Italy in fifteenth century — great cathedrals and public works — conservatories founded at Naples — Willaert at St. Mark's, Venice — Zarlino — his reforms in theory — Cypriano de Rore — Goudimel — Palestrina — the council of Trent — Palestrina's music — Martin Luther.

CHAPTER XV — CHANGES IN MUSICAL NOTATION179-188

General direction of musical progress toward classification and the establishment of unities of various kinds — early letter notation of the Greeks and Romans — Roman notation as used by Guido of Arezzo — neumæ — with lines — additional lines — "Lament for Charlemagne" — notation employed by the French Trouvères — clefs — new staff proposed by an American reformer.

CHAPTER XVI — MUSICAL INSTRUMENTS — THE VIOLIN AND ORGAN189-207

Progress in tonal perceptions — influence of harp and lute — description of the latter — system of stringing — locating the frets — the violin — bow discovered in India — early forms of bowed instruments — rebec — barytone — viol da Gamba — Amati — Stradivari — peculiarities of his instruments — Maggini — Stainer — antiquity of the organ — early forms — organ sent Charlemagne — organs at Munich — Malmesbury Abbey — measure of organ pipes — portable organ — clumsiness of the old keyboards — the organ in 1500 A.D.

BOOK THIRD — THE DAWN OF MODERN MUSIC.

CHAPTER XVII — CONDITION OF MUSIC AT BEGINNING OF EIGHTEENTH CENTURY211-220

Justification of the name "apprentice period" — office of domestic musicians in England in the reign of Elizabeth — great fondness for music everywhere — casual influence of counterpoint in educating harmonic sense — madrigal — multiplicity of collections of this kind — absurd use of madrigals for dramatic monody — the work of the seventeenth century, free melodic expression — the new problem of the musical drama — the representative principle in music — music last of the arts — Florence and Venice the centers — statistics of books published from 1470 to 1500.

CHAPTER XVIII — FIRST CENTURY OF ITALIAN OPERA AND DRAMATIC SONG221-234

Circle of the Literati in Florence — Galilei and his monody — Peri's "Dafne" — Schütz's setting of the same — Peri's "Eurydice" — rare editions — Il stilo rappresentativo — Cavaliere's oratorio "The Soul and the Body" — second period of opera — Monteverde's "Arianna" — orchestra of the same — new orchestral effects — scene from "Eurydice" — director of St. Mark's — Legrenzi — Cesti — public theaters — Alessandro Scarlatti — recitativo stromentato — Corelli — sonatas for the violin — influence of the violin upon the art of singing — origin of Italian school of singing — artificial sopranos — Porpora — Selections from Monteverde, Cavalli and Scarlatti.

CHAPTER XIX — BEGINNINGS OF OPERA IN FRANCE AND GERMANY235-243

Slow progress of opera to other parts of Europe — origin of French opera — ballets of Boesset — Perrin — Cambert — their first opera — their patent from the king — Lulli — his success and productivity — attention to verbal delivery and the vernacular of the audience — foundations of the French Académie de Musique — opera in Germany — Schütz — Hamburg and Keiser — selection from Lulli — "Roland" — Mattheson.

CHAPTER XX — THE PROGRESS OF ORATORIO244-248

Oratorio invented simultaneously with opera — Cavaliere — mystery plays — Carissimi — two types of oratorio — cantata — Händel's appropriation from Carissimi — sacred oratorio — Schütz's Passions — "Last Seven Words."

CHAPTER XXI — BEGINNINGS OF INSTRUMENTAL MUSIC249-260

Beginnings of instrumental music in seventeenth century — tentative character of instrumental music of sixteenth century — Gabrieli and organ pieces — imitations of vocal works — melodies not fully carried out — Swelinck — Scheidt — Schein — Frescobaldi — Reinken — Pachelbel — Muffat — Corelli — orchestra of the period — its defects.

BOOK FOURTH — FLOWERING TIME OF MODERN MUSIC.

CHAPTER XXII — MUSIC IN THE EIGHTEENTH CENTURY261-264

The flowering time of modern music — complexity of developments now taking place — principal actors — two main channels of improvement — fugue — sonata — Bach and Händel as writers of fugue — people's song makes its way into cultivated instrumental music — reference to Mozart's sonatas — thematic and lyric as elements of contrast.

CHAPTER XXIII — JOHN SEBASTIAN BACH265-272

Bach as a composer — sketch — his clavier — attainments as virtuoso upon the clavier and the organ — choral works — Passion oratorios — his pre-eminence as writer of fugues — general sketch of the form of a fugue — prelude — mutually complementary — Bach's concertos — his rhythm.

CHAPTER XXIV — GEO. FRIEDRICH HÄNDEL273-281

The companion figure of Bach — early life — violinist at Hamburg — conductor, composer — first opera — Italy — successes there — England — Italian operas — oratorio "Messiah" — other oratorios — list of his works — Bach and Händel compared — Händel's place in art — personalities.

CHAPTER XXV — EMANUEL BACH, HAYDN — THE SONATA282-291

The sons of Bach — Emanuel Bach as composer — difficulty of founding a new form — Haydn — early years — conductor for Prince Esterhazy — compositions — the visit to London — the money he made — "The Creation" — second visit to London — Haydn and the sonata form — "The Last Seven Words" — his rank as tone-poet.

CHAPTER XXVI — MOZART AND HIS GENIUS292-304

Charming personality — childhood — early talent — concerts — Mozart at Bologna and the test of his powers — Haydn's opinion — early operas — "Marriage of Figaro" — success — accompaniments added to Händel's "Messiah" and other works — call to Berlin — mysterious order for the "Requiem" — death — general quality of Mozart's music.

CHAPTER XXVII — BEETHOVEN AND HIS WORKS305-315

A worthy successor to Haydn and Mozart — early years — orchestral leader — piano playing — his friends — Count Waldstein — his first visit to Vienna — settled in Vienna — compositions — life — appearance — place in art.

CHAPTER XXVIII — HAYDN, MOZART AND BEETHOVEN COMPARED316-326

Their relation to symphony — refinement of Mozart — early age of Mozart — Beethoven's independence — relation to sonata — Beethoven more free — climax of classical art — Beethoven adagios — summing up — tendency of progress.

CHAPTER XXIX — OPERA IN THE EIGHTEENTH CENTURY327-351

Three great names — Graun — Gluck — his reforms — his ideal — early works — "Orpheus" — "Iphigenie" — Mozart's place in opera — Rameau — theoretical writings — Rousseau — Phillidor — Monsigny — Grétry — Gossec — Méhul — Lesueur — Boieldieu — French opera in general — Italian opera — Pergolesi — Jomelli — Sacchini — Paisiello — Piccini — Zingarelli — opera in England — Purcell — Dr. Arne.

CHAPTER XXX — PIANO PLAYING VIRTUOSI — VIOLINISTS — TARTINI AND SPOHR352-369

Pianoforte established as domestic instrument — Scarlatti — Mattheson — Dr. Blow — John Bull — Clementi — Dussek — Cramer — Berger — Hummel — Moscheles — Tartini — Spohr.

BOOK FIFTH — EPOCH OF THE ROMANTIC.

CHAPTER XXXI — THE NINETEENTH CENTURY — THE ROMANTIC — MUSIC OF THE FUTURE373-380

Classic and romantic defined — art in general — applied to music — illustrated by Schubert — Schumann — development of virtuosity Berlioz — "music of the future" — how originating — the outlook.

CHAPTER XXXII — SCHUBERT AND THE ROMANTIC381-391

Early life of Schubert — compositions — first songs — "Erl King" — rapidity of composition — unfinished symphony — industry — spontaneity — personal characteristics.

CHAPTER XXXIII — STORY OF THE PIANOFORTE392-403

Origin of pianoforte — spinet — clavicembalo — Mozart's grand piano — Cristofori's design of action — Érard action — iron frame — Chickering — Steinway improvements.

CHAPTER XXXIV — GERMAN OPERA — WEBER, MEYERBEER, WAGNER404-427

Tendency of German opera — Weber — "Der Freischütz" — romanticism — innovations in piano playing — Meyerbeer — early life — master works — place in art — Wagner — early life — early operas — "Lohengrin" — Zurich — Schröder-Devrient — "Nibelung's Ring" — peculiarities.

CHAPTER XXXV — VIRTUOSITY IN THE NINETEENTH CENTURY — PAGANINI, BERLIOZ, CHOPIN, THALBERG, LISZT428-454

Continuity of these appearances with those already recounted — Paganini — his playing — inspiring effect — Berlioz — works — place in art — progress of piano playing — virtuosi co-operating — Thalberg and his style — Parish-Alvars — Pollini — Chopin — place in art — Liszt — early appearances — rivalry with Thalberg — style — Weimar — Bonn Beethoven monument — as teacher — as composer.

CHAPTER XXXVI — MENDELSSOHN AND SCHUMANN455-477

Mendelssohn — personality — talent — early works — maturity — as player Leipsic Conservatory — Hauptmann — "Elijah" — "St. Paul" — Schumann — early education and habits — works — strength of the romantic tendency — his "New Journal of Music" — music in Leipsic — Clara Wieck — larger works for piano — technical traits — songs — general characteristics.

CHAPTER XXXVII — ITALIAN OPERA IN THE NINETEENTH CENTURY478-487

Spontini — Rossini — Donizetti — Bellini — Verdi — Boito — Ponchielli.

CHAPTER XXXVIII — FRENCH OPERA AND COMPOSERS IN THE NINETEENTH CENTURY488-496

Auber — Hérold — Adam — Gounod — Massé — Massenet — Saint-Saëns — Délibes — Bizet — Ambroise Thomas.

CHAPTER XXXIX — LATER COMPOSERS AND PERFORMERS497-508

Gade — Brahms — Tschaikowsky — Svensden — Grieg — Bruch — Bennett — Macfarren — Mackenzie — Nicodé — Moszkowsky — Dvorak — Henselt — Litolff — Wilmers — Heller — Hiller — Rubinstein — Bülow — Reinecke.

Index

CHRONOLOGY OF THE GREATEST COMPOSERS.

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Explanation.—The heavy vertical lines are century lines. Light vertical, twenty-year lines. Horizontal lines, the life of the composer.

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CHRONOLOGY OF PRINCIPAL ITALIAN COMPOSERS.

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From Palestrina to Present Time. (See explanation, page 11.)

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CHRONOLOGICAL CHART OF THE MORE IMPORTANT GERMAN COMPOSERS.

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From Orlando Lassus to the Present Time. (See page 11.)

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CHRONOLOGICAL SUCCESSION OF PIANISTS AND COMPOSERS FOR THE PIANOFORTE.

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From 1660 to the Present Time (1891).

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