INDEX

Absolute music, 36

Academy of Music, New York, 203

Adagio, in symphony, 133

Addison, 205, 206, 208

Allegro, in symphony, 132

Allemande, 173, 174

Alto clarinet, 104

Alto, male, 260

Amadeo, 241

Ambros, August Wilhelm, 49

Antiphony, 267

Archilochus, 213

Aria, 235

Arioso, 235

Asaph, 115

Bach, C.P.E., 180, 185

Bach, Johann Sebastian, 69, 83, 148, 167, 169, 170, 171, 174, 176, 180, 181, 184, 192, 257, 259, 267, 268, 278, 281, 282, 283, 286, 287, 289; his music, 281 et seq.; his technique as player, 180, 181, 184; his choirs, 257, 259; compared with Palestrina, 278; "Magnificat," 283; Mass in B minor, 283; Chromatic Fantasia and Fugue, 171; Suites, 174, 176; "St. Matthew Passion," 267, 278, 282, 286, 289; Motet, "Sing ye to the Lord," 268; "St. John Passion," 286

Balancement, 170

Balfe, 223

Ballade, 192

Ballet music, 152

Balletto, 173

Bass clarinet, 104

Bass trumpet, 81, 82

Basset horn, 82

Bassoon, 74, 82, 99, 101 et seq.

Bastardella, La, 239

Bayreuth Festival orchestra, 81, 82

, Bebung, 169, 170

Beethoven, 27, 28, 29, 30, 31, 32, 33, 34, 35, 44, 46, 47, 49, 53, 60, 62, 63, 70, 92, 94, 101, 102, 103, 106, 113, 120, 125, 131, 132, 133, 136, 137, 138, 140, 141, 146, 147, 151, 167, 182, 184, 186, 187, 193, 195, 196, 203, 208, 232, 292, 321, 322; likenesses in his melodies, 33, 34; unity in his works, 27, 28, 29; his chamber music, 47; his sonatas, 182; his democracy, 46; not always idiomatic, 193; his pianoforte, 195; his pedal effects, 196; missal compositions, 292, 294; his overtures, 147; his free fantasias, 131; his technique as a player, 186; "Eroica" symphony, 100, 132, 136; Fifth symphony, 28, 29, 30, 31, 92, 103, 120, 125, 133; "Pastoral" symphony, 44, 49, 53, 62, 63, 94, 102, 132, 140, 141; Seventh symphony, 31, 32, 132, 133; Eighth symphony, 113; Ninth symphony, 33, 34, 35, 94, 133, 136, 138, 305; Sonata, op. 10, No. 3, 321; Sonata, op. 31, No. 2, 29; Sonata "Appassionata," 29, 30, 31; Pianoforte concerto in G, 31; Pianoforte concerto in E-flat, 146; Violin concerto, 146; "Becalmed at Sea," 60; "Fidelio," 203, 208, 232; Mass in D, 60, 292, 294; Serenade, op. 8, 151

Bell chime, 74

Bellini, 203, 204, 242, 245; "La Sonnambula," 204, 245; "Norma," 242

Benedetti, 242

Berlin Singakademie, 262

Berlioz, 49, 80, 87, 89, 90, 94, 100, 102, 104, 113, 137, 138, 139, 294, 295; "L'idée fixe," 137; "Symphonie Fantastique," 137; "Romeo and Juliet," 90, 94, 139; Requiem, 113, 294, 295

Bizet, "Carmen," 238, 242

Boileau, 206

Bosio, 241

Boston Symphony Orchestra, 81, 82, 108

Bottesini, 94

Bourrée, 173

Brahms's "Academic overture," 101

Branle, 173

Brass instruments, 74, 104 et seq.

Brignoli, 209, 242

Broadwood's pianoforte, 195

Brown, Dr. John, 321

Bully Bottom in music, 61

Bunner, H.C., 136

Burns's "Ye flowery banks," 175

Caccini, "Eurydice," 234

Cadences, 23

Cadenzas, 145

Calvé, Emma, 242, 247

Calvin and music, 275

Campanini, 242

Cantatas, 290

Cat's mew in music, 52

Catalani, 245, 246

Chaconne, 153

Chamber music, 36, 44 et seq., 144

Chicago Symphony Orchestra, 81, 82, 108

Choirs, 253 et seq.; size of, 257 et seq., 264, 271; men's, 255, 260; boys', 261; women's, 261; mixed, 262, 264; division of, 260, 266; growth of, in Germany, 262; history of, in America, 263; in Cincinnati, 264; contralto voices in, 270

Choirs, orchestral, 74

Chopin, 167, 188, 190, 191, 192, 196; his romanticism, 188; Preludes, 190; Études, 191; Nocturnes, 191; Ballades, 192; Polonaises, 192; Mazurkas, 192; his pedal effects, 196

Choral music, 253 et seq.; antiphonal, 267; mediæval, 274; Calvin on, 275; Luther's influence on, 276; congregational, 277; secular tunes in, 276, 277; Romanticism, influence on, 277; preponderance in oratorio, 289; dramatic and descriptive, 289

Chorley, H.F., on Jenny Lind's singing, 243

Church cantatas, 284

Cicero, 309

Cincinnati, choirs in, 264

Cinti-Damoreau, 241

Clarinet, 47, 74, 78, 82, 103 et seq., 151

Classical concerts, 122 et seq.

Classical music, 36, 64, 122 et seq.

Clavichord, 168, 181

Clavier, 171, 173

Clementi, 185, 195

Cock, song of the, 51, 53, 54

Coleridge, 11, 144

Coletti, 242

Comic opera, 224

Composers, how they hear music, 40

Concerto, 128, 144 et seq.

Conductor, 114 et seq.

Content of music, 36 et seq.

Contra-bass trombone, 81, 82

Contra-bass tuba, 81, 82

Co-ordination of tones, 17

Coranto, Corrente, 173, 176

Cornelius, "Barbier von Bagdad," 236

Cornet, 73, 82, 108

Corno di bassetto, 81, 82

Corsi, 242

Couperin, 168

Courante, 173, 176

Covent Garden Theatre, London, 224, 226

Cowen, "Welsh" and "Scandinavian" symphonies, 132

Cracovienne, 193

Creole tune analyzed, 23, 24

Critics and criticism, 13, 297 et seq.

Crotch, Dr., 322

Cuckoo, 51, 52, 53

Cymbals, 74, 82

Czardas, 201

Czerny, 186

Dactylic metre, 31

Dance, the ancient, 43, 212

Dannreuther, Edward, 129, 144, 187

Depth, musical delineation of, 59, 60

De Reszke, Edouard, 248

De Reszke, Jean, 247

Descriptive music, 51 et seq.

Design and form, 16

De Staël, Madame, 210

D'Israeli, 315

Distance, musical delineation of, 60

Dithyramb, 212, 213

"Divisions," 265

Doles, Cantor, 292

Donizetti, 203, 204, 242; "Lucia," 203, 204

Double-bass, 74, 78, 82, 94

Double-bassoon, 103

Dragonetti, 94

Dramatic ballads, 290

Dramatic orchestras, 81, 82

Dramma per musica, 227, 249

Drummers, 113

Drums, 73, 74, 82, 110 et seq.

Duality of music, 15

"Dump" and Dumka, 151

Durchführung, 131

Dvořák, symphonies, "From the New World," 132, 138; in G major, 136

Eames, Emma, 247

Edwards, G. Sutherland, 12

Elements of music, 15, 19

Emotionality in music, 43

English horn, 82, 99, 100

English opera, 223

Ernst's violin, 320

Esterhazy, Prince, 46

Euler, acoustician, 317

Expression, words of, 43

Familiar music best liked, 21

Fancy, 15, 16, 58

Farinelli, 240

Fasch, C.F., 262

Feelings, their relation to music, 38 et seq., 215, 216

Ferri, 239, 240

Finale, symphonic, 135

First movement in symphony, 131

Flageolet tones, 89

Florentine inventors of the opera, 217, 227, 234, 249

Flute, 73, 74, 78, 82, 95 et seq.

Form, 16, 17, 22, 35

Formes, 242, 248

Frederick the Great, 263

Free Fantasia, 131

French horn, 47, 106 et seq.

Frezzolini, 242

Friss, 201

Frogs, musical delineation of, 58, 62

"Gallina et Gallo," 53

Gavotte, 173, 179

German opera, 226

Gerster, Etelka, 242, 245

Gesture, 43

Gigue, 173, 174, 178

Gilbert, W.S., 208, 224

Gilbert and Sullivan's operettas, 224

Glockenspiel, 110

Gluck, 84, 148, 153, 202, 203, 238; his dancers, 153; his orchestra, 238; "Alceste," 148; "Iphigénie en Aulide," 153; "Orfeo," 202, 203

Goethe, 34, 140, 223

Goldmark, "Sakuntala" overture, 149

Gong, 110

Gossec, Requiem, 293

Gounod, "Faust," 209, 224, 238, 246

Grand Opéra, 223, 224

Greek Tragedy, 211 et seq.

Grisi, 241, 242

Grosse Oper, 224

Grove, Sir George, 33, 63, 141, 187

Gypsy music, 198 et seq.

Hallé, Lady, 320

Hamburg, opera in, 206, 207

Handel, 58, 60, 62, 83, 102, 126, 148, 174, 177, 178, 181, 182, 184, 256, 257, 258, 259, 265, 272; his orchestra, 84; his suites, 174; his overtures, 148; his technique as a player, 181, 182, 184; his choirs, 257; Commemoration, 258; his tutti, 258; "Messiah," 60, 126, 256, 257, 265, 272; "Saul," 102; "Almira," 177; "Rinaldo," 178; "Israel in Egypt," 58, 62, 257, 259, 289; "Lascia ch'io pianga," 178

Hanslick, Dr. Eduard, 203

Harmonics, on violin, 89

Harmony, 19, 21, 22, 218

Harp, 82

Harpsichord, 168, 170

Hauptmann, M., 41

Hautboy, 99

Haweis, the Rev. Mr., 318 et seq.

Haydn, 46, 84, 100, 127, 168, 183, 295; his manner of composing, 183; dramatic effects in his masses, 295; "Seasons," 100

Hebrew music, 114; poetry, 25

Height, musical delineation of, 59, 60

Heman, 115

Hen, song of, in music, 52, 53, 54

Herbarth, philosopher, 39

Hiller, Ferdinand, 307, 310

Hiller, Johann Adam, 258

Hogarth, Geo., "Memoirs of the Opera," 210, 245

Horn, 82, 105, 106 et seq., 151

Hungarian music, 198 et seq.

Hymn-tunes, history of, 275

Iambics, 175

"Idée fixe," Berlioz's, 137

Identification of themes, 35

Idiomatic pianoforte music, 193, 194

Idioms, musical, 44, 51, 55

Imagination, 15, 16, 58

Imitation of natural sounds, 51

Individual attitude of man toward music, 37

Instrumental musicians, former legal status of, 83

Instrumentation, 71 et seq.; in the mass, 293 et seq.

Intelligent hearing, 16, 18, 37

Intermediary necessary, 20

Intermezzi, 221

Interrelation of musical elements, 22

Janizary music, 97

Jean Paul, 67, 189, 190

Jeduthun, 115

Jig, 179

Judgment, 311

Kalidasa, 149

Kettle-drums, 111 et seq.

Key relationship, 26, 129

Kinds of music, 36 et seq.

Kirchencantaten, 284

Krakowiak, 193

Kullak, 184

Lablache, 248

La Grange, 241, 245

Lamb, Charles, 10

Language of tones, 42, 43

Lassu, 201

Laws, musical, mutability of, 69

Lehmann, Lilli, 233, 244, 247

Lenz, 33

Leoncavallo, 228

Lind, Jenny, 241, 243

Liszt, 132, 140, 142, 143, 167, 168, 193, 197, 198, 228; his music, 168, 193, 197; his transcriptions, 167; his rhapsodies, 167, 198; his symphonic poems, 142; "Faust" symphony, 132, 140; Concerto in E-flat, 143; "St. Elizabeth," 288

Literary blunders concerning music, 9, 10, 11, 12

Local color, 152, 153

London opera, 206, 207, 226

Louis XIV., 179

Lucca, Pauline, 242, 246, 247

Lully, his overtures, 148; minuet, 179; "Atys," 206

Luther, Martin, 276

Lyric drama, 231, 234, 237, 251

Madrigal, 274

Magyar music, 198 et seq.

Major mode, 57

Male alto, 260

Male chorus, 255, 260

Malibran, 241

Männergesang, 255, 260

Marie Antoinette, 153

Mario, 242, 247, 271

Marschner, "Hans Heiling," 225; "Templer und Jüdin," 225; "Vampyr," 225; his operas, 248

Mascagni, 228

Mass, the, 290 et seq.

Massenet, "Le Cid," 152

Materials of music, 16

Materna, Amalia, 247

Matthews, Brander, 11

Mazurka, 192

Melba, Nellie, 204, 238, 245, 247, 271

Melody, 19, 21, 22, 24

Memory, 19, 21, 73

Mendelssohn, 41, 42, 49, 59, 61, 67, 102, 109, 132, 139, 140, 149, 168, 243, 278, 288, 289, 322; on the content of music, 41, 42; his Romanticism, 67; on the use of the trombones, 109; opinion of Jenny Lind, 243; "Songs without Words," 41; "Hebrides" overture, 59, 149; "Midsummer Night's Dream," 61, 102; "Scotch" symphony, 132, 139; "Italian" symphony, 132; "Hymn of Praise," 140; "St. Paul," 278; "Elijah," 288, 289

Mersenne, "Harmonie universelle," 175, 176

Metropolitan Opera House, New York, 203, 224, 226, 244

Meyerbeer, 89, 102, 203, 204, 208, 242, 243, 244; "L'Africaine," 89; "Robert le Diable," 102, 208, 244; "Huguenots," 204; "L'Étoile du Nord," 243

Military bands, 123

Minor mode, 57

Minuet, 134, 151, 173, 179

Mirabeau, 293

Model, none in nature for music, 8, 180

Monteverde, "Orfeo," 87

Moscheles, on Jenny Lind's singing, 243

Motet, 283

Motives, 22, 24

Mozart, 84, 109, 132, 145, 151, 168, 183, 184, 195, 202, 203, 221, 224, 228, 230, 238, 244, 265, 292; his pianoforte technique, 184; on Doles's mass, 292; his orchestra, 238; his edition of Handel's "Messiah," 265; on cadenzas, 145; his pianoforte, 195; his serenades, 151; "Don Giovanni," 109, 202, 221, 222, 228, 230; "Magic Flute," 203; G-minor symphony, 132; "Figaro," 202, 228

Musica parlante, 234

Musical instruction, deficiencies in, 9

Musician, Critic, and Public, 297

Musikdrama, 227, 238, 249

Neri, Filippo, 288

Nevada, Emma, 204

Newspaper, the modern, 297, 298, 313

New York Opera, 206, 226, 241

Niecks, Frederick, 192

Niemann, Albert, 233

Nightingale, in music, 52

Nilsson, Christine, 242, 246, 247

Nordica, Lillian, 247

Norman-Neruda, Madame, 320

Notes not music, 20

Nottebohm, "Beethoveniana," 63

Oboe, 47, 74, 78, 82, 84, 98 et seq.

Opera, descriptive music in, 61; history of, 202 et seq.; language of, 205; polyglot performances of, 207 et seq.; their texts perverted, 207 et seq.; words of, 209, 210; elements in, 214; invention of, 216 et seq.; varieties of, 220 et seq.; comic elements in, 221; action and incident in, 236; singing in, 239; singers compared, 241 et seq.

Opéra bouffe, 220, 221, 225

Opera buffa, 220

Opéra comique, 223

Opéra, Grand, 223

Opera in musica, 228

Opera semiseria, 221

Opera seria, 220

Opus, 132

Oratorio, 256, 287 et seq.

Orchestra, 71 et seq.

Ostrander, Dr. Lucas, 278

"Ouida," 12

Overture, 147 et seq., 174

Paderewski, his recitals, 154 et seq.; his Romanticism, 167; "Krakowiak," 193

Painful, the, not fit subject for music, 50

Palestrina and Bach, 278 et seq.; his music, 279 et seq.; "Stabat Mater," 279, 280; "Improperia," 280; "Missa Papæ Marcelli," 280

Pandean pipes, 98

Pantomime, 43

Parallelism, 25

Passepied, 173

"Passions," 284 et seq.

Patti, Adelina, 203, 204, 238, 242, 245, 247

Pedals, pianoforte, 195, 196

Pedants, 13, 315

Percussion instruments, 110 et seq.

Peri, "Eurydice," 234

Periods, musical, 22, 24

Perkins, C.C., 263

Pfund, his drums, 112

Philharmonic Society of New York, 76, 77, 81, 82

Phrases, musical, 22, 24

Physical effects of music, 38

Pianoforte, history and description of, 154 et seq.; its music, 154 et seq., 166 et seq.; concertos, 144; trios, 147

Piccolo flute, 85, 97

Piccolomini, 242, 245

Pictures in music, 40

Pifa, Handel's, 126

Pizzicato, 88, 91

Plançon, 248

Polonaise, 192

Polyphony and feelings, 39

Popular concerts, 122

Porpora, 209

"Pov' piti Momzelle Zizi," 23

Preludes, 148, 174

Programme music, 36, 44, 48 et seq., 64, 142

Puccini, 228

Quail, call of, in music, 51, 54

Quartet, 147

Quilled instruments, 170

Quinault, "Atys," 206

Quintet, 147

Quintillian, 309

Raff, 49, 96, 132; "Lenore" symphony, 96, 132; "Im Walde" symphony, 132

Rameau, 168

Recitative, 219, 220, 228 et seq.

Reed instruments, 98 et seq.

Reformation, its influence on music, 275, 278, 280

Refrain, 25

Register of the orchestra, 85

Repetition, 22, 25

Rhapsodists among writers, 13, 315 et seq.

Rhythm, 19, 21, 26, 160

"Ridendo castigat mores," 225

Rinuccini, "Eurydice," 234

Romantic music, 36, 64 et seq., 71, 277

Romantic opera, 225

Ronconi, 242

Rondeau and Rondo, 135

Rossini, 147, 228, 242; his overtures, 147; "Il Barbiere," 228; "William Tell," 93, 100

Rubinstein, 59, 152, 167, 168, 287; his historical recitals, 167; his sacred operas, 287; "Ocean" symphony, 59; "Feramors," 152

Ruskin, John, 302

Russian composers, 134

Sacred Operas, 287

Saint-Saëns, "Danse Macabre," 101, 111; symphony in C minor, 141; "Samson and Delilah," 288

Salvi, 242

Sarabande, 173, 174, 177

Sassarelli, 240

Scarlatti, D., 167, 172, 182; his technique, 172; "Capriccio" and "Pastorale," 172

Scheffer, Ary, 246

Scherzo, 133, 179

Schröder-Devrient, 232

Schubert, 168

Schumann, 49, 64, 132, 133, 139, 140, 141, 167, 188, 189, 190, 196, 254, 308, 310; his Romanticism, 188; and Jean Paul, 189; his pedal effects, 196; on popular judgment, 308, 310; symphony in C, 132; symphony in D minor, 139; symphony in B-flat, 140; "Rhenish" symphony, 140, 141; "Carnaval," 189, 190; "Papillons," 189, 190; "Kreisleriana," 190; "Phantasiestücke," 190

Score, 120

"Scotch snap," 52, 200

Second movement in symphony, 133

Seidl, Anton, 77

Sembrich, Marcella, 242, 245

Senesino, 239, 240

Sense-perception, 18

Serenade, 149 et seq.

Shaftesbury, Lord, 311

Shakespeare, his dances, 153, 179; his dramas, 202; a Romanticist, 221; "Two Gentlemen of Verona," 150; Queen Mab, 90

Singing, physiology of, 215, 218; operatic, 239; choral, 268

Singing Societies, 253 et seq.

Singspiel, 223

Smith, F. Hopkinson, 11

Sonata da Camera, 173

Sonata, 127, 182, 183

Sonata form, 127 et seq.

Sontag, 241, 244, 245, 246

Sordino, 90

Space, music has no place in, 59

Speech and music, 43

Spencer, Herbert, 39, 43, 216, 218, 230

Spinet, 168, 170

Spohr, "Jessonda," 225

Stainer, Dr., 39, 316

Stein, pianoforte maker, 196

Stilo rappresentativo, 234

Stories, in music, 40

Strings, orchestral, 74, 82, 86 et seq., 102

Sucher, Rosa, 247

Suite, 129, 152, 173 et seq.

Symphonic poem, 142

Symphonic prologue, 148

Symphony, 124 et seq., 183

Syrinx, 98

Talent in listening, 4

Tambourine, 110

Tappert, "Zooplastik in Tönen," 51

Taste, 311

Technique, 163 et seq.

Tennyson, 9

Terminology, musical, 8

Théatre nationale de l'Opéra-Comique, 223

Thespis, 212

Thomas, "Mignon," 223

Tibia, 98

Titiens, 242

Tonal language, 42, 43

Tones, co-ordination of, 17

Touch, 163 et seq.

Tragedia per musica, 227

Tremolo, 91

Trench, Archbishop, 65, 66

Triangle, 74, 110

Trio, 134

Triolet, 136

Trombone, 82, 105, 106, 109 et seq.

Trumpet, 105, 108

Tschaikowsky, 88, 132; "Symphonie Pathétique," 132

Tuba, 82, 85, 106, 108

"Turkish" music, 97

Tympani, 82, 111 et seq.

Ugly, the, not fit for music, 50

United States, first to have amateur singing societies, 257, 262; spread of choral music in, 263

Unity in the symphony, 27, 137

Vaudevilles, 224

Verdi, 152, 203, 210, 228, 236, 238, 242, 243; "Aïda," 152, 228, 238; "Il Trovatore," 210, 243; "Otello," 228, 238; "Falstaff," 228, 236; Requiem, 290

Vestris, 153

Vibrato, 90

Vile, the, unfit for music, 50

Viola, 74, 77, 82, 92, 93

Viole da braccio, 93

Viole da gamba, 93

Violin, 73, 74, 77, 82, 86 et seq., 144, 162

Violin concertos, 145

Violoncello, 74, 77, 82, 92, 93, 94

Virginal, 168, 170

Vocal music, 61, 215

Vorspiel, 148

Wagner, 41, 79, 80, 81, 88, 89, 94, 111, 205, 206, 219, 226, 227, 232, 235, 237, 238, 244, 248, 249, 250, 251, 303, 305, 314; on the content of music, 41; his instrumentation, 80, 111; his dramas, 219, 226, 227, 248; Musikdrama, 227, 249; his dialogue, 235; his orchestra, 238, 250; his operas, 248; his theories, 249; endless melody, 250; typical phrases, 250; "leading motives," 250; popularity of his music, 303; on criticism, 314; "Flying Dutchman," 248; "Tannhäuser," 248; "Lohengrin," 79, 88, 235, 248; "Die Meistersinger," 249; "Tristan und Isolde," 87, 237, 249; "Rheingold," 237; "Die Walküre," 94, 237; "Siegfried," 237, 244; "Die Götterdämmerung," 237; "Ring of the Nibelung," 249, 251, 305; "Parsifal," 249

Waldhorn, 107

Wallace, W.V., 223

Walter, Jacob, 53

Water, musical delineation of, 58, 59

Weber, 67, 96, 244, 248; his Romanticism, 67; "Der Freischütz," 96, 225; "Oberon," 225; "Euryanthe," 225

Weitzmann, "Geschichte des Clavierspiels," 201

Welsh choirs, 255

Wood-wind instruments, 74, 77, 78, 95

Xylophone, 111

Ysaye, on Cadenzas, 146