Chapter XIII: The English Musical Renaissance (4)

Hungary,
(folk-song), I. xliii-f;
(political aspects), III. 186;
(early musical history), III. 187ff;
(modern composers), III. 190;
(ultra-moderns), III. 197.

Hunold, C. F. See Menantes.

Hunting bow, I. 28.

Hurlstone, William Young, III. 437.

Hüttenbrenner, Anselm, II. 133.

Hyagnis, I. 112.

Hymns (early Christian), I. 135ff;
(early Protestant), I. 289ff;
(in passion music), I. 480f.

I

Iadmirault, III. 363.

Iastian mode, I. 136.

Ibsen, III. 77, 85, 87, 95.

Ibykos, I. 115f.

Idolatry (in relation to ancient music), I. 70, 77.

Illuminati, II. 76.

Iljinsky, Alexander A., III. 145.

Imitation (Greek meaning of term), I. 89;
(in hexachordal system), I. 169;
(free and strict, definition), I. 227f;
(in early polyphonic music), I. 231f, 243;
(early English example), I. 237ff;
(in madrigals), I. 276.
See also Canon; Counterpoint; Fugue.

Imitation of nature. See Program music.

Imperfections (in art), I. xxx-f.

Imperial Musical Society (Russian), III. 107.

Impressionism (suggestions of, in Liszt), II. 325;
(in Norwegian folk-music), III. 66;
(Grieg), III. 69, 89;
(Sinding), III. 97;
(Moussorgsky), III. 130;
(Reger), III. 231;
(French school) _III. 317ff_;
(in modern piano music), III. 326f;
(and realism), III. 342;
(Eric Satie), III. 361;
(Leo Ornstein), III. 393;
(Albéniz), III. 406.

Indians, American, I. 13, 33ff.

[d']Indy, Vincent, II. 439;
III. viii, ix, xi, xiii, xiv, xviii, 282, 284, 285, 287,
_296ff_, 334;
(influence), III. 358.

Ingegneri, Marc' Antonio, I. 337.

Instrumental music, I. xliii, xlvii, xlviii, lviii, 305, 306;
(development in early 17th cent.), I. _355ff_;
(Purcell), I. 390f;
(Bach), I. 452;
(Lully, Rameau, Couperin), I. 409f.
See also Accompaniments (instrumental); Chamber music;
Harpsichord music; Pianoforte music; Orchestral music;
Sonata; String quartet; Violin music, etc.

Instrumentation, I. liii;
(abuse of special effect), I. xxii, lv;
(Monteverdi), I. 337;
(tone-color), I. 481;
II. 12, 118, 266.
See also Orchestration.

Instruments (primitive), I. 14f, 20ff;
(Chinese), I. 48;
(Hindoo), I. 49;
(miscell. Exotic), I. 52ff;
(Assyrian), I. 65ff;
(Hebrew), I. 70ff;
(Egyptian), I. 78ff;
(Greek), I. 84f, 122ff;
(mediæval), I. 198, 211, 218;
(Renaissance), I. 261ff, 281;
(perfection of modern), II. 335ff.
See also Orchestra, Orchestration; String instruments;
Wind instruments, and specific names of instruments.

Instruments of Percussion. See Drums.

Intermedii (Renaissance), I. 326.

Intermezzi. See Opera buffa.

Intervals (in primitive music), I. 7, 34, 40f;
(in the sounds of nature), I. 8;
(in Greek music), I. 99, 101ff;
(in plain-song), I. 154;
(in Italian ars nova), I. 264.

Inverted canon, I. 248.

Ippolitoff-Ivanoff, M. M., III. 128, 149.

Ireland (folk-song), I. xliii;
III. 423.

Ireland, J. N., III. 442.

Isaac, Heinrich, I. 269, 304f.

Ismail Pasha, Khedive of Egypt, II. 496.

Isouard, Niccolò, II. 183.

Italian influence (on early Lutheran music), I. 243;
(on German organ music), I. 358ff;
(in 17th cent.), I. 389, 451, 454f;
(on Händel), I. 427;
(on Bach), I. 471, 476, 479, 489, 490;
(on Gluck), II. 17;
(on J. C. Bach), II. 61;
(in 18th cent. Vienna), II. 80;
(on Mozart), II. 102, 105, 121f;
(on Meyerbeer), II. 199f;
(on Wagner), II. 404, 407.

Italian opera. See Opera (Italian).

Italian Renaissance. See Renaissance (the).

Italy (Renaissance), I. 258ff;
(ars nova), I. 262ff;
(15th cent.), I. 266ff;
(madrigal era), I. 272ff;
(Venetian school), I. 298;
(Palestrina), I. 311ff;
(Florentine monodists), I. 324ff;
(Monteverdi), I. 336ff;
(early organ music), I. 358ff;
(early violin music), I. 361ff;
(harpsichord music), I. 374;
(17th cent. opera), I. 380ff;
(oratorio), I. 386f;
(17th cent. instrumentalists), I. 391ff;
(early 18th cent.), I. 426ff;
(later 18th cent.), II. 1ff;
(political aspects), II. 47;
(sonata form), II. 52f;
(Boccherini), II. 70;
(early 19th cent.), II. 177ff;
(modern opera), III. ix, 366ff;
(modern renaissance of instr. music), III. 385ff;
(modern song writers), III. 398;
(folk-song), III. 349.
See also Opera; also Renaissance.

J

Jadassohn, Salomon, III. 13.

Jahn, O. (quot.), II. 111, 115.

Jannequin, Clement, I. 276f, 306;
II. 351;
III. 354.

Japan, I. 47, 58f.

Japanese 'color,' III. 199.

Japanese instruments, I. 53.

Järnefelt, Armas, III. 101.

Jaspari (It. composer), II. 503 (footnote).

Java, I. 57.

Jennens, Charles, I. 442.

Jensen, Adolf, III. 18.

Jeremiaš, Jaroslav, III. 182.

Jeremiaš, Ottokar, III. 182.

Jérome Bonaparte, II. 132.

Joachim, Joseph, II. 413, 447.

John XXII (Pope), I. 232f.

John the Deacon, I. 145.

Johnson, Noel, III. 443.

Johnson, [Dr.] Samuel (cit. on Italian opera), I. 431.

Jommelli, Nicola, II. 11ff, 65.

Jongleurs, I. 203, 206, 210, 212.
See also Troubadours.

Joseph II, Emperor of Austria, II. 15, 22, 49 (footnote), 106, 124.

Josephine, Empress, II. 197.

Josquin des Prés, I. 252ff, 269, 288, 296, 298, 313.

Jouy, Étienne, II. 188, 197.

'Judaism in Music,' essay by Wagner, II. 415.

Junod, Henry A., cited, I. 8.

K

Káan-Albést, Heinrich von, III. 181.

Kaffirs, I. 31.

Kajanus, Robert, III. 100.

Kalbeck, Max, cit., II. 450;
friend of Brahms, II. 455.

Kalevala (the), III. 63, 67, 103.

Kallinikoff, Vasili Sergeievich, III. 140.

Kalliwoda, J. W., III. 168.

Kangaroo dance, I. 12.

Karatigin, W. G., III. 161.

Karel, Rudolf, III. 182.

Karl Eugen, Duke of Württemberg, II. 12.

Karl Theodor, Elector of the Palatinate, II. 64.

Kashkin, N. D., III. 53.

Kaskel, Karl von, III. 257.

Kastalsky, A. D., III. 143.

Katona, Josef, III. 190.

Kaunitz, Count, II. 18.

Kazachenko, G. A., III. 145.

Keats, I. xlv.

Keiser, Reinhard, I. 415, 422ff, 425, 452ff.

Keller, Maria Anna, II. 86.

Kerll, Kaspar, I. 384.

Kettle drum, II. 340, 341, 342.

Key, Ellen, III. 77.

Key relationships. See Modulation; Tonality.

Key signature, I. 230, 232.
See also Accidentals.

Keyboard instruments. See Clavichord; Harpsichord; Pianoforte;
Organ, etc.

Keys, in Greek music, I. 105.
See also Scales; also Modulation.

Kieff, III. 150.

Kiel, Friedrich, III. 16.

Kienzl, Wilhelm, III. 243.

Kiesewetter, R. L., quoted, I. 249, 311.

Kietz, II. 405.

Kiober, II. 149.

Kin (Chinese instrument), I. 53.

Kind, Friedrich, II. 375.

King (Chinese instrument), I. 52f.

King, James, quoted, I. 16f.

Kinsky, Prince, II. 133, 152.

Kinsky, Count, II. 18.

Kirby, P. R., III. 441.

Kirchner, Theodor, III. 14.

Kirnberger, Joh. Philipp, II. 31.

Kissar (Nubian instrument), I. 69.

Kistler, Cyrill, III. 240.

Kithara (Greek instrument), I. 123f, 132f.

Kitharœdic chants, I. 132ff, 138, 141.

Kittl, J. F., III. 168.

Kjerulf, Halfdan, III. 87f.

Kleffel, Arno, III. 20.

Klindworth, Karl, III. 18.

Klopstock, II. 30, 48, 49, 50, 153.

Klose, Friedrich, III. 269f.

Klughardt, August, III. 236.

[_Des_] _Knaben Wunderhorn_, German folk-lore collection, II. 223f.

Kock, Paul de, II. 211.

Kodály, Z., III. xxi, 198.

Koenig, III. 200.

Koessler, Hans, III. 197, 211.

Kokin (Japanese instrument), I. 53.

Kopyloff, A., III. 146.

Korestschenko, A. N., III. 153.

Korngold, Erich, III. 271.

Körner, Theodor, II. 234.

Krehbiel, H. E., quot., II. 311.

Koss, Henning von, III. 268.

Koto (Japanese instrument), I. 53.

Kousmin, III. 161.

Kovařovic, Karl, III. 181.

Kreisler, Kapellmeister, II. 308.

Kretschmer, Edmund, III. 256.

Kretzschmar, Herman, cit., II. 121.

Kreutzer, Conradin, II. 379.

Kricka, K., III. 182.

Krysjanowsky, J., III. 155.

Kuhac, F. X., II. 98.

Kuhnau, Johann, I. 415f, 453;
II. 58.

Kullak, Theodor, III. 15, 17f.

L

Lablache, Luigi, II. 185, 193.

Labor, as incentive to song, I. 6f.

Lachner, Franz, III. 8ff.

Lagerlöf, Selma, III. 77.

La Harpe, II. 35.

Lalo, Edouard, III. viii, xiii, xviii, 24, _33ff_, 279, 280f, 287f.

Lambert, Frank, III. 443.

Lamennais, II. 247.

Lament, primitive, I. 8.

La Mettrie, II. 76.

Lamoureux (conductor), II. 439;
III. 285.

Landi, Stefano, I. 379, 385f.

Landino, Francesco, I. 263f.

Lange-Müller, P. E., III. 73, 75.

Langhans, Wilhelm, quoted, II. 228, 229.

Languages, confusion of (in opera), I. 424.

Languedoc, I. 205.

Langue d'Oïl and langue d'Oc, I. 205.

Lanier, Nicholas, I. 385.

Laparra, Raoul, III. 407.

La Pouplinière, II. 65 (footnote), 68.

Larivée, II. 33.

Lasina, II. 490.

Lassen, Eduard, III. 18, 19, _24_, 213, 235.

Lasso, Orlando di, I. 306ff, 320, 353.

Lassus. See Lasso.

Lavigna, Vincenzo, II. 481.

Lavotta, III. 188, 195.

Lawes, Henry, I. 385.

Leading motives. See Leit-motif.

Leading-tone, I. 301.

Le Bé (Le Bec), Guillaume, I. 286f.

Le Blanc du Roullet, II. 31ff.

Legendary song. See Folk-song.

Legras, II. 33.

Legrenzi, Giovanni, I. 346, 365, 384.

Le Gros, II. 65.

Lehmann, Liza, III. 443.

Leibnitz, II. 48.

Leipzig, battle of, II. 234.

Leipzig, I. 262f, 467f, 479;
II. 261ff;
III. 5f.

Leipzig circle of composers, III. 5, 15.

Leipzig school, I. 262.

Leit-motif, I. liii;
(Berlioz), II. 351, 353f;
(Bizet), II. 391;
(Liszt), II. 399;
(Wagner), II. 430f;
(after Wagner), III. 205;
(Chabrier), III. 288;
(d'Indy), III. 305;
(Bruneau), III. 343;
(Perosi), III. 396.
See also Motives.

Lekeu, Guillaume, III. xviii, _311_.

Lendway, E., III. 199.

Lenz, Wilhelm von, on Beethoven, II. 165.

Leo (or Leonin, Leoninus), I. 184.

Leo, Leonardo, I. 400f;
II. 11, 14.

Leo the Great, I. 143.

Léonard (founder of Théâtre Feydeau), II. 42.

Leoncavallo, Ruggiero, I. xviii;
III. ix, 369, _371f_, 384.

Leoni, Franco, III. 384, 432.

Leopold, Prince of Anhalt-Cöthen, I. 461f, 468.

Lermontov, III. 108.

Leroy, Adrian, I. 286f.

Lessing, II. 48, 81, 129.

Lesueur, Jean François, II. 44, 352;
III. vii.

Leva, Enrico de, III. 401.

Levasseur, Nicolas Prosper, II. 185.

Lewes, George Henry, quoted, II. 75ff.

Liadoff, Anatol Constantinovich, III. 128, 139.

Liapounoff, Sergei Mikhailovich, III. xii, xiv, 139f.

Librettists. See Calzabigi, Metastasio, Rinuccini, Rossi, Scribe, etc.

Libretto (operatic) (in 18th cent.), II. 3, 26.

Lichnowsky, Prince, II. 107, 132, 152.

Lie, Sigurd, III. 98.

Lied. See Art-song.

Lieven, Madame de, II. 184.

Light opera. See Comic opera.

Light keyboard, III. 158.

Lind, Jenny, II. 204;
III. 80.

Lindblad, Adolph Frederik, III. 80.

Lindblad, Otto, III. 80.

Ling-Lenu (inventor of Chinese scale), I. 46.

Lisle, Leconte de, III. 284, 293.

Lisle-Adam, Villiers de, III. 293.

Lissenko, N. V., III. 136.

Liszt, Franz, I. xvii;
_II. 245ff_;
(songs), II. 291;
III. 257f;
(as virtuoso), II. 305, 323ff;
(symphonist), II. 358ff, 361ff;
(rel. to Wagner), II. 412ff;
(rel. to Brahms), II. 447;
(influence), III. vii, x, 69, 212;
(general), III. 111, 157, 190, 192, 202, 203f, 228, 282;
(rel. to Sgambati), III. 386.

Literary movements (influence on modern music).
See Impressionism, Realism, Symbolism, etc.

Liturgical plays, III. 324.

Liturgy (the), I. 138ff, 148ff.
See also Plain-song; also Church music.

Lobkowitz, Prince, II. 18, 133, 141.

Local color,
(in early madrigals), I. 276ff, 281;
(Breton), III. 314;
(Spanish), III. 287, 331, 338, 349, 406;
(Italian), III. 349;
(Parisian), III. 353, 354.
See also Exoticism in modern music.

Locatelli, Pietro, II. 51, 56.

Locle, Camille du, II. 495.

Locke, Matthew, I. 373, 385.

Loder, E. J., III. 414.

Loeffler, Charles Martin, III. 335.

Logau, Friedrich von, II. 48.

Logroscino, Nicolo, II. 8 (footnote), 10.

Löhr, Hermann, III. 443.

Lollio, Alberto, I. 328.

Lomakin, III. 108.

London (Händel period), I. 430ff;
II. 8;
(18th cent.), II. 15, 79;
(J. C. Bach), II. 61;
(subscr. concerts est.), II. 62;
(Haydn's visit), II. 89;
(Rossini), II. 184;
(Wagner), II. 415;
(Verdi), II. 458ff;
(present conditions), III. 421f.

London Philharmonic Society, II. 142, 415.

London Symphony Orchestra, III. 422.

Lönnrot, Elias, III. 63.

Lorenzo de' Medici (the Magnificent), I. 267f, 325.

Lortzing, Albert, II. 379;
III. 20f.

Loti, Pierre, III. 314.

Lotti, Antonio, I. 346, 479.

Louis II, King of Hungary, III. 18.

Louis XIV, I. 405, 410;
II. 47.

Louis XVIII, II. 198.

Louis Philippe, King of France, II. 190.

Love (as primitive cause of music), I. 4f, 36.

Love song (in exotic music), I. 51;
(in Middle Ages), I. 202ff.

Löwe, Carl, II. 284.

Löwen, Johann Jacob, I. 373.

Ludwig, King of Württemberg, II. 235.

Ludwig II, King of Bavaria, II. 419.

Ludwigslust, II. 12.

Luis, infante of Spain, II. 70.

Lulli. See Lully.

Lully, Jean Baptiste, I. 382, _406ff_, 414;
II. 21;
(influence on German composers), I. 415, 426;
II. 52.

Lute (primitive), I. 43;
(description), I. 261;
(in 17th cent.), I. 374f.

Lute music, I. 370.

Lutenists (Renaissance), I. 261f.

Luther, Martin, I. 255, 288ff.

Lutheran Church, I. 224f, 478ff.

Lydian mode, I. 100, 103.

Lyon, James, III. 442.

Lyre (Assyrian), I. 66;
(Egyptian), I. 80;
(Hebrew), I. 70, 73;
(Greek), I. 85, 110, 111, 123f.

Lyric drama. See Drame lyrique.

Lyric poetry, I. xlv;
II. 269ff.

Lyvovsky, G. F., III. 143.

M

Mabellini, Teodulo, II. 503 (footnote).

Macabrun (the troubadour), I. 211.

MacCunn, Hamish, III. 425f.

MacDowell, Edward, II. 347.

McGeoch, Daisey, III. 443.

McEwen, John Blackwood, III. 428.

Machault, Guillaume de, I. 231.

Mackenzie, Alexander Campbell, III. 415, _416_, 432.

Macpherson, Stewart, III. 429.

Macran, H. S., III. 431.

Macusi Indians, I. 11.

Madrigal, I. xliii;
(14th cent.), I. 261, 264f, 266;
(16th cent.), I. 272ff;
II. 52;
(English), I. 306;
(Monteverdi), I. 338ff, 345.

Maeterlinck, III. 105, 145, 199, 322, 359.

Maffei, Andrea, II. 489.

Magadis (Greek instrument), I. 124.

Magadizing, I. 161.

Maggi (Italian May festivals), I. 324.

Maggini, Paolo, I. 362.

Magnard, Alberic, III. 315, 363.

Mahler, Gustav, III. x, xii, xiii, _226ff_, 266;
(influence), III. 196.

Maillart, Aimé, II. 212.

Maitland, J. A. Fuller, III. 430;
(quoted on Händel), I. 447.

Majorca, II. 257.

Malays, I. 28.

Male soprano. See Artificial soprano.

Malfatti, Therese, II. 140, 145, 150, 159.

Malibran, Maria (Garcia), II. 185, 187, 312.

Malichevsky, W., III. 155.

Malling, Otto, III. 76.

Malvezzi, Christoforo, I. 329.

Mancinelli, Luigi, III. 378, 389, 392.

Manet, Édouard, III. 287.

Mannheim orchestra, II. 338.

Mannheim school, I. 481;
II. 12, 57, _63ff_, 67, 138.

Mantua, I. 326.

Manzoni, Cardinal, II. 498.

Maoris of New Zealand, I. 13.

Marcello, Benedetto, II. 6.

Marchand, Louis, I. 460f.

Marenzio, Luca, I. 275f, 329f.

Maria Theresa, Empress of Austria, II. 22, 72.

Marie, Galti (Mme.), II. 388.

Marie Antoinette, II. 32.

Marienklagen, I. 324.

Marignan, battle of, II. 351.

Marinetti, III. 392.

Marini, Biagio, I. 367;
II. 54.

Marinuzzi, Gino, III. 389, 391.

Mario, Giuseppe, II. 193.

Marmontel, II. 24, 33.

Marot, Clément, I. 294.

Mars, Mlle., II. 242.

Marschner, Heinrich (as song writer), II. 283;
(as opera composer), II. 279.

Marseillaise, III. 328.

Marsyas, I. 122.

Martin, George, III. 421.

Martini, Padre G. B., II. 11, 101.

Martucci, Giuseppe, III. 387f.

Marty y Tollens, Francesco, I. 125f.

Marx, Joseph, III. 266.

Mascagni, Pietro, I. xviii;
III. ix, 369, _370f_.

Masini (dir. of Società Filodrammatica, Milan), II. 483.

Masque (17th cent.), I. 385.

Mass, I. 242f, 244, 247f, 312f;
(Palestrina), I. 318ff.
See also Liturgy.

Massé, Victor, II. 212.

Massenet, Jules, II. 438;
III. viii, 24, _25ff_, 278, 283f;
(influence of), III. 343, 351.

Mastersingers. See Meistersinger.

Mathias I, King of Hungary, III. 187.

Mattei, Padre P. S., II. 180.

Mattheson, Johann, I. 415, 423, 452ff.

Maurus, Rhabanus, I. 137.

Maxner, J., III. 182.

May festivals (Italian), I. 324.

Maybrick, M. (Stephen Adams), III. 443.

Mayr, Simon, II. 180.

Mc. See Mac.

Measured music, I. 175ff, 183ff, 229.

Mensural composition, forms of, I. 183ff.
See also Measured music.

Meck, Mme. von, III. 56.

Medicine men (Indian), I. 29.

Medtner, Nicholas, III. xii, 154.

Méhul, Étienne, II. 41ff.

Meilhac, II. 393.

Meiningen court orchestra, III. 211.

Meistersinger, I. 222ff;
II. 421.

Melartin, Erik, III. 101.

Melgounoff, J. N., III. 136.

Melodic minor scale, I. 301.

Melody, styles of (Greek music), I. 98;
(plain-chant), I. 144, 153;
(of early French folk-song), I. 193f;
(early German folk-song), I. 197;
(Netherland schools), I. 245, 269, 333;
(Italian madrigalists), I. 212;
(Palestrina), I. 320ff;
(Florentine monodists), I. 332;
(early instrumental music), I. 368f, 373;
(early Italian opera), I. 380f, 392;
(Purcell), I. 389;
(Lully), I. 408;
(Bach), I. 474ff;
(Pergolesi), II. 8;
(Gluck), II. 26;
(classic period), II. 51;
(Mozart and Haydn), II. 111, 118ff;
(Beethoven), II. 171f;
(Rossini), II. 185f;
(Schubert), II. 227;
(lyric quality), II. 272ff;
(modern pianoforte), II. 297f, 320f, 323;
(modern symphonic), II. 357ff, 364ff;
(Wagner), II. 411, 431f, 433;
(Brahms), II. 462f;
(César Franck), II. 471.

Melzi, Prince, II. 19.

Menantes, I. 480.

Mendelssohn-Bartholdi, Felix, I. xvi, lvii, 318, 478;
II. 200, _260ff_, _290_, _311ff_, _344_, _349ff_, _395ff_;
III. 2;
(influence), III. 9ff, 69, 79, 92.

Mendelssohn-Schumann school, III. 4.

Mendès, Catulle, III. 288, 306.

Mensural system. See Measured music.

Merbecke, John, I. 305.

Mercadente, Saverio, II. 187, 196.

_Mercure de France_, quoted, II. 35, 68.

Merelli, Bartolomeo, II. 483.

Merikanto, Oscar, III. 101.

Merino, Gabriel, I. 328.

Merula, Tarquinio, I. 368.

Merulo, Claudio, I. 356.

Méry (librettist), II. 495.

Messager, André, III. 287, 363.

Messmer, Dr., II. 76, 103.

Metastasio, Pietro, II. 3, 5, 26, 31, 85.

Methods, technical (in musical composition), I. xxxvii.

Metternich, Prince, II. 184.

Mexicans, ancient, I. 16.

Meyerbeer, Giacomo, II. 199, 244;
III. x, 278.

Michelangelo, III. 110.

Mielck, Ernst, III. 101.

Mihailovsky, III. 108.

Mihálovich, Ödön, III. 190, 191.

Milder, Anna, II. 152.

Millöcker, Karl, III. 22.

Milton, I. xlv.

'Mimi Pinson,' III. 350f.

Mingotti, Pietro, II. 21.

Miniature (musical forms), III. 6ff.

Minnesinger, I. 214ff.

Minor scales (harmonic and melodic), I. 301.

Minstrels, wandering (in Middle Ages), I. 200ff.
See also Jongleurs; Minnesinger; Troubadours; Trouvères.

Minuet, I. 372, 375;
(in classic sonata, etc.), II. 54, 116, 120, 170f.

Mockler-Ferryman, A. F., I. 11.

Modal harmony (in modern music), II. 463;
III. xx, 295, 325.

Modern music (Bach's influence on), I. 477, 488, 490f;
(accepted meanings of the term), III. 1ff.

Modes (in Greek music), I. 100ff.

Modes, ecclesiastical, I. xxvxiii, 152ff;
(reaction of modern harmony), I. 270, 322, 352f, 360, 371;
(in Palestrina's music), I. 320.
See also Modal harmony; also Keys; Scales.

Modulation, I. lix;
(in Greek music), I. 102;
(polyphonic period), I. 246, 352;
(Monteverdi), I. 341;
(in aria form), I. 381;
(D. Scarlatti), I. 399;
(Bach), I. 487, 490;
(in classic sonata), II. 55f;
(Haydn and Mozart), II. 111;
(Beethoven), II. 167;
(Schubert, enharmonic), II. 229;
(Chopin), II. 321;
(Wagner), II. 411, 434;
(Brahms), II. 463.
See also Harmony (modern innovations).

Mohács, battle of, III. 187.

Mohammedan music, I. 47, 50, 59ff.

Molière, I. 407, 410;
('Le Bourgeois gentilhomme' quoted), I. 208.

Molnár, Géza, III. 200.

Monckton, Lionel, III. 433.

Monochord, I. 109, 124.

Monodia. See Monody.

Monodic style. See Monody.

Monody (in 14th cent.), I. 262ff;
(in 15th cent.), I. 231, 326, 368f;
(in 17th cent.), I. 282, 330;
II. 52;
(in early instr. music), I. 366, 367f.

Monro, D. B., III. 431.

Monsigny, Pierre Alexandre, II. 24, 41, 106.

Montemezzi, Italo, III. ix, 378.

Monteverdi, Claudio, I. 275, _338ff_, 376, 379f, 382;
II. 27;
III. vii, 307.

Monteviti, II. 11.

Mood painting, I. lxi.

Moody-Manners, III. 443.

Moór, Emanuel, III. 196.

Moore's Irish Melodies, III. 423.

Morlacchi, Francesco, II. 180.

Morley, Thomas, I. xlvii, 306, 369f.

Morpurgo, Alfredo, III. 400.

Morzin, Count, II. 86.

Moscherosch, II. 48.

Moscow Conservatory, III. 148.

Moscow Private Opera, III. 149.

Mosonyi, M., III. 190.

Moszkowski, Maurice, III. 212.

Motet (early), I. 185;
(16th cent. Italian), I. 270;
(Bach), I. 480.

Motives (Debussy's use of), III. 225;
(Charpentier), III. 355;
(Dukas), III. 359.
See Leit-motif.

Motta, Jose Vianna da, III. 408.

Mottl, Felix, II. 382.

Moussorgsky, Modeste, III. x, xiv, xvi, 38, 107, 109, _116ff_, 250;
(and Rimsky-Korsakoff), III. 125;
(influence of, on modern French music), III. 286, 320;
(and Debussy), III. 320.

Mouton, Jean, works by, I. 297f.

Movement plan. See Form; Sonata; Suite; etc.

Mozart, Leopold, II. 65, _72ff_, 114f;
(influence on W. A. Mozart), II. 101ff.

Mozart, Wolfgang Amadeus, I. xlix, 478;
II. 3, 9, 13, 49, 55, 59, 67, 76 (footnote), _100ff_,
106 (footnote), 163 (footnote);
III. 110, 334;
(and Haydn), II. 111ff;
(as symphonist), II. 115ff;
(operas), II. 121ff;
(rel. to Beethoven), II. 137f;
(influence on Rossini), II. 185;
(comp. with Schubert), II. 227;
(precursor of Weber), II. 240, 373, 377;
(influence on Wagner), II. 404.

Müller, Wilhelm, II. 283.

Munich, early opera in, I. 384.

Murger, Henri, III. 374.

Muris, Jean de, I. 299.

Music drama. See Opera.

Music Festivals, III. 434.

'Music of the Future' (Wagner), II. 401.

Music printing, I. 271, 284.

Musica ficta, I. 301, 302.

Musical comedy (English), III. 415f, 422ff, 431ff.

Musical history, English writers of, III. 430.

Musical notation. See Notation.

Musical instruments. See Instruments.

Mysliveczek, Joseph, III. 165.

Mystery plays, I. 289.
See Sacred representations.

Mysticism, III. 229, 361.

N

Nägeli, Hans Georg, II. 147.

Nanino, Giovanni, I. 321.

Naples, II. 5, 8, 11, 182, 494.

Naples, development of opera in, I. 383f;
school of opera in, I. 391f;
decline of opera in, I. 400f.

Napoleon I, II. 15, 156, 181, 238ff.

Napoleon III, II. 210, 493.

Napravnik, Edward Franzovitch, III. 134f.

National Society of French Music. See Société Nationale.

Nationalism (influence on German classics), II. 48f;
(in Romantic movement), II. 218f;
(German romanticism), II. 230ff, 236;
(in modern music), III. viii, xv, 59ff;
see also Folk-song;
(in Russian music), III. 38, 107ff;
(in Scandinavian music), III. 60ff;
(in French music), III. 277ff;
(in English music), III. 411ff.

Nationalistic Schools (rise of), II. 216.

Nature, imitation of. See Program music.

Nature, music in, I. 1ff, 8.

Naumann, Emil, cited, I. 245, 302.

Navrátil, Karl, III. 181.

Neapolitan School. See Opera.

Nedbal, III. 181.

Needham, Alicia A., III. 443.

Neefe, Christian Gottlieb, II. 131, 137, 138.

Negro music, III. 179.

Neitzel, Otto, III. 249.

Neo-Romanticism, II. 443-476;
(German), III. 1ff;
(French), III. 24ff;
(Russian), III. 47ff.
See also New German school.

Neo-Russians, III. xvi, 107ff;
(influence in Russia), III. 137;
(influence on modern French schools), III. 286, 332, 337.

Neri, Filippo, I. 334f.

Nero, I. 132.

Nessler, Victor, III. 21.

Nesvadba, Joseph, III. 180.

Netherland schools, I. 226-257, 296, 311;
(influence on Palestrina), I. 320.

_Neue Zeitschrift für Musik_, II. 264f, 447.

Neupert, Edmund, III. 88.

New German school, III. 4, 22.
See also Germany (modern).

New Guinea, I. 24.

Newman, Ernest, III. 431.

New South Wales, I. 13.

New Symphony Orchestra (London), III. 422.

New York (Metropolitan Opera House), II. 428.

New Zealand, aborigines of, I. 8, 13, 20.

Nibelungenlied (the), II. 424;
III. 63.

Niccolò. See Isquard.

Nicodé Jean Louis, III. 268.

Nicolai, Otto, II. 379.

Nielsen, Carl, III. 73, 75f.

Nielson, Ludolf, III. 76.

Niemann, Walter, cited, II. 429, 458.

Nietzsche, II. 422;
III. 84.

Nijinsky (Russian dancer), III. 321.

Nini, Alessandro, It. composer, II. 503 (footnote).

Nithart von Riuwenthal (Minnesinger), I. 219.

Noble, T. Tertius, III. 442.

Nocturne (origin of form), II. 13.

Nofre (Egyptian instrument), I. 80.

Nogueras, Costa, III. 407.

Noise-making instruments, I. 14.

Noises, musical, I. 2.

Norfolk festival (U. S.), III. 434.

Nordraak, Richard, III. xv, 92.

Normann, Ludwig, III. 69, 79.

Norway (political aspects), III. 61ff;
(folk-song), III. 66, 99;
(modern composers), III. 86ff.

Nose-flute, I. 26.

Notation (Arabic), I. 51;
(Assyrian), I. 69;
(Greek), I. 125f, 133;
(neumes), I. 154f;
(early staff), I. 155;
(Guido d'Arezzo), I. 171f;
(measured music), I. 175, 176ff;
(Minnesingers), I. 223;
(Netherland schools), I. 228, 229ff, 232f.
See also Tablatures.

Notker Balbulus, I. 149f.

Nottebohm, Gustav, quoted, II. 140, 158.

Nourrit, Adolphe, II. 185.

Novák, Viteslav, III. 182, 183ff.

Noverre, Jean Georges, II. 13, 104.

Novotny, B., III. 182.

O

Oblique motion (in polyphony), I. 165f.

Oboe, I. 29, 402, 424;
II. 117, 265, 335, 337, 338, 339, 341.

Obrecht. See Hobrecht.

Octatonic scale, I. 114, 165.

Octave transposition, in Greek music, I. 103ff.

Odington, Walter, I. 228.

Offenbach, Jacques, II. 392ff.

Okeghem, Johannes, I. 244, _246ff_, 250, 256.

Okenheim. See Okeghem.

Olenin, III. 161.

Ollivier, II. 418.

Olsen, Ole, III. 98.

Olympus, I. 112ff.

Ongaro, III. 188.

Opera, I. lviii;
(schools), I. xviii, 409;
(beginnings, Florence), I. 324ff;
(Monteverdi), I. 336ff;
(17th cent.), I. 350f, 376ff;
(Neapolitan school), I. 391ff, 400f;
(intro. in France), I. 405;
(infl. in 17th cent. Germany), I. 414f;
(Händel), I. 426ff;
(in England), I. 430ff, 434ff;
(18th cent.), II. 2ff;
(Gluck's reform), II. 17ff;
(Mozart), II. 103, 121ff;
(early 19th cent.), II. 177ff;
(Rossini), II. 183ff;
(Donizetti-Bellini period), II. 192ff;
(Meyerbeer), II. 200.
See also Opera, English; Opera, French; Opera, German; Opera,
Spanish; Opéra bouffon; Opera buffa; Opéra comique; Operetta;
Singspiel.

Opera, English (17th cent. masques), I. 385;
(Purcell), I. 388ff, 430;
(ballad opera), II. 8;
(Sullivan), III. 415f;
(modern), III. 426;
(musical comedy), III. 432f.

Opera, French (origin and early development), I. 401ff;
(Lully), I. 406ff;
(Rameau), I. 413f;
(Gluck), II. 31ff;
(Rossini), II. 188;
(grand historical opera), II. 197ff;
(Berlioz), II. 381ff;
(drame lyrique), II. 385;
(Franck), II. 475;
(Massenet), III. 27ff;
(Saint-Saëns, Lalo, etc.), III. 32f;
(modern), III. 278, 288, 310, 314;
(d'Indy), III. 304;
(impressionists), III. 324, 339;
(realists), III. 342, 350, 354;
(Dukas), III. 359.
See also Opéra comique; Operetta (French).

Opera German (17th cent.), I. 414f, 421f;
(Händel), I. 423ff;
(Mozart), II. 106, 123f;
(Beethoven), II. 60f;
(Weber), II. 225ff;
(Romantic opera), II. 372-381;
(Wagner), II. 401-442;
(after Wagner), III. 238-257.
See also Singspiel.

Opera, Italian. See Opera.

Opera, Spanish, III. 403ff.

Opéra bouffe. See Operetta.

Opéra bouffon, II. 25, 31.
See also Opéra comique.

Opera buffa,
(forerunner), I. 278;
(18th cent.), II. 8ff, 24;
(Mozart), II. 122ff;
(Rossini), II. 183ff, 186;
(Donizetti), II. 193f;
(modern revival), III. 339.

Opéra comique, II. 23, 36;
(18th cent.), II. 41ff, 68;
(19th cent.), II. 122, 178, 193, 207, 209ff;
(influence on drame lyrique), II. 392.

Opéra Comique (Paris theatre), II. 43.

'Opera and Drama' (essay by Wagner), II. 415.

Opera houses. See Bouffes Parisiens, Hamburg (17th cent. opera),
Opéra Comique, Paris Opéra, Salle Favart, [La] Scala,
St. Petersburg Opera, Stuttgart, Théâtre des Italiens,
Théâtre Feydeau, Venice (opera houses), Vienna.

Opera seria. See Opera.

Opera singers, early Italian, I. 383f.

Operatic convention (18th cent.), I. 427.

Operatic style, I. lviii;
(influence of Italian, on Passion music), I. 480, 490.

Operetta (French), II. 393f;
(Viennese), III. 21.

Ophicleide, II. 341, 352.

Oratorio (beginnings), I. 324ff;
(influence on early Italian opera), I. 378f;
(early development, Carissimi), I. 385ff;
(Händel), I. 425f, 429, 433f, 437ff;
(Bach), I. 453f, 472;
(Haydn), II. 91f;
(Romantic period), II. 395ff;
(modern English), III. 420, 434.
See also Passion oratorio.

Orchestra (in Greek drama), I. 120f;
(incipient), I. 354;
(in Italy, 16th cent.), I. 282;
(of earliest operas), I. 333;
(of Monteverdi), I. 341f, 345;
(of Hamburg opera), I. 424;
(of Händel), I. 440;
(for Bach's church music), I. 466;
(for Bach's concertos), I. 482;
(Mannheim), II. 65;
(development, 18th cent.) _II. 96_;
(Mozart), II. 117;
(Rossini and Meyerbeer), II. 208;
(Berlioz), II. 225;
(development, 19th cent.), II. _334ff_.
See also Instruments.

Orchestral accompaniment. See Accompaniment.

Orchestral music (instrumental madrigals, 16th cent.), I. 281f;
(Corelli), I. 394, 396;
(in France, 16th cent.), I. 402;
(Lully), I. 409;
(Händel), I. 433, 445;
(Bach), I. 481ff;
(Mannheim school), II. 12f, 65ff;
(Gluck), II. 25;
(classic period), II. 59, 61, 74, 81, 93ff;
(Haydn), II. 94;
(Mozart), II. 115ff;
(Beethoven), II. 157ff;
(Romantic period), II. 343ff;
(Brahms), II. 456, 466;
(Franck), II. 474f;
(modern), III. x-ff, 201ff.
See also names of specific modern composers.
See also Instrumental music.

Orchestral polyphony. See Polyphony (orchestral).

Orchestral style, I. lviii.

Orchestral tremolo. See Tremolo.

Orchestration, I. liii;
(classic), II. 28, 40, 65, 117;
(modern development), II. 339f, 342f;
III. 411, 418, 466;
(impressionistic), III. 334.

Order (principle of), I. xxix, xxxii.

Orefice, Giacomo, III. 378.

Organ (early history), I. 156f;
(in 16th-17th cent.), I. 292, 355;
(18th cent.), I. 450.

Organ music, I. lviii;
(16th-17th cent.), I. 355ff;
(Bach period), I. 450ff, 472, 476, 489, 490;
(modern French), II. 472; III. 36;
(modern), III. 397, 442.

Organistrum, I. 211.

Organists, famous (Landino), I. 264;
(16th-17th cent.), I. 356ff;
(18th cent.), I. 450, 461, 467f.

Organization (principle of), I. xxx, xxxiii-f, xxxvii, lv.

Organum, I. 162ff, 172, 181ff.

Oriental color in European music, I. 42f, 52, 63f;
III. 42f.

Oriental folk-songs, I. xliii.

Oriental music, I. 42ff.

Origin of music, theories of, I. 3.

Orlando di Lasso. See Lasso.

Orloff, V. C., III. 143.

Ornstein, Leo, III. 393.

Orpheus, I. 92f, 111.

Osiander, Lukas, I. 291.

'Ossian,' II. 129, 139, 223.

Ostřcil, O., III. 182.

Ostrovsky, III. 108.

Ostroglazoff, M., III. 155.

Overture (Italian), I. 336, 341, 393;
(French, in 16th cent.), I. 402;
(French, Lully), I. 409;
(Bach), I. 482f;
(Gluck), II. 28;
(concert overture), II. 347ff.

Ovid, II. 71.

Oxford History of Music, III. 420, 430;
quoted, II. 112, 166.

P

Pachelbel, Johann, I. 361, 451.

Pacino, Giovanni, II. 196.

Pacius, Frederick, III. 100.

Paër, Ferdinando, II. 181.

Paganini, II. 76 (footnote), 249, 323.

Paësiello, Giovanni, II. 15, 181, 182.

Painting (art of), I. xxix.

Paladilhe, Émile, II. 207.

Palestrina, Giovanni Pierluigi da, I. 243, _314ff_, 353, 480;
II. 477;
III. 385.

Palmgren, Selim, III. 101.

Parabasco, Girolamo, I. 328.

Paracataloge, I. 115.

Parallel motion (in descant), I. 165.

Paris (14th cent. musical supremacy), I. 228;
(ars nova), I. 230, 231f, 265;
(16th cent. ballet), I. 401;
(early opera), I. 406ff;
(Guerre des bouffons), II. 32ff;
(18th cent. composers), II. 16, 79;
(Gluck), II. 32ff;
(early symphonic concerts), II. 65, 68;
(Mozart), II. 104, 116;
(Rossini), II. 188;
(Berlioz), II. 241ff;
(Meyerbeer), II. 200ff;
(revolutionary era), II. 213, 218;
(Chopin), II. 257ff, 313ff;
(Wagner), II. 405, 418;
(orchestra concerts, modern), III. 285;
(musical glorification of), III. 354;
(Bohemianism), III. 349.

Paris Conservatory, II. 42, 254;
III. 291, 336.

Paris Opéra (establishment), I. 406, 407;
(Gluck), II. 32, 34, 35, 39;
(Spontini), II. 197;
(Auber), II. 210;
(Wagner), II. 418.

Paris Opéra Comique, II. 41, 193, 391.

Parlando recitative, I. 115;
II. 26.
See Recitative.

Parratt, Walter, III. 421.

Parry, [Sir] C. Hubert H., III. xii, xiv, 415, _416f_;
(on evolution of music), I. xxix-lxi;
quoted, I. 476;
II. 164.

Part-songs (modern), II. 53.

Pasdeloup, Jules, III. 278.

Passamezzo, III. 188.

Passion oratorio (origin and development in Germany), I. 424f, 480f;
(dramatic element introduced), I. 453;
(Bach), I. 472, 477ff.

Passions. See Emotions.

Pasta, Giuditta (Negri), II. 185, 187, 194, 195.

Pasticcio, II. 20.

Pastoral plays, I. 325, 327f, 405.

Pastoral songs. See Pastourelle.

Pastourelle, I. 203, 207f, 264.

Paul, Jean. See Richter, Jean Paul.

Pavan, I. 371, 375.

Pedrell, Felippe, III. 404.

Pedrotti, Carlo, II. 503 (footnote).

Pelissier, Olympe, II. 191.

Pepusch, John, I. 430.

Pentatonic scale, I. 45ff, 49, 69, 164;
III. 179.

Percussion, instruments of (primitive), I. 23f;
(Oriental), I. 52ff;
(Assyrian), I. 67;
(Egyptian), I. 82.
See also Drums; Instruments.

Perfect immutable system (Greek music), I. 102ff.

Percy, Bishop, II. 129, 223.

Pergin, Marianna, II. 22.

Pergolesi, Giovanni Battista, II. 7, 8, 52, 55f;
(influence on Mozart), II. 125.

Peri, Jacopo, I. 329ff, 343, 378;
II. 26, 27.

Periods. See Classic Period, Romantic Period.

Perosi, Don Lorenzo, III. 395f.

Perotin, I. 184.

Perrin, Pierre, I. 405f.

Persiani, Fanny, II. 185.

Personal expression, I. li-f, lxi.

Peru, I. 24.

Peruvians (ancient), I. 44f, 52, 56.

Pesaro, II. 191.

Peter the Great, III. 40.

['_Le_] _Petit prophète de Boehmischbroda_,' II. 24.

Petersen-Berger, Wilhelm, III. 80, 81ff.

Petrella, Enrico, II. 503 (footnote).

Petrograd. See St. Petersburg.

Petrucci, Ott. dei, I. 245, 271, 285f.

Pfitzner, Hans, III. viii, 243, _247f_.

Philammon, I. 111.

Philidor, François-André-Danican, II. 24, 41, 65 (footnote).

Phillips, Montague, III. 443.

Phillips, Stephen, III. 135.

Phrygian mode, I. 100, 103, 113.

Pianoforte (mechanical development), II. 162, 296f.

Pianoforte concerto, II. 72;
(Mozart), II. 115;
(Beethoven), II. 165, 167;
(Weber), II. 303;
(romantic composers), II. 330f;
(Chopin), II. 314, 319;
(Liszt), II. 327;
(Brahms), II. 466;
(Franck), II. 474f;
(Tschaikowsky), III. 50;
(Grieg), III. 70;
(Saint-Saëns), III. 280.

Pianoforte music (Kuhnau), I. 415f;
(J. S. Bach), I. 474ff, 483ff, 487, 490f;
(C. P. E. Bach), II. 59;
(Mozart), II. 114;
(Beethoven), II. 163ff;
(romantic period), II. 293-333;
(neo-romantic), II. 464f, 472ff;
('genre' forms), III. 17;
(impressionistic school), III. 326f, 340, 405;
(modern Italian), III. 393f.
See also Harpsichord music; also Pianoforte sonata.

Pianoforte sonata (D. Scarlatti), I. 399;
II. 51;
(Kuhnau), I. 416;
II. 58;
(C. P. E. Bach), II. 59f;
(Mozart), II. 114;
(Beethoven), II. 165, 167, 170, 173f;
(Schubert), II. 300;
(Weber), II. 302;
(Schumann), II. 310;
(Chopin), II. 319;
(Brahms), II. 453, 464.

Pianoforte style, I. xx, xxi, 399;
II. 60, 163, 297;
III. 333.

Piave (librettist), II. 488.

Piccini, Nicola, II. 14f, 35, 37;
(influence on Mozart), II. 122.

Piccolo, II. 341.

Pictorialism, in Wolf's songs, III. 267.
See also Program music; Impressionism; Realism.

Pierné, Gabriel, III. xiv, 285, 361, _362_.

Pierson, H. H., III. 414.

Pietà, Monte di, II. 481.

Pindar, I. 118f.

Piombo, Sebastiano del, I. 327f.

Pipes (primitive), I. 21ff;
(Assyrian), I. 66f;
(Egyptian), I. 80f.

Plagal modes, I. 151ff.

Plagiarism (in 18th cent.), I. 434, 441f.

Plain-chant. See Plain-song.

Plain-song, I. xlvi, 157, 183, 320, 349;
III. 299.
See also Church music (early Christian); Liturgy.

Plain-song, the age of, I. 127-159.

Planer, Minna, II. 405.

Planquette, Robert, III. 363 (footnote).

Platania, Pietro, II. 503 (footnote).

Plato, I. 77, 89f.

Plautus, I. 325f.

Play instinct (the) in rel. to music, I. 5f.

Pleyel, Ignaz, II. 90.

Plutarch, I. 114.

Poe, Edgar Allan, III. 152.

Poetry, in relation to Greek music, I. 90ff.
See also Lyric poetry.

Pogojeff, W., III. 155.

Pohl, Karl Ferdinand, II. 94.

Pointer, John, III. 443.

Poliziano, I. 326f.

Polka (dance), III. 166.

Polonaise, II. 259, 315.

Polybius, I. 95.

Poly-harmony, III. xx.

Polynesia, I. 9.

Polyphonic style, I. xii, xxxviii, xxxix, xlvi, lvii;
(development in Middle Ages), II. 226ff, 269, 296f, 348, 351;
(early instrumental music), II. 282, 354, 363, 366, 369, 370, 372;
(Lasso), I. 310;
(Palestrina), I. 319ff;
(reaction against), I. 330f, 353, 361;
(fusion with harmonic style), I. 418, 441;
(Bach), I. 472, 481f, 489, 490;
(in string quartet), II. 69;
(Mozart), II. 111;
(orchestral), I. liv;
II. 118, 418, 422;
(Chopin), II. 320f;
(Wagner), III. 426;
(modern), III. xxi, 272, 308;
(ultra-modern), III. 164.
See also Counterpoint; Chanson; Madrigal; Motet.

Polyphony, the beginnings of, I. 160-183;
(Netherland schools), I. 226-257;
the golden age of, II. 284-323;
(early forms of), see Organum, Diaphony, Descant.

Ponchielli, Amilcare, II. 478, 503.

Pontifical Choir, I. 318.

Popular music (modern), I. xlviii.

Porges, Heinrich, III. 237.

Porpora, Nicola, I. 400f, 436;
II. 4ff, 85.

Porta, Constanzo, I. 304.

Portman, M. V., cited, I. 9.

Portraiture musical (in 17th cent. harpsichord music), I. 411f;
(Mozart), II. 123.
See also Characterization.

Portugal, III. 408.

Pougin, Arthur, II. 209.

Prague, II. 107, 235;
III. 168.

Pre-Raphaelites, III. 321, 361.

Prelude (origin of form), I. 353;
(Chopin), II. 317;
(dramatic), see Overture.
See also Chorale prelude.

_Premier coup d'archet_, II. 104.

Prévost, L'Abbé ('Manon Lescaut'), II. 210.

Primitive music, I. xxxviii, xli, xliii, _1ff_.

Printing of music. See Music printing.

Prix de Rome, II. 254.

Program music, I. li;
(16th cent.), I. 276f, 296f;
(17th cent.), I. 411f, 416;
(Bach), I. 458;
(Beethoven), II. 172;
(Berlioz), II. 351ff;
(Liszt), II. 359ff;
(defense of), II. 367ff;
(modern), III. 217;
(impressionistic), III. 351.

Prokofieff, S., III. 155.

Prosa. See Sequences.

Prose, in opera, III. 344.

Prosodies (Greek), I. 117.

Prosody, I. xxxiv.

Protestant Church. See Lutheran Church.

Protestant Reformation. See Reformation.

Prout, Ebenezer, III. 421.

Provence, I. 205.

Psalmody, I. 140, 142f.

Psychology (in program music), III. 217;
(in music drama), III. 254;
(in the song), III. 262.

Ptolemy, Claudius, I. 110, 132.

Publishing. See Music publishing.

Puccini, Giacomo, III. viii, ix, 250, 335, 369, 370, _372f_.

Puffendorf, II. 47.

Pukuta Yemnga, I. 15.

Purcell, Henry, I. 385, _388ff_, 431, 433;
(influence on Händel), I. 439.

Pushkin, III. 107, 121, 128, 145, 152.

Pythagoras, I. 90ff, 105ff.

Pythic festivals, I. 113.

Pythic games, I. 94.

Q

Quantz, Joachim, I. 468;
II. 58.

Quarter-tones, I. 39f, 47, 49, 113;
II. 332.

Quartet. See String quartet.

Queens Hall Orchestra, III. 422.

Quichua Indians, I. 45.

Quilter, Roger, III. 443.

Quinault, II. 34.

R

Rabaud, Henri, III. 363.

Rachmaninoff, Sergei Vassilievich, III. xi, xii, xiv, xvii, _151ff_.

Racine, Jean (and Lully), I. 409;
II. 31.

Radecke, Robert, III. 212.

Radnai, III. 200.

Raff, Joachim, II. 322, 346f;
III. 22ff.

Raga, I. 49.

'Ragtime,' I. 11;
III. 327.

'Rákoczy March,' II. 341f;
III. 189, 193.

Rameau, Jean Philippe, I. 398, _413f_;
II. 1, 21, 68, 351;
III. 307, 334, 358, 360.

Ramis de Pareja, B., I. 269.

Ranat (Burmese instrument), I. 53.

Raphael, I. 327.

Rasoumowsky quartet, II. 143.

Rationalism, II. 48.

Rattle (as instrument), I. 14f, 35, 52.

Ravanello, III. 397.

Ravel, Maurice, III. xiv, xviii, xxi, 318, 321, 328, _335f_;
(and Debussy), III. 341.

Rawlinson, George (cited), I. 78.

Realism, III. 318, 339, 342, 344, 351.
See also Verismo.

Rebikoff, Vladimir, III. 159, 160f.

Recitative, I. 331f, 335, 381f, 385, 386f, 389;
(French), I. 406, 408;
II. 3, 10;
(accompanied), I. 393;
II. 16, 182;
(in German church music), I. 453, 480;
(Bach), I. 477, 490;
(Gluck), II. 26;
(Rossini), II, 178, 182, 187;
(Wagner), II. 431.

_Recitativo secco._ See Recitative.

Reformation, I. 288ff, 387.
See also Church, Lutheran.

Reger, Max, III. xi, xii, _231ff_, 243, 269, 318, 335;
(songs), III. 266.

Regino, I. 145.

Reicha, Anton, III. 165, 168.

Reichardt, Johann Friedrich, II. 277, 374;
III. 62.

Reinecke, Carl, II. 263;
III. _11ff_, 257.

Reinken, Jan Adams, I. 451, 457.

Reinthaler, Karl, III. 256.

Reiser, Alois, III. 182.

Reissiger, Karl Gottlob, II. 409.

Reiteration, I. xli, xlii;
II. 63.

Rékai, Ferdinand, III. 200.

Relativity in art, I. lv.

Religion, I. xliv, xlvii;
(in rel. to exotic music), I. 50, 55;
(influence on Minnesang), I. 222;
(influence on German music), II. 48.
See also Church.

Religious emotions (plain-song), I. 157f;
(in music of Bach), I. 452, 454.

Religious music. See Church music.

'Reliques,' Percy's, II. 129, 223.

Reményi, Eduard, II. 451.

Renaissance (the), I. 214, 258ff, 306, 322.

Requiem (Mozart), II. 108, 125;
(Berlioz), II. 398;
(Verdi), II. 498.

Retroensa, I. 208.

Reutter, Georg, II. 62, 84.

Revolutions (Carbonarist), II. 184;
(French), II. 42, 75, 155, 213ff, 443;
(of 1830), II. 207, 241, 246;
(of 1848), II. 413f.

Reyer, Ernest, II. 390, 438.

Reznicek, Emil Nikolaus von, III. 181.

Rheinberger, Joseph, III. 209, _210f_, 257.

Rhythm, I. xiii, xliii-ff;
(in primitive music), I. 11f, 20f;
(Oriental music), I. 63;
(Assyrian music), I. 68;
(Egyptian music), I. 82;
(Greek music), I. 96, 98, 112, 126;
(plain-song), I. 144;
(measured music), I. 175, 176ff, 185;
(mediæval folk-song), I. 194f;
(Troubadours), I. 209f;
(ars nova), I. 229, 266;
(absence of, in Palestrina style), I. 321, 323, 348f, 351;
(in 17th cent. instrumental music), I. 351, 361, 364f, 369ff,
371, 373;
(Carissimi oratorios), I. 386;
(Bach), I. 475f;
(Lully), I. 486;
(opéra comique composers), II. 209f;
(Chopin), II. 315;
(Wagner), II. 435;
(Brahms), II. 461;
(Tschaikowsky), III. 57.

Ricci, Frederico, II. 503.

Ricercar, I. 356ff.

Richepin, Jean, III. 293.

Richter, Franz Xaver, II. 67.

Richter, Hans, II. 422.

Richter, Jean Paul, II. 263, 306.

Ricordi, Tito, III. 381.

Riddle canons, I. 247.

Riemann, Hugo, II. 8, 60;
(quoted), I. 88, 115, 121, 137, 165, 207, 225, 229, 231, 264, 274,
303f, 438, 443, 476;
II. 8, 25, 66, 117f, 120, 125;
III. 232.

Ries, Franz (b. 1755), II. 131, 145.

Ries, Franz (b. 1846), III. 212.

Rietz, Eduard, III. 11.

Rietz, Julius, III. 10.

Rimsky-Korsakoff, Nicholas Andreievitch, II. 35, 53;
III. ix, x, xiv, xvi, 38, 107, 112, _123ff_, 134, 143, 319;
(quoted on Moussorgsky), III. 119;
(influence), III. 138, 145;
(and Stravinsky), III. 162.

Rinuccini, Ottavio, I. 328, 332f, 343;
II. 3.

Riquier, Guirant, I. 211.

Ritornello, I. 336.

Riseley, George, III. 422.

Ritter, Alexander, III. 213, 214.

Robert of Normandy, I. 205.

Roble, Garcia, III. 407.

Rockstro, W. S. (quoted), I. 233, 427, 440.

Roger-Ducasse, III. xviii, 363.

Rogers, Benjamin, I. 373.

Rohrau, II. 90.

Rolland, Romain, cited, I. 312f, 325, 336;
II. 253, 254, 283f.

Roman empire, I. 130ff, 187.

Romance (Troubadour form), I. 207.

Romanticism, I. xvi, lvi;
II. 129, 267;
(French), III. 6, 7, 298;
(Russian), III. 37;
(German), II. 129;
III. 5, 209.
See Romantic Movement.

Romantic Movement, II. 213-268;
(song literature), II. 269-292;
(pianoforte and chamber music), II. 292-333;
(orchestral music), II. 334-371;
(opera and choral song), II. 372-400;
(by- and after-currents), III. 1-36.

Romberg, Andreas, and Bernhard, II. 132.

Rome,
(Palestrina), I. 314ff;
(early opera), I. 327, 378f;
(Händel), I. 428;
(Jommelli), II. 11.
See also Church, Roman.

Ronald, Landon, III. 422, 443.

Rondeau, I. 195.

Rondet de carol, I. 208.

Rondo, II. 54, 167.

Rootham, C. B., III. 442.

Ropartz, Guy, III. 313f.

Rore, Cipriano di, I. 273, 275, 302f.

Rosa, Carl, III. 443.

Rose, Algernon (cited), I. 31.

Rossbach, battle of, II. 48.

Rossi, Gaetano, works of, II. 187, 196.

Rossi, Luigi, I. 379, 385f.

Rossi, Salvatore, I. 367.

Rossini, Gioachino Antonio, II. 180ff, 503.

Rotta, I. 211.

Rousseau, Jean Jacques, I. 162;
II. 24, 28, 29, 32, 35.

Roussel, Albert, III. xviii, 315, _363_.

Royal Academy of Music (London), I. 432ff.

Rozkosny, Joseph, III. 180.

Rubens, Paul, III. 433.

Rubenson, Albert, III. 80f.

Rubini, Giovanni Battista, II. 185, 194.

Rubinstein, Anton, II. 459;
III. xvi, 47ff.

Rubinstein, Nicolai, III. 18, 111.

Ruckers family, I. 373f.

Rucziszka, II. 225.

Rudolph, Archduke of Austria, II. 133.

Rue, Pierre de la, I. 248.

Rungenhagen, Karl Friedrich, III. 16.

Rupff, Konrad, I. 290f.

Ruskin, John (quoted), II. 267.

Russian ballet, III. 163.

Russian church music, III. 141ff.

Russian Imperial Musical Society, III. 107.

Russian music, I. 63;
III. ix, xvi, 37, 58;
(romanticists), III. 37ff;
(neo-romanticists), III. 47ff;
(nationalists), III. 107ff;
(contemporary), III. 137ff;
(folk-song), III. 139;
(church music), III. 141ff;
(modern eclectics), III. 146f.

Ruzicska, III. 189.

Rydberg, III. 102.

S

Sabbata, Vittore de, III. 382, 389, _391_.

Sacchini, Antonio, II. 14.

Sachs, Hans, I. 223ff;
II. 421;
III. 190.

Sackbut. See Trombone.

Sacred drama. See Oratorio.

Sacred music. See also Church music; Cantata; Oratorio, etc.

Sacred representations (sacre rappresentazione), III. 324.

St. Ambrose, hymns of, I. 135ff, 142f.

St. Augustine, I. 135, 137, 141.

St. Basil, I. 140.

St. Foix, G. de (cited), II. 67 (footnote), 103.

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

St. Hilarius, I. 142.

St. Leo the Great, I. 143.

St. Petersburg (18th cent. composers), II. 15;
(composers at court of Catherine II), II. 79.

St. Petersburg Conservatory, II. 40; III. 48, 126, 138.

St. Petersburg Free School of Music, III. 107.

St. Petersburg Opera, III. 134.

St. Petersburg pitch, II. 40.

Saint-Saëns, II. 418, 438;
III. viii, x, xii, xiii, xviii, 2, 7f, 24, _31ff_, 48, 93, 278,
279, 282, 284;
(quoted on Oriental music), I. 52f.

Saint-Simonism, II. 246.

Saldoni, Baltasar, III. 404.

Salieri, Antonio, II. 37, 39f, 92, 225, 238.

Salle Favart, II. 43.

Salo, Gasparo da, I. 362.

Salomon, Johann Peter, II. 89.

Salon de la Rose-Croix, III. 321.

Salvai (Signora), I. 434.

Salzburg, II. 73f, 101ff.

Samazeuilh, Gustave, III. 315, 362.

Sammartini, Giovanni Battista, II. 19, 114.

Samisen (Japanese instrument), I. 53.

Sand, Georges, II. 257.

Sanderson, Wilfred, III. 443.

Sanko (African instrument), I. 30.

Santoliquido, Francesco, III. 40.

Sappho, I. 115.

Sarabande, I. 371f, 423.

Sarti, Giuseppe, II. 40.

Sarto, Andrea del, I. 327.

Satie, Erik, III. 336, _361f_.

Savages, music of. See Primitive Music.

[La] Scala, II. 484.

Scalero, Rosario, III. 395.

Scales (primitive), I. 6ff, 21ff, 27f, 31, 45;
(Chinese), I. 46ff;
(Oriental), I. 51, 63;
(pentatonic), I. 45ff, 69, 164;
III. 179;
(Greek system), I. 99ff, 113, 110, 301;
(octatonic), I. 114, 165;
(early Christian), I. 152, 164;
(hexachordal division), I. 169;
(modern tonality), I. 301;
(harmonic and melodic minor), I. 301 (footnote);
(equal temperament), I. 483, 485ff.
See also Modes; Modulation.

Scalp Dance, I. 34.

Scandinavia, III. xv, 59-106.
See also Denmark, Finland, Norway, Sweden.

Scarlatti, Alessandro, I. 347, 388, _392ff_, 397f, 401, 409;
II. 5.

Scarlatti, Domenico, I. 397ff, 453;
II. 51, 55, 60.

Scenic display (in 16th cent. pastoral), I. 328;
(in early Venetian opera), I. 382;
(in 17th cent. opera), I. 376f;
(in early French ballet), I. 402ff.

Schaden, Dr. von, II. 135.

Schantz, F. von, III. 100.

Scharwenka, Philipp, III. 212.

Scharwenka, Xaver, III. 212.

Scheffer, Ary, II. 388.

Schenck, Johann, II. 138.

Schering, Arnold, cited, I. 443.

Scherzo, II. 54, 167, 170, 311f, 318f.

Schikaneder, Anton, II. 108, 109, 124.

Schiller ('Ode to Joy'), II. 171.

Schillings, Max, III. viii, 243f.

Schindler, Anton, II. 133, 143.

Schjelderup, Gerhard, III. 99f.

Schlesinger, Kathleen, III. 430.

Schmitt, Florent, III. xi, xiv, xviii, 321, 363, _364_.

Schobert, Johann, II. 67ff;
influence on Mozart, II. 67, 102.

Schola Cantorum (mediæval), I. 141, 146, 147.

Schola Cantorum (Paris), III. 285, 298.

Schönberg, Arnold, II. 369;
III. xx, 271ff.

Schönbrunn, II. 22.

Schoolcraft, quoted, I. 37.

Schools of composition, I. xii-ff;
(conflict of, in classic period), II. 62;
(rise of nationalistic), II. 216;
See also Berlin school, Leipzig school, Mannheim school,
Netherland schools, Romantic Movement, Venetian school,
Viennese classics, also Impressionism, Realism,
also England, France, Germany, Italy, Russia, Scandinavia, etc.

Schopenhauer, II. 173, 415, 417.

Schubert, Franz, I. xvi;
II. 115, _221ff_;
(songs), II. 279ff;
(pianoforte works), II. 299ff;
(operas), II. 380;
(general), III. 202, 223, 257.

Schumann, Clara, II. 264, 449, 452, 453, 455, 457;
III. 14, 69.

Schumann, Georg, III. 209.

Schumann, Robert, I. xvi, lvii;
II. 262ff;
(as song writer), II. 284ff;
(pianoforte works), II. 304ff;
(operas), II. 380;
(antagonism to Wagner and Liszt), II. 448f;
(general), III. xi, 257;
(influence), III. 13ff, 78, 92, 95, 105, 183, 202.

Schumann-Mendelssohn tradition, III. 209.

Schuppanzigh, Ignaz, II. 143, 152.

Schuré, Édouard, II. 208.

Schütz, Heinrich, I. 384f, 387, 424, 478, 480.

Schweitzer, Albert, I. 476.

Schytte, Ludwig, III. 76.

Scotland (folk-song), I. xliii;
III. 424.

Scott, Cyril, III. xiv, xix, 335.

Scott, [Sir] Walter, II. 194, 209, 223.

Scotti, Antonio, III. 374.

Scriabine, Alexander, III. x, xi, xii, xiv, xx, 2, 155,
_156ff_, 164.

Scribe, Eugene, II. 187, 200, 203, 210.

Scudo, Paul, quoted, II. 209.

Sculpture (art of), I. xxix.

Sebastiani, Johann, I. 481.

Secular music, mediæval, I. 186ff;
(in conflict with church music), I. 227;
(early polyphonic), I. 230f;
(in the mass), I. 242, 313, 320;
(in Lutheran hymns), I. 290.
See also Folk-songs; Instrumental music; Madrigals, etc.

Seghers, Antoine, III. 278.

Selinoff, III. 155.

Selmer, Johann, III. 97f.

Senesino, Francesco Bernardi, I. 434, 437;
II. 4, 185.

Senfl, Ludwig, I. 288, 304f.

Sequences, I. 149f.

Serenade (Troubadours), I. 207;
(orchestral), II. 115.

Sergius II, and early church music, I. 167.

Sérieyx, Auguste, III. 307.

Serpent (instrument), II. 341.

Sévérac, Déodat de, III. 315, 362.

Serrao, Paolo, II. 11.

Seven Years' War, II. 50.

Sexual attraction, as the cause of music, I. 4f.

Sgambati, Giovanni, III. 386f.

Shakespeare, I. xiv;
II. 139, 380, 388, 488f, 500;
III. 110.

Sharp (origin of), I. 156.

Sharp, Cecil, III. 423.

Shelley, I. xlv.

Shophar (Hebraic instrument), I. 73.

Shukovsky, III. 42.

Siam, I. 53, 57f.

Sibelius, Jean, III. xi, xiv, 64, 67, 68, 70, _101ff_.

Siklós, III. 200.

Silbermann, Gottfried, II. 163.

Silcher, Friedrich, II. 276.

Silvestre, Armand, III. 293.

Simonides, I. 118.

Simphonies d'Allemagne, II. 13, 67.

Simrock (publisher), II. 132, 147.

Sinding, Christian, III. xv, 70, _96f_.

Sinfonia, I. 368;
II. 54, 66 (footnote).
See also Overture (Italian).

Sinfonietta, III. 7.

Singers (18th cent.), I. 423, 427;
II. 4, 6, 10, 21, 26, 33, 39;
(19th cent.), II. 185.
See also Opera Singers.

'Singing allegro,' II. 8, 52.

Singing masters (early famous), I. 250, 329ff, 333ff, 400, 436.

Singspiel, II. 9, 106, 123, 236, 277, 374;
(Danish), II. 40;
III. 62.
See also Opera, German.

Sinigaglia, Leone, III. 389, 390, 395.

Sjögren, Emil, III. 80, _81f_.

Skroup, Frantisek, III. 168.

Skuherský, Franz, III. 180.

Slavs (folk-song of), I. xliii.

Smareglia, Antonio, III. 369.

Smetana, Friedrich, III. xi, xii, xiv, xv, 165, 166, 169ff, 181;
(influence), III. 183.

Smithson, Henriette, II. 254, 354.

Smolenski, Stepan Vassilievitch, III. 142.

Smyth, Ethel Mary, III. 426.

Snake Dances, I. 14, 34.

Social conditions, influence of, I. xxxv.

Socialism, III. 342, 349, 351.

Société des Jeunes Artistes du Conservatoire, III. 278.

Société de Sainte Cécile, III. 278.

Société Nationale de Musique Française, III. 284, 297.

Society of Authors, Playwrights and Composers, III. 435f.

Sociological music drama, III. 345.

Sokoloff, Nikolai Alexandrovich, III. 145.

Solfeggi, II. 4.

Solo, vocal (in 14th cent. art music), I. 262;
(in 16th cent.), I. 281f.

Solo melody. See Monody.

Soloman, Edward, III. 432.

Somervell, Arthur, III. 427.

Sommer, Hans. III. 240, 268.

Sonata. See Pianoforte sonata; Violin sonata; Sonata da camera;
Sonata da chiesa; Sonata form.

Sonata da camera, I. 369ff, 395f.

Sonata da chiesa, I. 357, 365ff, 395f.

Sonata form, I. xiv-f, xxvi, l-f, lii, lvi, 8, _52ff_, 58, 72, 174f;
III. 280.

Sonata period, I. xli.
See also Mannheim school; Viennese classics.

Song. See Folk-song; Art-song; Part-song; Secular music, mediæval.

Song cycles (Beethoven), II. 278, 282;
(Schubert), II. 282f;
(Schumann), II. 287f.

Song form. See Binary form.

Song style, I. lix.

Sonnenfels (quoted), II. 29.

Sontag, Henriette, II. 185.

Sophistication (rhythmic), I. xlv-ff.

Soula (Troubadour form), I. 207.

Sound-producing materials (Chinese classification), I. 48.

South America (primitive instruments), I. 22.

Spain, modern, III. 403ff.

Spanish color. See Local color.

Spanish influence, on music of American Indians, I. 38f.

Späth, Friedrich, II. 163.

Spencer, Herbert, I. 4f.

Spendiaroff, A., III. 141.

Spinelli, Niccola, III. 369, 371.

Spitta, Philipp, I. 455, 467.

Spohr, Ludwig, II. 329ff, 331f, 346f, 377, 386, 397.

Spontini, Gasparo, II. 197ff.

Sports, in rel. to music, I. 6.

Squire, William Barclay, III. 430, 443.

Stage directions (Cavalieri's), I. 335.

Stainer, [Sir] John, III. 421.

Stainer and Bell (publishers), III. 435.

Stamitz, Johann, I. xiv (footnote), 481;
II. 8, 12, 57, _63ff_, 67, 94.

Stanford, [Sir] C. Villiers, III. 415, _419_, 423.

Standfuss, II. 8.

Stassoff, Vladimir, III. 38, 107.

Stcherbacheff, N. V., III. 146.

Steffani, Agostino, I. 429.

Stegliano, Prince, II. 8.

Steibelt, Daniel, II. 161.

Stein, Johann Andreas, II. 163, 231.

Steinberg, Maximilian, III. 154.

Stendhal (Henri Beyle), quoted, II. 186.

Stenhammer, Wilhelm, III. 69, _85f_.

Stepán, W., III. 182.

Stephan I, King of Hungary, III. 187.

Stile rappresentativo, I. 330ff, 335.

Stillfried, Ignaz von, II. 71.

Stockholm, II. 79;
III. 62, 77.

Stolzer, Thomas, III. 187, 305.

Stone Age, instruments of, I. 24f.

Strabo, cited, I. 77, 85.

Stradella, Alessandro, I. 441f.

Strindberg, August, III. 77, 105.

Stradivari, Antonio, I. 362.

Strauss, Johann, II. 455, 460;
III. 21, 230.

Strauss, Richard, I. xvii;
II. 362, 411;
III. viii, x, xi, xiii, xiv, xx, 69, 108, 201f, 204, _213ff_,
227, _249ff_, _265_, 269, 335;
(quoted on Verdi), II. 501.

Stravinsky, Igor, III. xx-f, 128, 155f, _161ff_.

Streicher, Nanette, II. 142.

Streicher, Theodor, III. 268.

Strepponi, Giuseppina, II. 485.

Striggio, Alessandro, I. 276f.

String instruments (primitive), I. 28;
(exotic), I. 53f;
(Assyrian), I. 65f, 68f;
(Greek), I. 122ff;
(mediæval), I. 211;
(modern), II. 335, 338, 339, 340, 342.
See also Double bass; Harp; Lute; Organistrum; Rotta; Viol;
Viola; Violin; Violoncello.

String quartet, I. xii;
II. 69ff;
(Haydn), II. 97;
(Mozart), II. 114;
(Beethoven), II. 165, 167, 170;
(Schubert), II. 328f;
(Spohr), II. 329f;
(Brahms), II. 467;
(Verdi), II. 498.

Stumpff, Karl, II. 132.

Stuttgart, II. 12, 78.

Styles (differentiation of), I. lviii;
(conflict of, in classic period), II. 51, 62.

Subjectivity. See Personal expression.

Subjects. See Themes.

Suite (the), I. xiii-f, 369ff;
II. 52, 54;
(Bach), I. 472, 474f, 489;
(modern orchestral), III. 7;
(modern), III. 234.

Suk, Joseph, III. 182f.

Suk, Vása, III. 181.

Sullivan, [Sir] Arthur, III. ix, 91, 415f.

Sully-Prudhomme, III. 293.

'Sumer is icumen in,' I. 237.

Suppé, Franz von, III. 22.

Suspension, I. xlvii.

Süssmayr, François Xaver, II. 125.

Svendsen, Johann, III. xv, 88.

Sweden (political aspects), III. 61ff;
(folk-music), III. 65, 79;
(modern composers), III. 79ff.

Sweelinck, Peter, I. 358ff.

Switzerland (Reformation), I. 294.

Symbolism, III. 229ff, 351, 361.
See also Impressionism.

Symbolist poets, influence of, on modern French music, III. 321.

Symonds, John Addington, quoted, I. 64, 188, 258ff, 268.

Symons, Arthur, quoted, II. 153, 159, 160, 169.

Symphonic form (modern), III. 203f;
(applied to song), III. 260.
See Symphony.

Symphonic poem (the), II. 361ff, 390, 475;
III. 204, 223, 228, 428.

Symphony (the), I. xv-ff;
II. 65ff, 126f;
(Haydn), II. 93ff;
(Mozart), II. 115ff;
(Beethoven), II. 165, 166, 170f, 173, 174;
(Schubert), II. 344f;
(romanticists), II. 345ff;
(Brahms), II. 456, 466, 468;
(Franck), II. 472;
(modern evolution), III. 204, 221, 227ff, 329;
(choreographic), III. 340;
(modern Italian), III. 387.
See also Sinfonia; also Overture.

Sympson, Christopher, I. 367.

Syncopation, I. xlvii;
II. 462.
See also Ragtime.

Swieten, Baron van, II. 91.

Szendi, A., III. 197.

T

Tablatures, I. 157, 261, 285.

Tagelied, I. 218.

Taine (quoted), II. 112.

Talbot, Howard, III. 433.

Tallis, Thomas, I. 305.

Tambura (Hindoo instrument), I. 54.

Tamburini, II. 185, 193.

Taneieff, Sergei Ivanovich, III. x, xiv, xvii, 142, 143, _148ff_.

Tannhäuser (minnesinger), I. 218.

Tarenghi, III. 394.

Tartini, Giuseppe, II. 50.

Tasca, III. 369, 371.

Tasso, I. 327;
II. 363.

Taubert, Wilhelm, III. 18.

Taubmann, Otto, III. 271.

Tausig, Karl, II. 442.

Tchaikovsky. See Tchaikovsky.

Tcherepnine, III. xvii, 128, 154.

Tchesnikoff, III. 161.

Te Deums (Florentine festivals), I. 326;
(Purcell and Händel), II. 432.

Technique, in musical composition, III. 110f.

Teile, Johann, I. 422.

Telemann, Friedrich, I. 415, 422f, 452ff, 465;
II. 45.

Temperament, equal. See Equal temperament.

Temple, Hope, III. 443.

Ternary form. See Sonata form.

Terpander, I. 112ff.

Tertis, Lionel, III. 442.

Tetrachords, I. 99, 101ff, 151, 169, 300.

Thalberg, Sigismund, II. 313;
III. 18.

Thaletas, I. 116.

Thamyris, I. 111.

Thayer, John Wheelock (quoted), II. 138, 143, 162.

Théâtre des Italiens (Paris), II. 188, 193.

Théâtre Feydeau, II. 42.

Theatres (Greek), I. 120f;
(Renaissance), I. 325.
See also Opera houses.

Theme and variations (in sonata), II. 54.

Themes, I. lix;
(transformation of), II. 363.
See also Generative theme.

Theory of music (ancient Greek), I. 91, 127.

Theory vs. practice, I. xxxvii.

Tonality (in musical form), I. xxxix, xlix, l.

Thespis, I. 120.

Thibaut, I. 320.

Thirty Years' War, I. 293f, 417.

Thomas, Arthur Goring, III. 415, _417f_.

Thomas, Charles-Louis-Ambroise, II. 388;
III. 278.

Thomasschule (Leipzig), II. 262.

Thompson (author of 'The Seasons'), II. 91.

Thoroughbass. See Counterpoint.

Thrane, Waldemar, III. 87.

Thuille, Ludwig, III. 243, 247.

Thun, Countess, II. 86.

Tiersot, Julien (cited), I. 43, 190, 194, 199, 339;
II. 43, 472.

Timbre. See Tone Color.

Time (in measured music), I. 229f.
See Rhythm.

Tinctoris, cited, I. 239, 244.

Tintoretto, I. 327f.

Tinya (Peruvian instrument), I. 53.

Toccata, I. 356, 358f, 450f;
II. 307.

Toëschi, Carlo Giuseppe, II. 67.

Tolstoy, II. 418;
III. 39, 140, 144, 145, 363.

Tomášek, III. 168.

Tonality, in Greek music, I. 100;
(confusion of, in modern music), III. xxi, 198.
See also Keys; Modulation; Scales.

Tone, definition of, I. 1.

Tone color, I. liii, lix.
See Instrumentation.

Tonga Islands, I. 18.

Tonic key (in sonata form), II. 55, 56.

Torchi, Luigi, III. 369, 377;
(quoted), III. 396.

Toscanini, Arturo, III. 400.