Chapter XXIV: Appendix: The French-Canadian Folk-Song

The songs of the French Canadians, which show considerable originality, are in part transplanted from France, modified and localized in the natural course of popular music. But a considerable part are indigenous, with a history dating back, possibly, more than two centuries. They are all, of course, made in imitation of the parent stock, but in many instances they have taken on a new character, befitting the wild and uncouth environment in which they were composed. In some instances they show model characteristics, as in the _Mon Cri Cra, Tir’ la Liretta_, sung by the boatmen on the Red River. This old song shows scarcely any traces of the omnipresent influence of the court of Louis XIV. Other songs bear the marks of the French priests, through whose hands they passed on their way to the Canadian natives, Indians or Frenchmen. Such a song is _Jesos Ahatonhia_, the music of which was evidently an ecclesiastical melody with a strong modal character indicating its great age. But on the whole the refined and graceful influence of French civilization is strongly marked in the Canadian songs, even when these songs originated in the New World. The one department in which they are supreme is that of playful humor--not the humor of the old English songs, which is somewhat bumptious and muscular, but a more delicate humor, into which the singer enters from pure effervescence of human sympathy and childlike playfulness. We must range a long way through folk-song literature before we find a song of this sort to equal ‘The White Duck,’ or ‘I Hear a Mill Go Tick-Tack.’ A provocative playfulness sings in the words of ‘My Faithful Bottle,’ ‘The Lost Chance,’ and the inimitable ‘When Returning from Varennes,’ with its continuous refrain, _Cach’ton joli bas de laine_. The spirit of Gascony, famous home of the practical joke, is in the ‘Song of Lies,’ in which the singer turns the world topsy-turvy and hopes to be hung if a single word he says is true. The sentimental note is not so often struck, but we find it charmingly in such occasional songs as ‘The Traveller’s Return,’ and ‘From Yonder on the Mountains.’

Gagnon’s collection, made in 1865 (the earliest of all), contains a number of gentle and lovely airs, such as _C’est la belle française_. We may also notice in this book a number which have been transported from France and forgotten in the home country while they lived and flourished under their foster mother. Such a song is _Dans les Prisons de Nantes_. _Mon Per’ n’avait fille que moi_ is one of the most interesting examples of the old modal style. The Canadian songs are peculiarly addicted to the use of the refrain. This device, which is always a mark of unsophisticated playfulness, is relied upon to such an extent that one would call it excessive if the high spirits of the music and words did not carry the little game through to complete success. As so often happens, the refrain frequently has nothing whatever to do with the sense of the text. The primitive innocence of the mind is absolutely demanded of any singer who attempts, for instance, ‘The White Duck.’ On the whole, the Canadian songs, though very limited in range, can show a few types of folk-expression managed with such consummate art that they deserve a place in the folk-literature of the world.

LITERATURE FOR VOLUME V

(_In English_)

A. B. BACH: The Principles of Singing (London, 1897).

J. FRANK BOTUME: Modern Singing Methods (London, 1885).

LENNOX BROWNE and EMIL BEHNKER: Voice, Song and Speech (2nd
ed., London, 1884).

ANNA CHAPIN: Makers of Song (New York, 1904).

WILLIAM CHAPPELL: Old English Popular Music, 2 vols. (London,
1893).

H. HOLBROOK CURTIS, M. D.: Voice Building and Tone Placing (New
York, 1896).

HENRY T. FINCK: Songs and Song Writers (New York, 1910).

FFRANGCON-DAVIES: The Singing of the Future (London, 1904).

Folk-Songs from Somerset, 5 vols. (London, 1904-8).

HARRY PLUNKETT GREENE: Interpretation in Song (New York, 1912).

MAX HEINRICH: Correct Principles of Classical Singing (Boston,
1910).

H. L. F. HELMHOLTZ: The Study of Sensations of Tone (Trans. by
A. J. Ellis, 1875).

W. J. HENDERSON: The Art of Singing (New York, 1906).

GORDON HOLMES: A Treatise on Vocal Physiology and Hygiene
(1879).

JOHN HOWARD: The Physiology of Artistic Singing (1886).

DORA JONES: Lyric Diction (New York, 1913).

KICKSON AND NEAL: English Folk-song and Dance (Cambridge, Eng.,
1905).

H. E. KREHBIEL: Afro-American Folk-song (New York, 1914).

LOUIS LABLACHE: Complete Method of Singing.

FRANCESCO LAMPERTI: A Treatise on the Art of Singing (Trans. by
J. C. Griffiths, 1876).

LILLI LEHMANN: How to Sing (New York, 1912).

EUGENIE LINEVA: Peasant Songs of Great Russia (Engl. and
Russian text, Imperial Academy of Science, St. Petersburg).

SIR MORELL MACKENZIE: The Hygiene of the Vocal Organs (London,
1890).

GIOVANNI BATTISTA MANCINI: Practical Reflections on Figured
Song (Engl. transl. by Pietro Buzzi, Boston, 1913).

MATILDA MARCHESI: Ten Singing Lessons (London, 1901).

WESLEY MILLS, M. D.: Voice Production in Singing and Speaking
(1906).

SIR C. HUBERT H. PARRY: The Evolution of the Art of Music
(1899).

C. K. ROGERS: My Voice and I (Chicago, 1910).

E. W. SCRIPTURE: The Elements of Experimental Phonetics (1902).

WILLIAM SHAKESPEARE: The Art of Singing, 3 parts (London, 1898).

W. WARREN SHAW: The Lost Vocal Art (Phila., 1914).

SHAYS: English Folk-Carols (London, 1911).

SHAYS: English Folk-Chanteys (London, 1914).

SHAYS: English Folk-Songs; Some Conclusions (London, 1907).

DAVID C. TAYLOR: The Psychology of Singing (New York, 1908).

PIETRO FRANCESCO TOSI: Observations on the Florid Song (1723).
(Reprint by William Reeves, London, 1905.)

GEORGE P. UPTON: The Song (Chicago, 1915).

_In German_

ERK UND BÖHME: Deutscher Liederhort, 3 vols. (Leipzig, 1893).

MAX FRIEDLÄNDER: Das deutsche Lied im 18. Jahrhundert, 2 vols.
(Stuttgart and Berlin, 1902).

H. L. F. HELMHOLTZ: Die Lehre der Tonempfindungen.

R. G. KIESEWETTER: Schicksale und Beschaffenheit des weltlichen
Gesanges, etc. (1841).

DR. L. MANDL: Die Gesundheitslehre der Stimme (1876).

CARL LUDWIG MERKL: Der Kehlkopf (1873).

_In French_

F. J. FÉTIS: Histoire générale de la musique (1869).

Méthode de chant du Conservatoire de Musique (Paris, 1803).

JULIEN TIERSOT: Histoire de la chanson populaire en France
(Paris, 1889).

J. B. WECKERLIN: Chansons populaires du pays de France, 2 vols.
(Paris, 1903).

_In Italian_

GIOVANNI BATTISTA MANCINI: Reflessioni pratiche sul canto
figurato (1777).

GIULIO CACCINI: Le nouve musiche (Florence, 1600).

INDEX OF VOLUME V

N. B.--_Figures in Italics indicate major references._

A

_A Highland Lad My Love was Born_ (Scotch folk-song), 113.

Abdominal breathing, 4f.

Abyssinians, 86.

Acoustics (rel. to human voice), 13.

Adam de la Halle, 138.

Adams, Stephen, 327.

Adaptive change, 2.

_Adeste Fideles_, 113.

African folk-songs, 105.

Agricola, Martin, 164.

Airs du cour, 166.

Albéniz, Isaac, 120.

Albert, Heinrich, 162f.

America, (folk-music) 129;
(song-writers), 298, 319ff, 322f.

Anatomy of the vocal organs, 1-23.

Ancient methods of vocal culture, 30ff.

_An die ferne Geliebte_ (Beethoven), 154f.

André, Johann, 191f.

‘Annie Laurie,’ 107, 113.

Archilei, Vittoria, 40.

Arensky, Antony, 368.

Aria, (_da capo_ form), 154ff;
(development), 172ff;
(German), 175.

Arioso, 175.

Aristotle, 55.

Arne, [Dr.] Thomas, 171.

Arnold, Samuel, 172.

Art-ballad (German), 272ff.

Art-song, (compared with folk-song) 72, 89ff;
(early rise and decline), 151ff;
(in 17th cent.), 162ff;
(rise of modern), 186ff.

Articulation, 3, 16ff, 63ff.

Artificial soprano, 44.

Athens, early vocal culture in, 32f.

Assyria, vocal culture in, 30.

_Auld Lang Syne_, 72f, 102, 112f.

B

Bach, Johann Sebastian, (spiritual songs), 147;
(secular songs), 164;
(in rel. to German song), 175.

Bach, Carl Philipp Emanuel (_Geistliche Lieder_), 189f.

Balakireff, Mily, 127, 365.

Balfe, Michael, 267.

Ballad form, (compared to lyric form), 202;
(Schubert), 225f;
(Löwe), 272ff.

Ballad opera, (18th cent.), 170ff;
(19th cent.), 267.

Bantock, Granville, 372f.

Baritone voice, 62.

Bass voice, 14.

Bassani, Giovanni Battista, 160.

Beethoven, 96, 177, 184, 187, 193, 196.
_An die ferne Geliebte_, 154f.
_In questa tomba_, 184.
_Busslied_, 184.

‘Beggar’s Opera,’ 170f.

Behnke, 28.

Bel canto, 16, 29, 44, 158f.

Benedict, Julius, 267.

Béranger, 260f.

Bergerette, 166f, 179f, 204.

Berlioz, Hector, 262ff.

Bierbaum, Otto Julius, 331.

Bishop, [Sir] Henry, 105, 172, 267.

Bizet, Georges, 315.

Blondel (minstrel), 137f.

Bohemian folk-songs, 127f.

Bologna (early music school in), 37.

Borodine, Alexander, 128, 365f.

Brahms, Johannes, 125, _276-290_.
_Æolian Harp_, 286.
_Anklänge_, 285.
_As the Clouds_, 285.
_Before the Window_, 282.
_Consolation of Spring_, 288.
_Fidelity_, 284.
_Going to My Sweetheart_, 282.
_Gold Outweighs Love_, 288.
_Gypsy Songs_, 277f, 282f.
_Have a Care_, 288.
_Hey, Bow and Arrow_, 287.
_Hey, Ye Gypsies_, 283.
_I Call from the Bank_, 288.
_Is it Sorrow_, 287.
_Joy Hath Left Me_, 282.
_Lament_, 282.
_Longing_, 282.
_Love and Spring_, 284.
[_The_] _Lover’s Oath_, 282.
_Magyar Love Song_, 288.
[_The_] _Maiden_, 282f.
[_The_] _Maiden’s Curse_, 288f.
_Minnelied_, 289.
_Motionless Air_, 288.
[_The_] _Mournful One_, 282.
_Nicht mehr zu dir zu gehen_, 286.
_Nightingale_, 285.
[_The_] _Nut Brown Lad_, 283.
_Oh, Come, Holy Summer Night_, 288.
_Oh, kühler Wald_, 289.
_Oh, Would I Knew the Returning Road_, 288.
_On Sunday Morning_, 288.
_Red Evening Clouds_, 283.
_Remembrance_, 288.
_Rest, Sweet Love_, 287.
[_The_] _Return_, 285.
_Sapphic Ode_, 289.
_Serenade_, 282.
[_The_] _Smith_, 285.
_So steh’n wir, ich and meine Weide_, 287.
[_The_] _Song of Herr von Falkenstein_, 287f.
_Spanish Song_, 285.
_Three Roses in a Row_, 283.
_Twilight Falls_, 288.
_Vain Serenade_, 289.
_Volkslied_, 282.
_Wie bist du, meine Königin_, 287.
_With, Eternal Love_, 287.

Breath control, 58.

Breathing, 1ff;
(faulty methods) 65.

Breathing exercises, 60f.

Browne and Behnke (‘Voice, Song and Speech’), 28.

Bruneau, Alfred, 356f.

[_The_] _Brunette_, 166.

Bungert, August, 312.

Burns, Robert, 91, 95f, 113f.

Burton, Frederick R., 42.

C

Caccini, Giulio, 47ff, 154.
_Amarilla_, 159.

Cadman, Charles Wakefield, 105.

Caffarelli, 44.

Caldara, Antonio, 160.

_Caller Herrin_ (Scotch song), 113.

Cambio, Perrisone, 153.

[_The_] _Campbells are Coming_, 112f.

Canadian folk-songs, 375ff.

Cantus firmus, 148f.

Carey, Henry, 171.

Carissimi, Giacomo, 160.

Catholic Church. See Roman Catholic Church.

Cavalli, Francesco, 159f.

Cavatina, 175.

Chabrier, Emmanuel, 354.

Chaldea (ancient), vocal culture in, 30.

Chaminade, Cécile, 318.

Chanson, 166.

Charlemagne, 131.

_Charlie is My Darling_ (Scotch folk-song), 113.

Charpentier, Gustave, 358.

Chausson, Ernest, 355.

Cherubini, Luigi, 49f.

Chest cavity, 4f.

Chest register, 11f.

Chest resonance, 14f, 62ff.

Chinese scale, 86.

Chivalry (influence of, on song), 136ff.

Choir master, in early Roman church, 33ff.

Choir schools, 33ff.

Chopin, Frédéric, 256.

Chorale, 147.

Church, Roman, (early vocal culture in), 33ff;
(early music of), 130f;
(use of popular music in),
148.
See also Greek Catholic Church; Lutheran Church.

Classic song (The), 151-185.

Coloratura, 39ff, 155ff, 160.

Comic opera (French), 166, 179.

Conservatoire method of singing, 49f.

Consonants, 17f, 64, 66.

Coquard, Arthur, 319.

Cornelius, Peter, 298, 302ff.

Counterpoint, 24, 35ff, 129, 149, 153;
(modern), 343, 345.

Courts of Love, 139f.

Cowen, Frederick, 327.

Crescendo (vocal), 15.

Cricoid cartilage, 6ff.

Cui, César, 366.

Curschmann, Karl Friedrich, 256.

D

Da capo form, 154ff, 172, 175.

Dalayrac, Nicolas, 180.

Dance, (primitive), 83;
(popularity of, in Italy), 120.

Danish folk-songs, 123.

Dargomijsky, Alexander, 349, 364f, 365.

Darwin, Charles (theory of origin of song), 87.

David, Félicien, 315.

Davy, John, 172.

Debussy, Claude, 346, 356;
(compared with Charpentier), 358;
(his songs), 358ff;
(compared with M. Ravel), 362;
(influenced by Moussorgsky), 367.

Declamation, art of (in ancient Athens), 32;
(compared with recitative), 202f.

Dehmel, Richard, 331.

Delivery, in singing, 97.

Denmark, folk-songs of, 123.

Denza, Luigi, 323.

_Der du von dem Himmel bist_
(settings of Liszt and Schubert compared), 294.

Descriptive music, 219f.

Diaphragm, 4f.

Dibdin, Charles, 172.

Dissonance, unprepared, 159, 162.

Doric mode, in Irish folk-song, 114.

Dramatic recitative, influence of, on solo singing, 42.

Drinking, effect of, on singer’s organism, 19.

_Du bist wie eine Blume_ (Schumann), 240;
(Liszt), 294;
(Rubinstein), 324.

Dufay, Guillaume, 148.

Duparc, Henri, 355.

Durchkomponiertes Lied, 176f.

Dutch folk-song, 108.

Dutrochet, cited, 56.

Dvořák, Anton, 312.

E

Ear control of voice, 28f, 52f.

Eating, effect of, on singer’s organism, 19.

Ecclesiastical modes. See Modes.

Education, musical, viii-ff.

_Edward_ (settings of Löwe and Brahms), 275.

Egypt, vocal culture in, 30.

_Ein Fichtenbaum steht einsam_ (settings of Schumann and Lassen), 307.

Eleanor of Aquitaine, 140.

Elgar, Edward, 371f.

England, (folk-song), 104, 108ff;
(mediæval minstrels), 34, 38, 132;
(classic song), 167ff;
(songs of early 19th cent.), 266, 267f;
(late romantics), 298, 326ff;
(modern lyricists), 371ff.

English ballad-opera, 170ff, 267.

English folk-song, 167ff.

Enunciation, 66.

_Erlking_, (Schubert), 193f, 203, 205, 209, 225;
(Löwe), 274.

_Es ist bestimmt_ (Mendelssohn), 107.

Ethmoid sinus, 15.

Expiration, in correct breathing, 5.

Expressive style. See Representative style.

F

Fabricius of Aquapendente, 55f.

Falsetto, 62.

Farinelli, 44.

Fasolo, G. B., 160.

Fauré, Gabriel, 347, 349ff.

Ferrein (anatomist), 56.

Fétis, F. J., cited, 27.

Fielitz, Alexander von, 310f.

Finck, Henry T., cited, 319.

Finland, modern, 370f.

Fiorituri, 41.

_[The] Fisher_ (folk-song), 119;
(Schubert), 212.

_[The] Fisher Boy_, (Schubert), 226;
(Liszt), 292f.

Florid song. See Coloratura, Ornamentation.

Folk-song, 25, _70-99_, _100ff_, 147f, 150, 308ff, 337;
(English), 110f, 167ff;
(Scotch), 111ff;
(Irish), 113f;
(French), 115f, 164f;
(Italian), 116ff, 153, 266ff;
(Spanish), 119f, 364ff;
(German), 120f, 162f, 191f, 229f;
(Scandinavian), 121, 299, 301f;
(Hungarian), 122ff;
(Russian), 125ff;
(Norwegian), 121, 369;
(Bohemian), 127f;
(Polish), 128;
(influence on art-song), 152ff;
(compared to early church song), 164f;
(influence on Schubert), 205.
See also Songs in the folk-manner.

‘Forward tone,’ 64f.

Foster, Stephen C., 107, 129, 163f.

France, (mediæval minstrels), 133f;
(Troubadours), 136ff;
(classic song), 164ff, 178ff;
(romantic period), 258ff;
(late romantics), 298, 313ff.

Franck, César, 354f.

Franz, Robert, 268ff;
(compared with Brahms), 278;
(compared with Grieg), 299f;
(compared with Hugo Wolf), 334f.

French folk-song, 115ff;
(in 16th cent.), 164f.

French-Canadian folk-songs, 375f.

French comic opera, 179.

French influence, (on early German song), 164;
(on early English song), 168f.

French lyricism, modern, 346-363.

Frottola, 153.

_Funicula_, (Italian folk-song), 103;
(Denza), 323.

G

Gagnon (collector of French-Canadian songs), 118.

Galen (anatomist), 55.

Galilei, Vincenzo, 154.

García, Manuel, 10, 57f.

Gastoldi, Giacomo, 153.

Geibel, Emmanuel, 330f.

German folk-song, 106f, 119, 120ff;
(in rel. to the singspiel), 191f.

German opera, 176, 228.

German vowels, 16.

Germany (attitude of, toward folk-songs, compared with England’s), 109;
(mediæval minstrels), 132, 141ff;
(Meistersinger), 144ff;
(Reformation), 147f, 150;
(classical song), 162ff;
(song in 18th cent.), 175ff;
(time of Schubert), 197, 198ff, 227f;
(Schumann), 231ff;
(romantics after Schumann), 298, 302ff;
(since Franco-Prussian War), 330ff. See also German folk-song.

Gibbons, Orlando, 167.

Glazounoff, Alexander, 368.

Glinka, Michail Ivanovitch, 127, 257.

Glottis, 12f, 21, 55f;
(correct management of), 61.

Gluck, Christoph Willibald, 177;
influence on Berlioz, 263.

_God Save the King_, 171.

Godard, Benjamin, 317f.

Goethe, 193, 198f;
(quoted on the ballad form), 274.

Gordigiani, Luigi, 266.

Goring-Thomas, Arthur, 298, _327f_, 371.

Gossec, François Joseph, 183.

Gounod, Charles François, 278f, 298, _313f_.

Graben-Hoffmann, Gustav, 312.

Graun, Johann Gottlieb, 164.

Great Britain, folk-songs of, 108ff.
See also England.

Greece, 167.

Greek Catholic Church, 40f.

Grétry, André Erneste Modeste, 180.

Grieg, Edvard, 299ff.
_[The] Swan_, 300.

Guido d’Arezzo, 34.

Guilbert, Yvette, 111.

Gypsies, 123f.

Gypsy songs. See Brahms.

H

Hahn, Reynaldo, 319.

Handel, George Frederick, 171.

Harmonics, vocal, 15.

Harmony, (in early Italian part-songs), 153f;
(in 17th cent. French song), 166;
(Wagner), 291f;
(Arnold Schönberg), 343;
(modern French school), 348ff;
(Alfred Bruneau), 356;
(Dargomijsky), 364.

Harp, mediæval, 136.

_[The] Harp That Once Through Tara’s Halls_ (Irish folk-song), 114.

Hassler, Hans Leo, 162.

Haydn, Joseph, 177f, 187.

Head cavities, 16f.

Head register, 12.

Health, influence of, on singing, 18.

Hebrews, early vocal culture of, 30ff, 40f.

_Heidenröslein_ (Schubert), 107.

Heine, Heinrich, 224f, 233ff, 248f.

Helmholtz, Hermann Ludwig Ferdinand von (quoted), 16, 58.

Henderson, W. J. (cited), 207f.

Henry VIII, King of England, 110.

Henschel, Georg, 308ff.

Herder, Johann Gottfried, 110.

Heyse, Paul, 331.

Hiller, Johann Adam, 176f, 191, 197.

Himmel, Friedrich Heinrich, 229.

Hippocrates, 55.

Hoffmannsthal, Hugo von, 331.

Holland, folk-songs of, 108.

Holmès, Augusta Mary Anne, 319.

_Home, Sweet Home_, 105.

Hook, James, 172.

Huë, George Adolphe, 319.

Hugo, Victor, 259f.

Humfrey, Pelham, 168f.

Hungarian folk-songs, 122ff.

Hygiene of the voice, 1-23.

Hymns, in Lutheran Church, 147.

I

_I Hear a Mill Go Tick-Tack_ (French folk-song), 117.

_Ich hab’ im Traum geweinet_ (settings of Schumann and Lassen), 307.

Impressionistic school, 346-363.

Indians (American), folk-songs of, 72f, 105, 129.

[d’]Indy, Vincent, 355f, 358.

Inspiration (physical action), 3ff.

Instruments of mediæval minstrels, 136.

Ionian mode, 167.

Ippolitoff-Ivanoff, Michael, 368.

Ireland, folk-songs of, 108f, 113ff.

_It was a Dream_ (settings of Schumann and Lassen), 307.

Italian folk-songs, 116f, 153, 266.

Italian influence on German music, 164.

Italian method of vocal culture, 24-54, 68f.

Italian opera, (rise of), 151f, 155ff;
(influence of, in Germany), 164;
(in England), 170f;
(and the aria), 172ff.

Italy, (_Trovatori_), 138;
(classical song), 151ff;
(18th-19th cent.), 265f;
(late romantics in), 298, 323.
See also Italian folk-songs.

J

Jadassohn, Salomon, 256.

James II, King of England, 169.

Japan, primitive song of, 86.

Java, primitive music of, 86.

Jensen, Adolf, 303, _305ff_.

Jerusalem (ancient), vocal culture in, 31f, 40f.

_Jesos Ahatonhia_ (old French song), 117.

Joke-songs, Italian, 120.

Jongleurs, (origin of the name), 132;
(music of), 132ff.

Jugglers, 132ff.

K

Kehlkopf. See Larynx.

Keiser, Reinhard, 164.

Kiesewetter, Raphael Georg, 40.

_[The] King of Thule_ (settings of Schubert and Liszt), 226;
(Liszt), 293f.

Kittredge, G. L. (cited), 75.

Kjerulf, Halfdan, 311f.

Korbay, Francis Alexander, 126.

Kreutzer, Conrad, 228.

L

Ladré, 181.

Lamartine, 260.

Laryngeal action, 60f.

Laryngoscope, 10, 12f;
(influence of on modern voice culture), 45, 55, 57f.

Larynx, 6ff.

Lassen, Eduard, 307f.

Lawes, Henry, 168.

Lehman, Liza, 328f.

_Leise, leise_ (Weber), 107.

Lekeu, Guillaume, 355.

Léroux, Xavier, 318f.

Lied. See Germany (classic song, etc.).

Lieder-singer, art of the, 93f, 97.

Liliencron, Detlev von, 331.

Lindpainter, Peter Joseph von, 229.

Lineva (Mme.), 125ff.

Lips (in singing), 3.

Liscovius, 56.

Lisle, Rouget de, 182.

Liszt, Franz, (Hungarian Rhapsodies), 123, 125;
(_King of Thule_), 226;
(songs), 292ff.

_Loch Lomond_, 113.

_[Die] Loreley_, (Silcher), 230;
(settings by Liszt and Silcher compared), 293.

Lortzing, Albert, 228.

Love, influence of, on early song, 137, 139f.

Love-songs, primitive, 81.

Loewe, Johann Carl Gottfried, 226, _272ff_.

Ludwig the Pious, 131.

Lungs (in singing), 1, 2ff.

Lute, 136.

Luther, Martin, 147.

Lutheran Church, 122, 147.

Lydian mode, 167.

Lyric form, compared to ballad form, 202.

Lyric impulse, 85ff.

M

MacDowell, Edward, 298, _319ff_.

Mackenzie, [Sir] Morell, cited, 18.

Madrigal, 149f, 153f, 157;
(English), 167.

Mahler, Gustav, 336ff.

Major mode, 148f, 167.
See also Scales.

Male soprano, 44.

Mancini, Giovanni Battista, 49.

Mandl, Louis, 58.

Mannstein, Heinrich F., 27, 56f.

Mark, Adolph Bernhard, 56f.

Marot, Clément, 165.

Marschner, Heinrich, 228.

_Marseillaise_, 72, 182f.

Martinengo-Cæsaresco, Countess, 70f, 80.

Marx, Joseph, 345.

Massenet, Jules, 317, 358.

Mastersingers, rise of, 144ff, 150.

Maybrick, M. See Adams, Stephen.

Mazarin, Cardinal, 165.

‘Mazarinades,’ 165.

Méhul, Étienne Nicolas, 49, 183.

Meistersinger (rise of), 144ff, 150.

[_Die_] _Meistersinger_ (Wagner), 142.

Melody (in primitive song), 76, 83f;
(in early folk-song), 153f;
(modern French school), 348ff, 363.

Mendelssohn-Bartholdy, Felix, 107, 254f.

Mengozzi, Bernardo, 49f.

Mercadante, Giuseppe, 265f.

Merkel, Karl Ludwig, 58.

Methfessel, Albert Gottlieb, 229.

Méthode de Chant du Conservatoire de Musique, 49f.

Methods (vocal), standardization of, 59.

Meyer-Helmund, Eric, 312.

Mezzo-soprano, 62.

Minnesingers, (rise of), 141ff;
(nature and value of their songs), 143f.

Minor mode, in Russian folk-song, 127f.

Minstrels, 25, 75, 77, 131ff.

Modern scientific methods, of vocal culture, 55-69.

Modes. See Major mode, Minor mode; Ionian mode; Lydian mode.

Modes, ecclesiastical, 135, 145, 152.

Modulation (Schubert), 208f.

_Mon Cri Cra, Tir’ la Liretta_ (French-Canadian folk-song), 375.

Monodic style, 39, 153ff, 162, 172f.

Monpou, François Louis Hippolyte, 265.

Monsigny, Pierre Alexandre, 116, 180.

Monteverdi, Claudio, 43, 155, 159, 172f.

Moore, [Sir] Thomas, 113f.

Möricke, Eduard, 331.

Moszkowski, Moritz, 326.

Moussorgsky, Modeste, 128, 365, 367f.

Mouth (in singing), 3.

Mouth-pharynx, 14ff;
(resonance), 63ff.

Mozart, Wolfgang Amadeus, 178, 187ff, 205.
_The Violet_, 178.

Müller, Johannes, 56.

Muset, Colin, jongleur, 134.

Musette, 166.

Musical education, viii-ff.

Musset, Alfred de, 261.

N

Nägeli, Hans Georg, 229.

Nahua Indians, 86.

Naples, folk-songs of, 119. See also Italian folk-songs.

Napoleon I, 183, 260f.

Nasal resonance, 14ff, 62ff.

Naumann, Karl Ernst, 143.

Neapolitan folk-songs, 119. See also Italian folk-songs.

Nevin, Ethelbert, 322f.

Newman, Ernest (cited), 334.

Norway (folk-songs), 123;
(modern song-writers), 369.
See also Scandinavia.

Norwegian folk-songs, 369.

Nose (in singing), 3.

_[Le] Nuove Musiche_ (Caccini), 47ff.

O

_O, Mama mia_ (Italian folk-song), 119.

_O, ma tendre Musette_ (French folk-song), 116.

‘Observations on the Florid Song’ (Tosi), 49.

‘Ode to Joy’ (Schiller), 192.

Odes, German, 175.

Old Italian Method, 24-25, 68f.

Opera (rise of), 151f, 155ff;
(in England), 170ff;
(German), 176, 228;
(Italian), 164, 172ff.

Opéra comique, 166, 179.

Oratorio, 151, 156.

Orient, music of, 42.

Ornamentation, 31f, 39ff, 124f.

Overtones, vocal, 15.

P

Paesiello, Giovanni, 161f.

Pagan song, 130ff.

Palate (in singing), 15.

Palestrina, Giovanni Pierluigi, 38.

Paris Conservatory, vocal method of, 49f.

Part-song, 149f, 153.

_[Le] Pauvre laboureur_ (French folk-song), 116.

Pentatonic scale, in Scotch folk-songs, 112.

Pergolesi, Giovanni Battista, 161.

‘Persian Songs’ (Rubinstein), 325.

Pharynx, 3.

Philidor, François-André-Danican, 180.

Philip Augustus, King of France, 133.

Pianoforte, 231.

Pianoforte style, 236ff, 240, 295.

Pierné, Gabriel, 318.

Pinsuti, Caro, 266.

_Piper of Dundee_ (Scotch song), 113.

Pitch, determination of (vocal), 11f.

Placing of the voice. See Voice placing.

Plato, 167.

Poetry, ancient, in relation to song, 75ff.

Polish folk-songs, 128f.

Polyphonic style, influence of, on vocal culture, 35ff.

Polyphony, 149, 153, 166;
(modern), 362.

Primitive song. See Folk-song.

Protestant Church. See Lutheran Church.

Provençal song. See Troubadours and Trouvères.

Psychological theory of tone production, 28f.

Psychology (in relation to music), 245f.

‘Psychology of Singing’ (Taylor), 28.

Purcell, Henry, 169f.

R

Rachmaninoff, Sergei, 128, 369.

Raff, Joachim, 312.

Ramis de Pareja, 37.

Range of human voice, 14.

Ravel, Maurice, 358, _362f_.

Realism, in songs of Schubert, 210f.

Recitative, (influence of, on solo singing), 42;
(compared with declamation), 202f;
(in songs of Schubert), 241.

Recitativo secco, 156.

[_The_] _Red Sarafan_ (Russian folk-song), 127.

Reformation, 147, 150.

Reger, Max, 340ff, 371.

Registers, vocal, 11ff, 61f.

Reichardt, Johann Friedrich, 192f, 195.

Reimann, Heinrich (cited), 125f.

Reinecke, Karl, 255f.

Religion, influence of, on primitive song, 78.

_Remember the Glories of Brian the Brave_ (Irish folk-song), 114.

Renaissance, 150.

Representative style, 162.
See also Monodic style.

Resonance, laws of, 58.

Resonance cavities, 1, 2f, 13ff;
(control of), 62ff.

Respiratory system, 2ff.

Rimsky-Korsakoff, Nicholas, 365f.

Rhythm, (in primitive song), 83;
(in Italian folk-songs), 120;
(in Spanish song), 121f;
(in Hungarian music), 124f.

Roman church (early vocal culture in), 33ff; (introduction of popular music), 148.

Romance, (French), 166;
(in French opera), 179f.

Romantic poetry, 231ff.

Romantic song, 231ff;
(in France), 258ff;
(after Schumann), 296ff;
(in Russia, Scandinavia and England), 364ff.

Romanticism, (Schubert), 186f;
(Schumann), 248f.

Ropartz, J. Guy, 318.

Rousseau, Jean Jacques, 179f.

Rubinstein, Anton, 127, _323ff_, 364.

_Rule Britannia_, 171f.

Russia, (Glinka), 257;
(late romantics), 298, 323ff;
(modern lyricists), 364ff.

Russian folk-songs, 105, _125ff_, 364ff.

S

Sachs, Hans, 146.

Saint-Saëns, Camille, 315ff.

_Sally in Our Alley_ (Carey), 171.

Savart, Félix, 56.

Scales, 84, 86;
(modern), 152f;
(major), 165.
See also Whole-tone scale.

Scandinavia (modern), 369f.

Scandinavian folk-songs, 123, 299, 301f.

Scarlatti, Alessandro, 156f, 159, 161.
_O cessate di piagarmi_, 157.

Scena, 202.

Schiller, 199.

Schönberg, Arnold, 342ff.

Schopenhauer (cited), 87.

Schrecker, Franz, 345.

Schubert, Franz, 89f, 91f, 107, 177, _186-230_, 231;
(compared with Schumann), 235f, 238;
(compared with Liszt), 293f;
(compared with Hugo Wolf), 331f, 334.
_[Die] Allmacht_, 208, 214.
_Am Meer_, 210, 225.
_Aufenthalt_, 210, 225.
_Ave Maria_, 206.
_Courage_, 221ff.
_Dead Flowers_, 219.
_Death and the Maiden_, 209, 212.
_Death Music_, 204.
_Der du von dem Himmel bist_, 294.
_[Der] Doppelgänger_, 207, 225.
_[The] Erl King_, 193f, 203, 205, 209, 225.
_[The] Fisher_, 212.
_[The] Fisher Boy_, 226.
_Fülle der Liebe_, 204.
_[Der] greise Kopf_, 221.
_Gretchen am Spinnrad_, 155.
_Gretchen’s Prayer_, 214.
_Harper’s Song_, 212.
_Heather Rose_, 212.
_Hermann and Thusnelda_, 226.
_Ihr Bild_, 206, 225.
_Im Dorfe_, 221.
_[The] Inn_, 221, 223.
_[The] King of Thule_, 226.
_Kolma’s Complaint_, 226.
_[Die] liebe Farbe_, 218f.
_[Der] Lindenbaum_, 107, 212, 222.
_Litany_, 211.
_Morning Greeting_, 217.
_Müllerlieder_ (song cycle), 209, 212, 215ff.
_Nebensonnen_, 223.
_[The] Organ Grinder_, 223f.
_[The] Post_, 221.
_Praise of Tears_, 212.
_Rest_, 221.
_Schwanengesang_ (song cycle), 215.
_Sea Calm_, 213.
_Serenade_, 224.
_[The] Signpost_, 222.
_[The] Singer_, 226.
_Suleika’s Second Song_, 210.
_Swan Songs_, 224f.
_Täuschung_, 221.
_[The] Trout_, 210, 212f.
_Viola_, 204.
_[The] Wanderer_, 202, 205, 213.
_Wandering_, 216, 218.
_Wanderer’s Evensong_, 214.
_[Der] Wegweiser_, 221.
_Whither_, 216f, 219f.
_Will-o’-the-Wisp_, 220.
_Winterreise_ (song cycle), 201, 206, 220ff.
_[Das] Wirtshaus._ See _[The] Inn_.
_The Young Nun_, 214, 216.

Schola cantorum. See choir schools.

Schulz, Johann, 192.

Schumann, Clara, 254.

Schumann, Robert, 184, _231-257_;
(and Robert Franz), 268, 270;
(his setting of _Two Grenadiers_ compared with Wagner’s), 290f;
(his settings of Heine poems compared with Lassen’s), 307.
_A Young Man Loved a Maiden_, 252.
_[Die] alten, bösen Lieder_ (_The Old and Evil Songs_), 253.
_An den Sonnenschein_, 242f.
_An das Trinkglass_, 242.
_[Die] beiden Grenadiere_ (_The Two Grenadiers_), 242.
_Blondels Lied_, 242.
_Das ist ein Flöten und Geigen_, 250.
_Dichterliebe_ (cycle), 238, 248ff.
_Du bist wie eine Blume_, 240.
_Du Ring an meinem Finger_, 245f.
_Each Night in Dreams_, 253.
_Fair Hedwig_, 254.
_Frauenliebe und Leben_ (song cycle), 238, 244ff.
_From Out My Tears_, 251.
_Frühlingsnacht_ (_Spring Night_), 243.
_[The] Glove_, 254.
_He, the Noblest of All_, 246.
_Helft mir, ihr Schwestern_, 245.
_[Der] Hidalgo_, 241.
_[The] Highland Cradle Song_, 24Of.
_The Highlander’s Farewell_, 240f.
_I Wept in My Dreams_, 253.
_I cannot grasp it, I cannot believe it_, 245f.
_Ich grolle nicht_, 249, 252.
_In the Wondrous Lovely Month of May_, 251.
_Intermezzo_, 243.
_Lass mich ihm am Busen hängen_, 240.
_Liederkreis_ (song cycle), 243.
_[The] Lion’s Bride_, 241.
_[Die] Lotusblume_, 240.
_Mondnacht_, 243f.
_Mit Myrthen und Rosen_ (cycle), 239.
_Myrthen_, 239.
_[Der] Nussbaum_, 240.
_On the Bright Summer Morning_, 252f.
_Poet’s Love_ (cycle), 238, 248ff.
Romances and Ballades, 248.
_[The] Rose, the Lily, the Dove, the Sun_, 251.
_Schöne Wiege meiner Leiden_, 239.
_Seit ich ihn gesehen_, 245.
_Somebody_, 240f.
_Stille Liebe_, 242.
_Stille Thränen_, 242.
_Stirb, Lieb und Freund_, 242.
_Talismane_, 240.
_Waldesgespräch_, 243, 306.
_Wanderlust_, 242.
_Western Divan_, 253.
_When I Into the Garden Go_, 253.
_When I Look Into Thine Eyes_, 251.
_Widmung_, 96f, 239.
_Wilhelm Meister_ songs, 253.
_Woman’s Life and Love_ (cycle), 238, 244ff.

Scientific methods of vocal culture, 55-69.

Scotch folk-songs, 108f, 111ff;
(compared with Irish), 114f.

Scotch songs (Edward MacDowell), 320.

_Scots Wha Hae_, 91, 112f.

Scott, Cyril, 373f.

Scott, [Sir] Walter, 110.

Shakespeare, 149, 168.

Sharp, Cecil, 107, 109ff.

Sibelius, Jean, 370f.

Sicilian folk-song, 119.

Sight-singing, 34ff.

Silcher, Friedrich, 107, 229f, 293.

Sinding, Christian, 369.

Singing, (as physical exercise), 18;
(‘style’ in), 97f;
(technique of), see Vocal culture, Tone production.

Singspiel, 175f, 190ff.

Sjögren, Emil, 369f.

Slavic folk-songs, 125ff.

‘Slide of the glottis,’ 61.

_Sol-fa_ system, 34.

Solo singing, 24;
(florid style), 32;
(before 17th cent.), 38ff.

Somervell, Arthur, 371.

Song, value of, vii;
(nature and origin of), 70-99;
(early development), 130-150.
See also Classic song; Folk-song; Romantic song.

Song-cycle, 215, 220.

_Song of Roland_, 135.

Songs in the folk-manner, 106f, 229f;
(Brahms), 278, 281ff, 289;
(Henschel), 308ff;
(Mahler), 337.

Soprano, 14, 62. See also Artificial soprano.

Spain (_Trobadores_), 138.

Spanish folk-songs, 119f.

Spencer, Herbert (theory of origin of song), 88.

Sinuses, 15.

Spohr, Ludwig, 183.

Stile rappresentativo. See Representative style; also Monody.

Stimulants, effect of, on singer’s organism, 19.

Strauss, Richard, 338ff.

Stravinsky, Igor, 362.

‘Stroke of the glottis,’ 61.

Style, in singing, 98f.

Sullivan, [Sir] Arthur, 326f.

_Sumer is icumen in_, 150.

Sweden (modern), 369f.

Swedish folk-songs, 123.

_[The] Sword Shining Brightly_ (Irish folk-song), 114.

T

Taneieff, Sergius, 368.

Tannhäuser, 142.

Taubert, Karl Gottfried Wilhelm, 256.

Technique. See also Vocal Culture.

Teeth (in singing), 3.

Telemann, Georg Philipp, 164.

Temples (ancient), vocal culture in, 30ff, 40f.

Tenaglia, 156.

Tenor voice, 62.

Thomas, Ambroise, 315.

Thomas, Arthur Goring, 298, 327f, 371.

Throat (ailments), 20ff;
(relaxation of), 60f.

Throaty production, 65.

Thyroid cartilage, 6ff.

Tobacco, effect of, on singer’s organism, 19.

Tonality, vagueness of, in modern music, 348ff.

Tone emission, 64ff.

Tone production, (vocal), 11ff;
(effect of incorrect methods), 20;
(as taught in early music schools), 37f;
(old Italian method), 53f;
(modern methods), 59ff.

Tongue (in singing), 3, 15.

Tosi, Pietro Francesco, 46, 49.

Tosti, Francesco Paolo, 323.

Trachea, 3, 6.

_Traum durch die Dämmerung_ (Strauss), 340, (Reger), 341.

_Tre giorni_ (Pergolesi), 161.

Tremolo (vocal), 65f.

Trobadores (rise of), 138.

Troubadours, 25, 42, 135;
(rise of), 137ff;
(nature and value of their songs), 143f.

Trouvères, (rise of), 138f;
(influence in Germany), 141.
See also Troubadours.

Trovatori (rise of), 138.

Tschaikowsky, Peter Ilyitch, 298, _323ff_, 364.

_[The] Two Grenadiers_ (Schumann), 242;
(settings of Wagner and Schumann), 290f.

U

United States, folk-music of, 129.

Unprepared dissonance, 159, 162.

V

Vacaresco, Helen, 81.

Vaudeville (French song form), 166.

Venice, folk-songs of, 118f.

Vidal, Paul, 357f.

Villanette, 153.

Villette, 153.

_[The] Violet_ (Mozart), 178.

Vocal cords, 2, 9ff, 60f.

Vocal culture (old Italian method), 24-54;
(modern scientific methods of), 55-69.

Vocal hygiene, 1-23.

Vocal methods, standardization of, 59.

Vocal organs, structure and hygiene of, 1-23;
(scientific investigation of), 55ff.

Vowel sounds (how formed), 16.

Vowels, use of, in exercises, 64f.

Voice placing, 59ff.

Volkmann, Robert, 256.

_Volkstümliches Lied_, 163, 176;
(Silcher), 229f;
(Henschel), 308ff;
(Mahler), 337.
See also Songs in the folk-manner.

W

Wagner, Richard, 142, 172, 285, _290ff_, 348;
(and Peter Cornelius), 303;
(and Hugo Wolf), 332f.

_Waldesgespräch_ (settings by Schumann and Jensen), 306.

Wallace, William Vincent, 267.

Walther von der Vogelweide, 44, 142.

Weber, Carl Maria von, 107, 227f.

Webern, Anton von, 345.

Weckerlin, Jean Baptiste, 107.

_When in Death_ (Irish folk-song), 114.

_[The] White Duck_ (French-Canadian folk-song), 376.

Whole-tone scale, 348ff, 364.

_Widmung_ (Schumann), 96f, 239;
(Franz), 270, 272.

William de Longchamps, Bishop of Ely, 134.

_William of Nassau_ (Dutch folk-song), 108.

_Will Ye Gang Over the Lea?_ (Scotch folk-song), 113.

Windpipe, 6.

Wolf, Hugo, 331ff.

Wolfram von Eschenbach, 142.

Wyman, Loraine, 111.

Z

Zelter, Karl Friedrich, 191, 193, 195.

Zumsteeg, Johann Rudolph, 192f, 197.