A

Act of Supremacy, 325, 328, 329.

Agathon, pope, 110.

Agnus Dei, 90.

Ahle, 266.

Ainsworth, psalm-book of, 376.

Altenburg, 266.

Ambrose, St., 58;

introduces psalm singing into Milan, 66.

Anerios, the, 133, 168.

Anthem, Anglican, 346;

its different forms, 348;

periods and styles, 353.

Aria, Italian, origin of, 190;

its supremacy in the seventeenth and eighteenth centuries, 191;

its introduction into church music in Italy, 193, 269;

influence upon German church music, 267, 269, 318;

adoption into the cantata, 273;

into the Passion music, 276, 280.

Art, Catholic conception of religious, 70, 174;

Calvinist and Puritan hostility to art in connection with worship, 363, 369, 372.

Asor, 23.

Assyrians, religious music among the, 12.

Attwood, 354.

Augustine, missionary to England, 117.

Augustine, St., quoted, 51, 67;

traditional author, with St. Ambrose, of the Te Deum, 58;

effect of music upon, 372.

B

Bach, Johann Sebastian, his relation to German church music, 282, 287, 289;

the Bach family, 284;

Bach’s birth, education, and official positions, 286;

condition of German music in his early days, 287;

his organ music, 290, 292;

fugues, 292;

choral preludes, 295;

cantatas, 300;

style of his arias, 304;

of his choruses, 305;

Passion according to St. Matthew, 307;

compared with HÄndel’s “Messiah,” 307;

its formal arrangement and style, 308;

performance by Mendelssohn, 312;

the Mass in B minor, 204, 211, 312;

national and individual character of Bach’s genius, 314;

its universality, 316;

decline of his influence after his death, 317.

Bach Society, New, 322.

Bardi, 188.

Barnby, 355, 383.

Battishill, 354.

Beethoven, his Mass in D, 119, 200, 204, 210.

Behem, 229.

Benedictus, 88.

Bennett, 355.

Berlioz, his Requiem, 199, 200, 204.

Beza, 360.

Bisse, quoted, 338.

Boleyn, Anne, 326.

Bonar, 381.

Boniface, 118.

Bourgeois, 360.

Boyce, 354.

Brethren of the Common Life, 234.

Bridge, 355.

Buxtehude, 292.

Byrd, 350.

C

Caccini, 188, 189, 190.

Calvin, his hostility to forms in worship, 358, 363;

adopts the psalms of Marot and Beza, 360.

Canon of the Mass, 89.

Cantata, German church, 270, 272;

origin and development, 273.

See also Bach.

Cartwright, his attack upon the established Church, 367.

Cary sisters, 381.

Cassell, quoted, 45.

Catherine, wife of Henry VIII., 326.

Celestine I., pope, 110.

Chalil, 22.

Chant, nature of, 40, 97;

the form of song in antiquity, 40;

its origin in the early Church, 51;

its systematic culture in the Roman Church, sixth century, 67.

Chant, Anglican, 336, 340;

Gregorian movement in the Church of England, 342;

first harmonized chants, 345.

Chant, Catholic ritual, epoch of, 93;

liturgic importance, 94, 99, 405;

general character, 95, 104;

different classes, 103;

rhythm, 105;

rules of performance, 105;

origin and development, 99, 109;

key system, 113;

mediaeval embellishment, 115;

extension over Europe, 117;

legends connected with, 122;

later neglect and revived modern study, 126;

use in the early Lutheran Church, 260;

“Gregorians” in the Church of England, 337, 341.

Charlemagne, his service to the Roman liturgy and chant, 118.

Charles II., king of England, his patronage of church music, 352.

Cherubini, mass music of, 204, 213.

Choral, German, sources of, 260;

at first not harmonized, 262;

later rhythmic alterations, 263;

its occasional adoption by Catholic churches, 264;

its condition in the seventeenth century, 265;

decline in the eighteenth century, 266;

choral tunes in the cantata, 274, 302;

in the Passion music, 280;

as an element in organ music, 290, 294;

use in Bach’s St. Matthew Passion, 308, 309, 311.

Choral, or Cathedral mode of performing the Anglican service, 333.

Clement of Alexandria, quoted, 54;

his song to the Logos, 56.

Clement VII., pope, 326.

Colet, 327.

Common Prayer, Book of, 328, 330;

musical setting by Marbecke, 337, 369.

Communion, 90.

Congregational singing, its decline in the early Church, 48;

vital place in Protestant worship, 223;

in Germany before the Reformation, 228 et seq.;

not encouraged in the Catholic Church, 240;

in the Church of Luther, 242;

among the Puritans, 376.

Constantine, edicts of, 62.

Constitutions of the Apostles, 47.

Cosmas, St., 60.

Counterpoint, mediaeval, growth of, 140, 148.

Counter-Reformation, 156, 264.

Cowper, 381, 387.

Coxe, 381.

Cranmer, 328, 329, 331, 337.

Credo, 88.

Croce, 168.

Cromwell, 369, 371, 372.

Crotch, 354.

CrÜger, 266.

Curwen, quoted, 343.

Cymbals, 24, 26.

D

Dance, religious, its prominence in primitive worship, 3;

twofold purpose, 5;

among the Egyptians, 6;

among the Greeks, 6;

in early Christian worship, 8.

David, his contribution to the Hebrew ritual, 24.

Day’s psalter, 345.

Deutsche Messe, Luther’s, 245, 247.

Dies Irae, 60.

Discant, first form of mediaeval part writing, 138.

Dubois, 217.

Durante, 213.

DvorÁk, his Requiem, 204, 219;

Stabat Mater, 219.

Dykes, 383.

E

Eccard, 271.

Eckart, 229, 231.

Edward VI., king of England, 327, 328.

Egyptians, religious music among the, 12.

“Ein’ feste Burg,” 251, 252, 253, 259, 264, 302.

Ekkehard V., quoted, 121.

Elizabeth, queen of England, 327, 329, 332, 358.

Ellerton, 381.

Ephraem, 57.

Erasmus, 327.

Eybler, 207.

F

Faber, 381.

Faunce, quoted, 403.

Female voice not employed in ancient Hebrew worship, 29;

similar instances of exclusion in the modern Church, 30.

Festivals, primitive, 4;

in the early Church, 65.

Flagellants, 231.

Folk-song, as possible origin of some of the ancient psalm melodies, 31;

German religious, before the Reformation, 228 et seq.;

German secular, transformed into religious, 232;

folk-tunes as sources of the Lutheran choral, 261.

Formula Missae, Luther’s, 245.

Franc, 360.

Franck, 218.

Frank, 266.

Frauenlob, 229.

Frescobaldi, 292.

Froberger, 292.

Fuller, quoted, 375.

G

Gabrieli, Giovanni, 170.

Gabrielis, the, 93, 133, 170.

Galilei, 188.

Garrett, 355.

Gerhardt, 266, 311.

Gevaert, works on the origins of the Gregorian chant, quoted, 109.

Gibbons, 350, 352.

Gibbons, Cardinal, quoted, 75, 84.

Gigout, 217.

Gloria in excelsis, 58, 87.

Glossolalia, 44.

Goss, 355.

Gottfried von Strassburg, 229.

Goudimel, 154, 360.

Gounod, mass music of, 199, 200, 213, 216.

Gradual, 88.

Greeks, religious music among the, 14, 19;

Greek influence upon early Christian worship, 332.

See also Liturgy, Catholic.

Milman, 381.

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