the "Giasone" of, 151 ; operas of, 263 ; his style, 263 ; his
lass="pginternal">36, 117.

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W. J. Henderson
the "Giasone" of, 151 ; operas of, 263 ; his style, 263 ; his melodies, 263 , 270 , 306 , 307 . Cembalo, the, 188 . Cersne, Eberhard, on the "Rules of the Minnesingers," 87 , 90 . Cesti, Antonio, develops choral part of the oratorio, 205 , 264 . Chanson, the, 58 . Chant, the Ambrosian, 3 , 4 , 6 , 11 . Chant, the church, contrapuntal treatment, 43 . Chant, the fixed , 7 , 16 , 17 , 20 , 23 , 36 . See also Cantus firmus, the . Chant, the Gregorian, 7 ; its division, 7 ; in Brittany, 9 ; general introduction of, 10 , 11 , 33 , 58 , 72 , 75 , 385 . Chant, the liturgical, 217 . Chant, the medieval, 2 . Chant, the Roman, 9 , 24 . Chants, Indian, 182 . Charlemagne, 10 , 24 . Charles V., of France, 34 . Charles VII., 40 . "Chefs-d'oeuvre de l'opEra Franaeais," 296 . Cherubini, Luigi, masses of, 80 ; operas of, 322 , 323 . Choir, the, 3 . Chopin, systematizes the use of pedals, 113 , 185 , 387 . Choral art, the methods of, 261 . Choral hymn, the Lutheran, 67 . Chorale, the German, 216 , 217 , 228 , 233 . Chord, the, 10 , 12 , 13 . Chord harmonies, 37 , 43 , 70 , 125 . Chord of the dominant seventh, the, Monteverde's use of, 260 . Chord relations, the fundamental, 46 . Chorus, the, 121 . Chorus, the antiphonal, 79 . Choruses, the old church, 214 . Choruses, oratorio, 214 ; Handel's, 215 ; Haydn's, 223 ; Mendelssohn's, 229 . Choruses, polyphonic, 238 . Christ, 2 , 45 . Christian Church, the, chants of, 2 . Christianity, 200 . Christians, the early, in Judea, 2 ; in Greece, 2 ; in Rome, 2 ; hymn of, 2 . Christofori, Bartolomeo, the claims of, 93 , 94 , 97 . "Christ's Passion," 200 , 201 . "Chromatic Fantasia and Fugue," Bach's, 124 . Chromatic harmonies, 104 . "Chromatic Madrigals," Di Rore's, 47 . Chromatics, Lasso's use of, 50 . "Cid, Le," Massenet's, 333 . "Cid, The," Cornelius's, 356 . Cimarosa, Domenico, 276 ; operas of, 276

nberg@html@files@43467@43467-h@43467-h-8.htm.html#Page_351" class="pginternal">351, 357, 359.
Drama, the modern, 199.
Drama per musica, the true, 315, 379.
Drama, the secular, 237.
Dramas, the early Christian,
written to offset the influence of the Greek plays, 200, 201;
early vulgarity of, 201, 202;
Neri's reforms in, 202-203.
Dresden, 209, 337.
Drums, 147, 164.
Dublin, 207.
Dufay, William,
work of, 35, 36;
his masses, 36;
his improvements, 36, 37, 40, 54.
Dulcimer, the, 84, 85, 86, 92.
"Dumka," the, 181.
Duos, 193.
Dutch, the, musical skill of, 38.
Dvorak, Antonin,
symphonic writing of, 179;
work of, 181, 182;
his symphonies, 182;
his chamber music, 197;
his later writings, 197;
his American quartet and quintet, 198.
E-flat major, Mozart's symphony in, 164.
East Flanders, 40.
"Echo et Narcisse," Gluck's, 315.
Edward IV., 62.
Egyptians, the, 84.
Eisenach, 121.
Eisenstadt, 136.
"Eleusinian mysteries," the, 200.
Eleusis, 200.
"Elijah," Mendelssohn's, 226, 229-231;
its popularity in England, 232.
"Elisa e Claudio," Mercadante's, 281.
"Elisir d'Amore," Donizetti's, 280.
"Enchiridion MusicÆ," 14.
England,
Roman singers in, 9;
strolling musicians in, 62;
her mastery of polyphony, 333, 389.
Frescobaldi, Girolamo,
"Infernal Regions, The," 236.
"Inferno," Dante's, 240.
Instrumental forms, 263.
Instrumental music, modern, 101, 102;
a new element in, 106, 110;
development of, 116, 189, 194;
pure beauty in, 391.
Instrumentation, Haydn's attempts in, 162.
Intermezzi, 236, 250.
"Inventions," Bach's, 122.
Ionic mode, the, 70.
"IphigÉnie en Aulide," Racine's, 314, 315.
Isaak, Heinrich, 60.
"Isbruck, ich muss dich lassen," 60.
"Israel in Egypt," Handel's, 207.
Issy, 295.
Italians, the, 129.
Italian school, the, 284;
characteristics of, 289.
Italy, 44, 45;
becomes the home of modern music, 50;
revival of Greek learning in, 67, 94, 234, 238;
vocal style in, 117;
the oratorio in, 207;
the ecclesiastical polyphonic style of, 214, 246, 291;
hostile to Wagner, 358.
"Ivanhoe," 355.
Jahn, Otto,
biographer of Mozart, 166, 192, 194;
on "Don Juan," 344.
Jannequin, Clement, 39, 45;
compositions of, 46;
his "Cris de Paris," 48;
his "Le Bataille," 48.
"Jephthah," Carissimi's, 204.
"Jephthah's Vow," Meyerbeer's, 324.
Jews, the, 2, 212.
John George I., the Elector of Saxony, 336.
John of Forneste, 28.
Jomelli, 221.
Jongleurs, the, 55, 333.
Maggini, Giovanni Paolo, the violin maker, 150, 188.
Magnificat, the, 8.
Mailly, the AbbÉ, the "Akebar, Roi de Mogol" of, 295.
Mainz, 10.
Major key, the modern, introduction of, 214, 243, 261.
Malvezzi, 236.
Mancinus, Thomas, 209.
Mandolin, the, 92.
Mannheim, 164.
Mannheim band, Mozart's, 164, 165.
"Manon," Massenet's, 333.
Mantua, the home of opera, 253.
Mantua, the Duke of, 254.
Marais, Marin, 308.
Marchand, 308.
Marenzio, 236.
Margherita, Infanta of Savoy, 254.
Maria, the Empress, 78.
Marschner, Heinrich, music of, 355.
Marseilles, 334.
Mass, the, early arrangement of, 8.
Mass, the Marcellus, 72, 73.
"Massaniello," Auber's, 323.
Massenet, Jules Émile FrÉdÉric, operas of, 333, 378.
Masses,
Machaut's, 34;
Dufay's, 36, 37;
Palestrina's, 72;
Anerio's, 78;
Lotti's, 79;
Mozart's, 80;
Beethoven's, 80;
Cherubini's, 80.
Masters, the Netherlands, 117, 119.
Masters, the Venetian, 122.
Materia musicÆ, 385.
Matheson, the "Musikalische Kritik" of, 93.
Matthew, St., 212.
"Matona, mia cara," Lasso's madrigal, 49, 51-53.
"Matrimonia Segreto, Il," Cimarosa's, 276.
Maximilian I., Emperor of the Netherlands, 43.
Mazarin, Cardinal,
attempts to revive Italian opera in France, 295, 300.
Measure,
dual and triple, 12;
the musical, 17, 19.
"MedÉcin malgrÉ 6, 234.
"Musikalische Kritik," Matheson's, 93.
"Musurgia," Luscinius', 91.
Mysteries, the, 56.
Myth, the, Wagner's use of, 361, 362, 363.
Mythical stories, as subjects for librettos, 359.
Nanini, Giovanni Maria, 75, 77;
his "Hodie nobis coelorum Rex," 77.
Naples, 49, 265.
Naumann, 37, 43.
Nazianzen, St. Gregory, Patriarch of Constantinople, 200.
Neapolitans, the, 302.
Neapolitan School of opera writers, the, 265, 270, 275, 280.
285, 357.
Neri, St. Philip, reforms the early Christian drama, 202-203.
"Nerone," Boito's, 288.
Netherlands, the, 17, 44.
Netherlands school, the great,
over-shadows the Gallo-Belgic school, 37;
periods of, 38-40;
formation of its character, 40, 45, 48, 60, 73, 102, 189, 387, 392.
Neumes, the, 17, 18, 19, 383.
New College, 63.
New Haven, 87.
New Testament, the, study of, 68.
"Nibelungen Lied," the, 348.
Nokter, Balbulus, 9.
"Nonne Sanglante, La," Gounod's, 329.
"Norma," Bellini's, 280.
Notation, the earliest form of, 17.
Nottinghamshire, 63.
"Nozze di Figaro," Mozart's, 285, 340, 341, 342.
"Nozze di Tito e di Peleo," Cavalli's, 263.
"Nuove Musiche," Caccini's, 241.
Nuremberg, 209.
"Oberon," Weber's, Mendelssohn attracted towards, 227, 230.
Oratorios,
Handel's, 201, 207, 313;
Carissimi's, 204;
Scarlatti's, 205;
Bach's, 207;
Haydn's, 221, 222, 224, 225;
Spohr's, 225;
German, 232;
Italian, 232.
Orchestra, the, 121;
evolution of, 147-157;
early arrangement of, 147, 148;
first organized use of, 148;
Monteverde's influence on, 149;
plan of the contemporaneous, 156-157;
transformed in its treatment by Haydn and Mozart, 168.
Orchestras,
continental town, 61;
Hungarian, 84.
Orchestration, Wagnerian, 233.
"Orfeo," Gluck's, 314, 317, 318, 319.
"Orfeo," Monteverde's, 149, 337.
Organ, the, 10, 22, 77, 85, 86, 101, 102;
first systematic method of playing, 105, 121, 149, 153, 188.
Organists, 101, 102;
Venetian school of, 102, 209;
Roman school of, 104.
Organ playing, 115.
Organ school, the,
of Venice, 102, 209;
of Rome, 104.
Organum, the, of Hucbald, 14, 35.
OrlÉans, 10.
"Orpheus," SchÜtz's, 337.
"Otello," Rossini's, 277, 278.
"Otello," Verdi's, Rassoumoffsky, Count, 194.
"Rassoumoffsky Quartets, The," Beethoven's, 194.
Reading, 28.
Recitative, dramatic,
invention of, 203;
its effect on oratorio, 203, 235, 239, 240;
improvement in, 264.
Recitative, the Florentine, 292.
Recitative, French, 313.
Recitative, the Greek, 243.
Recitative secco, 266, 278, 279.
Recitativo stromentato, 267, 278, 279.
"Redemption," Gounod's, 233.
Reformation, the, 60, 71, 104.
Regal, the, 149.
Regensburg, 10.
"Reine de Saba, La," Gounod's, 329.
Reinken, John Adam, the "Hortus Musicus" of, 189.
Renaissance, the, dawn of, 67, 69, 70.
"Reson and SensualitÉ," Lydgate's, 85.
Reszke, Jean de, 329.
"RÊve, Le," Bruneau's, 334.
Reyer, Ernest, operas of, 334.
"Rheingold, Das," Wagner's, 358, 368, 377.
Rhine, the, 58.
Rhythm, 10, 11;
the appearance of, 16, 21;
elementary attraction of pure, 70;
Aristoxenus on, 238;
Veron on, 384.
Ricercari,
Buus', 103;
Frescobaldi's, 104.
"Ricercari da cantare e sonare," Buus', 103.
"Ride of the Valkyrs," 154, 260.
"Rienzi," Wagner's, 281, 358.
"Rigoletto," Verdi's, 281, 282.
Rimbault, on "The Pianoforte," 93.
"Rinaldo," Handel's opera, 206.
"Ring des Nibelungen, Der," Wagner's, 358, 360.
Rinuccini, Ottavio,
intermezzi of, his use of the string quartet, 151;
his "Sinfonia avanti l'Opera," 159;
his concertos, 160;
his oratorios, 205;
his treatment of the aria, 206;
his career, 265;
the founder of the Neapolitan school, 265;
his operas, 265;
characteristics of his writing, 265, 266;
his improvements in Italian opera, 265-269;
his development of the aria da capo, 269, 270, 280.
Scarlatti, Domenico, 92, 106;
his harpsichord style, 107, 120, 127;
sonatas of, 130, 131.
Scherzo, the, 144, 145.
Schiller, 349.
Schink, on "Don Juan," 345, 346.
SchrÖter, Christopher G., the claims of, 93.
Schubert, Franz,
symphonic writing of, 179, 180;
orchestra of, 154;
chamber music of, 196, 348;
his "Erl-KÖnig," 389.
Schulz, Christopher, 209.
Schumann, Robert, 113;
his original style, 114;
his music, 114;
orchestra of, 154, 185;
his symphonies, 179, 180;
chamber music of, 196, 325, 346, 382, 387, 388.
SchÜtz, Heinrich,
the "Seven Last Words" of, 209;
his settings of the Passion, 210;
writes the first German opera, 336, 337;
his "Orpheus," 337.
Sculpture, Greek, 69.
"Seasons, The," Haydn's, 167, 213, 225.
"Seasons, The," Thompson's, 225.
Sebastiani, Giovanni, passion music of, 186, 191, 193, 196, 197.
"Tristam and Isolde," Wagner's, 154, 358.
"Triumph of Apollo, The," 236.
Trombones, 148, 149, 153, 155, 156, 164, 193.
Troubadours, the, 55, 56;
songs of, 57, 62, 240, 292.
"Trovatore, Il," Verdi's, 281, 282.
Trumpets, 149, 153, 155, 156, 162, 164.
Turkey, the Christian scholars of, 67.
Turks, the, 67.
"Tutti" passages, 151.
Tschaikowsky, Peter Ilitisch,
symphonies of, 181;
his "Symphony Pathetique," 181;
his "Hamlet" overture, 179;
his symphonic writing, 179, 382.
Tschudi and Kirkman, the harpsichord builders, 92.
Tympani, 153, 155.
Upright piano, the, 98.
"Vampire, The," 355.
Vatican, the, at Rome, 75.
Vaudemont, Mlle. de, 291.
Venetians, the, 104.
Venetian school, the, 77, 78.
Venice, 45, 50, 71;
school of Catholic composition at, 77;
the home of opera, 253, 259, 263, 344, 357.
Veni Sancte Spiritus, 9.
Verdi, Giuseppe, 277;
his "La Traviata," 278;
his operas, 281, 282;
his three styles, 282;
accused of imitating Wagner, 100, 122, 139.
"Werther," Massenet's, 333.
Westminster Cathedral, 63.
"What is Good Music?", Henderson's, 383.
Whittington, Dick, 63.
Willaert, Adrian, 39, 45;
his work, 46;
his monets, 48, 50, 71, 77, 79, 103;
his church vocal music, 104, 387.
William of Machaut, 34.
"William Tell." See Guillaume Tell.
William the Conqueror, 62.
"Willow" song, Verdi's, 283.
Wind instruments, 151, 153, 155, 162, 166, 193.
Wooden wind instruments, 153, 154, 155, 156, 162, 187.
Worship, Italian system of, 68, 69.
Writers, church, 386.
WÜrzburg, 10.
Yorkshire, 63.
Zachau of Halle, 206.
Zarlino, 240.
"ZauberflÖte, Die," Mozart's, 340, 342, 348.
Zeelandia, H. de, "Lehrcompendium" of, 60.
Zither, the, 85.
"Zoroastre," Rameau's, 309.
Zumpe, Johannes, 95.
                                                                                                                                                                                                                                                                                                           

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