Branle, 173
Brass instruments, 74, 104 _et seq._
Brignoli, 209, 242
Broadwood's pianoforte, 195
Brown, Dr. John, 321
_Bully Bottom_ in music, 61
Bunner, H.C., 136
Burns's "Ye flowery banks," 175
Caccini, "Eurydice," 234
Cadences, 23
Cadenzas, 145
Calvé, Emma, 242, 247
Calvin and music, 275
Campanini, 242
Cantatas, 290
Cat's mew in music, 52
Catalani, 245, 246
Chaconne, 153
Chamber music, 36, 44 _et seq._, 144
Chicago Symphony Orchestra, 81, 82, 108
Choirs, 253 _et seq._;
size of, 257 _et seq._, 264, 271;
men's, 255, 260;
boys', 261;
women's, 261;
mixed, 262, 264;
division of, 260, 266;
growth of, in Germany, 262;
history of, in America, 263;
in Cincinnati, 264;
contralto voices in, 270
Choirs, orchestral, 74
Chopin, 167, 188, 190, 191, 192, 196;
his romanticism, 188;
Preludes, 190;
Études, 191;
Nocturnes, 191;
Ballades, 192;
Polonaises, 192;
Mazurkas, 192;
his pedal effects, 196
Choral music, 253 _et seq._;
antiphonal, 267;
mediæval, 274;
Calvin on, 275;
Luther's influence on, 276;
congregational, 277;
secular tunes in, 276, 277;
Romanticism, influence on, 277;
preponderance in oratorio, 289;
dramatic and descriptive, 289
Chorley, H.F., on Jenny Lind's singing, 243
Church cantatas, 284
Cicero, 309
Cincinnati, choirs in, 264
Cinti-Damoreau, 241
Clarinet, 47, 74, 78, 82, 103 _et seq._, 151
Classical concerts, 122 _et seq._
Classical music, 36, 64, 122 _et seq._
Clavichord, 168, 181
_Clavier_, 171, 173
Clementi, 185, 195
Cock, song of the, 51, 53, 54
Coleridge, 11, 144
Coletti, 242
Comic opera, 224
Composers, how they hear music, 40
Concerto, 128, 144 _et seq._
Conductor, 114 _et seq._
Content of music, 36 _et seq._
Contra-bass trombone, 81, 82
Contra-bass tuba, 81, 82
Co-ordination of tones, 17
Coranto, Corrente, 173, 176
Cornelius, "Barbier von Bagdad," 236
Cornet, 73, 82, 108
Corno di bassetto, 81, 82
Corsi, 242
Couperin, 168
Courante, 173, 176
Covent Garden Theatre, London, 224, 226
Cowen, "Welsh" and "Scandinavian" symphonies, 132
Cracovienne, 193
Creole tune analyzed, 23, 24
Critics and criticism, 13, 297 _et seq._
Crotch, Dr., 322
Cuckoo, 51, 52, 53
Cymbals, 74, 82
Czardas, 201
Czerny, 186
Dactylic metre, 31
Dance, the ancient, 43, 212
Dannreuther, Edward, 129, 144, 187
Depth, musical delineation of, 59, 60
De Reszke, Edouard, 248
De Reszke, Jean, 247
Descriptive music, 51 _et seq._
Design and form, 16
De Staël, Madame, 210
D'Israeli, 315
Distance, musical delineation of, 60
Dithyramb, 212, 213
"Divisions," 265
Doles, Cantor, 292
Donizetti, 203, 204, 242;
"Lucia," 203, 204
Double-bass, 74, 78, 82, 94
Double-bassoon, 103
Dragonetti, 94
Dramatic ballads, 290
Dramatic orchestras, 81, 82
_Dramma per musica_, 227, 249
Drummers, 113
Drums, 73, 74, 82, 110 _et seq._
Duality of music, 15
"Dump" and _Dumka_, 151
_Durchführung_, 131
Dvorák, symphonies, "From the New World," 132, 138;
in G major, 136
Eames, Emma, 247
Edwards, G. Sutherland, 12
Elements of music, 15, 19
Emotionality in music, 43
English horn, 82, 99, 100
English opera, 223
Ernst's violin, 320
Esterhazy, Prince, 46
Euler, acoustician, 317
Expression, words of, 43
Familiar music best liked, 21
Fancy, 15, 16, 58
Farinelli, 240
Fasch, C.F., 262
Feelings, their relation to music, 38 _et seq._, 215, 216
Ferri, 239, 240
Finale, symphonic, 135
First movement in symphony, 131
Flageolet tones, 89
Florentine inventors of the opera, 217, 227, 234, 249
Flute, 73, 74, 78, 82, 95 _et seq._
Form, 16, 17, 22, 35
Formes, 242, 248
Frederick the Great, 263
Free Fantasia, 131
French horn, 47, 106 _et seq._
Frezzolini, 242
_Friss_, 201
Frogs, musical delineation of, 58, 62
"Gallina et Gallo," 53
Gavotte, 173, 179
German opera, 226
Gerster, Etelka, 242, 245
Gesture, 43
Gigue, 173, 174, 178
Gilbert, W.S., 208, 224
Gilbert and Sullivan's operettas, 224
_Glockenspiel_, 110
Gluck, 84, 148, 153, 202, 203, 238;
his dancers, 153;
his orchestra, 238;
"Alceste," 148;
"Iphigénie en Aulide," 153;
"Orfeo," 202, 203
Goethe, 34, 140, 223
Goldmark, "Sakuntala" overture, 149
Gong, 110
Gossec, Requiem, 293
Gounod, "Faust," 209, 224, 238, 246
_Grand Opéra_, 223, 224
Greek Tragedy, 211 _et seq._
Grisi, 241, 242
_Grosse Oper_, 224
Grove, Sir George, 33, 63, 141, 187
Gypsy music, 198 _et seq._
Hallé, Lady, 320
Hamburg, opera in, 206, 207
Handel, 58, 60, 62, 83, 102, 126, 148, 174, 177, 178, 181, 182, 184,
256, 257, 258, 259, 265, 272;
his orchestra, 84;
his suites, 174;
his overtures, 148;
his technique as a player, 181, 182, 184;
his choirs, 257;
Commemoration, 258;
his _tutti_, 258;
"Messiah," 60, 126, 256, 257, 265, 272;
"Saul," 102;
"Almira," 177;
"Rinaldo," 178;
"Israel in Egypt," 58, 62, 257, 259, 289;
"_Lascia ch'io pianga_," 178
Hanslick, Dr. Eduard, 203
Harmonics, on violin, 89
Harmony, 19, 21, 22, 218
Harp, 82
Harpsichord, 168, 170
Hauptmann, M., 41
Hautboy, 99
Haweis, the Rev. Mr., 318 _et seq._
Haydn, 46, 84, 100, 127, 168, 183, 295;
his manner of composing, 183;
dramatic effects in his masses, 295;
"Seasons," 100
Hebrew music, 114;
poetry, 25
Height, musical delineation of, 59, 60
Heman, 115
Hen, song of, in music, 52, 53, 54
Herbarth, philosopher, 39
Hiller, Ferdinand, 307, 310
Hiller, Johann Adam, 258
Hogarth, Geo., "Memoirs of the Opera," 210, 245
Horn, 82, 105, 106 _et seq._, 151
Hungarian music, 198 _et seq._
Hymn-tunes, history of, 275
Iambics, 175
"_Idée fixe_," Berlioz's, 137
Identification of themes, 35
Idiomatic pianoforte music, 193, 194
Idioms, musical, 44, 51, 55
Imagination, 15, 16, 58
Imitation of natural sounds, 51
Individual attitude of man toward music, 37
Instrumental musicians, former legal status of, 83
Instrumentation, 71 _et seq._;
in the mass, 293 _et seq._
Intelligent hearing, 16, 18, 37
Intermediary necessary, 20
_Intermezzi_, 221
Interrelation of musical elements, 22
Janizary music, 97
Jean Paul, 67, 189, 190
Jeduthun, 115
Jig, 179
Judgment, 311
Kalidasa, 149
Kettle-drums, 111 _et seq._
Key relationship, 26, 129
Kinds of music, 36 _et seq._
_Kirchencantaten_, 284
Krakowiak, 193
Kullak, 184
Lablache, 248
La Grange, 241, 245
Lamb, Charles, 10
Language of tones, 42, 43
_Lassu_, 201
Laws, musical, mutability of, 69
Lehmann, Lilli, 233, 244, 247
Lenz, 33
Leoncavallo, 228
Lind, Jenny, 241, 243
Liszt, 132, 140, 142, 143, 167, 168, 193, 197, 198, 228;
his music, 168, 193, 197;
his transcriptions, 167;
his rhapsodies, 167, 198;
his symphonic poems, 142;
"Faust" symphony, 132, 140;
Concerto in E-flat, 143;
"St. Elizabeth," 288
Literary blunders concerning music, 9, 10, 11, 12
Local color, 152, 153
London opera, 206, 207, 226
Louis XIV., 179
Lucca, Pauline, 242, 246, 247
Lully, his overtures, 148;
minuet, 179;
"Atys," 206
Luther, Martin, 276
Lyric drama, 231, 234, 237, 251
Madrigal, 274
Magyar music, 198 _et seq._
Major mode, 57
Male alto, 260
Male chorus, 255, 260
Malibran, 241
_Männergesang_, 255, 260
Marie Antoinette, 153
Mario, 242, 247, 271
Marschner, "Hans Heiling," 225;
"Templer und Jüdin," 225;
"Vampyr," 225;
his operas, 248
Mascagni, 228
Mass, the, 290 _et seq._
Massenet, "Le Cid," 152
Materials of music, 16
Materna, Amalia, 247
Matthews, Brander, 11
Mazurka, 192
Melba, Nellie, 204, 238, 245, 247, 271
Melody, 19, 21, 22, 24
Memory, 19, 21, 73
Mendelssohn, 41, 42, 49, 59, 61, 67, 102, 109, 132, 139, 140, 149,
168, 243, 278, 288, 289, 322;
on the content of music, 41, 42;
his Romanticism, 67;
on the use of the trombones, 109;
opinion of Jenny Lind, 243;
"Songs without Words," 41;
"Hebrides" overture, 59, 149;
"Midsummer Night's Dream," 61, 102;
"Scotch" symphony, 132, 139;
"Italian" symphony, 132;
"Hymn of Praise," 140;
"St. Paul," 278;
"Elijah," 288, 289
Mersenne, "Harmonie universelle," 175, 176
Metropolitan Opera House, New York, 203, 224, 226, 244
Meyerbeer, 89, 102, 203, 204, 208, 242, 243, 244;
"L'Africaine," 89;
"Robert le Diable," 102, 208, 244;
"Huguenots," 204;
"L'Étoile du Nord," 243
Military bands, 123
Minor mode, 57
Minuet, 134, 151, 173, 179
Mirabeau, 293
Model, none in nature for music, 8, 180
Monteverde, "Orfeo," 87
Moscheles, on Jenny Lind's singing, 243
Motet, 283
Motives, 22, 24
Mozart, 84, 109, 132, 145, 151, 168, 183, 184, 195, 202, 203, 221,
224, 228, 230, 238, 244, 265, 292;
his pianoforte technique, 184;
on Doles's mass, 292;
his orchestra, 238;
his edition of Handel's "Messiah," 265;
on cadenzas, 145;
his pianoforte, 195;
his serenades, 151;
"Don Giovanni," 109, 202, 221, 222, 228, 230;
"Magic Flute," 203;
G-minor symphony, 132;
"Figaro," 202, 228
_Musica parlante_, 234
Musical instruction, deficiencies in, 9
Musician, Critic, and Public, 297
_Musikdrama_, 227, 238, 249
Neri, Filippo, 288
Nevada, Emma, 204
Newspaper, the modern, 297, 298, 313
New York Opera, 206, 226, 241
Niecks, Frederick, 192
Niemann, Albert, 233
Nightingale, in music, 52
Nilsson, Christine, 242, 246, 247
Nordica, Lillian, 247
Norman-Neruda, Madame, 320
Notes not music, 20
Nottebohm, "Beethoveniana," 63
Oboe, 47, 74, 78, 82, 84, 98 _et seq._
Opera, descriptive music in, 61;
history of, 202 _et seq._;
language of, 205;
polyglot performances of, 207 _et seq._;
their texts perverted, 207 _et seq._;
words of, 209, 210;
elements in, 214;
invention of, 216 _et seq._;
varieties of, 220 _et seq._;
comic elements in, 221;
action and incident in, 236;
singing in, 239;
singers compared, 241 _et seq._
_Opéra bouffe_, 220, 221, 225
_Opera buffa_, 220
_Opéra comique_, 223
_Opéra, Grand_, 223
_Opera in musica_, 228
_Opera semiseria_, 221
_Opera seria_, 220
_Opus_, 132
Oratorio, 256, 287 _et seq._
Orchestra, 71 _et seq._
Ostrander, Dr. Lucas, 278
"Ouida," 12
Overture, 147 _et seq._, 174
Paderewski, his recitals, 154 _et seq._;
his Romanticism, 167;
"Krakowiak," 193
Painful, the, not fit subject for music, 50
Palestrina and Bach, 278 _et seq._;
his music, 279 _et seq._;
"Stabat Mater," 279, 280;
"Improperia," 280;
"Missa Papæ Marcelli," 280
Pandean pipes, 98
Pantomime, 43
Parallelism, 25
Passepied, 173
"Passions," 284 _et seq._
Patti, Adelina, 203, 204, 238, 242, 245, 247
Pedals, pianoforte, 195, 196
Pedants, 13, 315
Percussion instruments, 110 _et seq._
Peri, "Eurydice," 234
Periods, musical, 22, 24
Perkins, C.C., 263
Pfund, his drums, 112
Philharmonic Society of New York, 76, 77, 81, 82
Phrases, musical, 22, 24
Physical effects of music, 38
Pianoforte, history and description of, 154 _et seq._;
its music, 154 _et seq._, 166 _et seq._;
concertos, 144;
trios, 147
Piccolo flute, 85, 97
Piccolomini, 242, 245
Pictures in music, 40
_Pifa_, Handel's, 126
_Pizzicato_, 88, 91
Plançon, 248
Polonaise, 192
Polyphony and feelings, 39
Popular concerts, 122
Porpora, 209
"_Pov' piti Momzelle Zizi_," 23
Preludes, 148, 174
Programme music, 36, 44, 48 _et seq._, 64, 142
Puccini, 228
Quail, call of, in music, 51, 54
Quartet, 147
Quilled instruments, 170
Quinault, "Atys," 206
Quintet, 147
Quintillian, 309
Raff, 49, 96, 132;
"Lenore" symphony, 96, 132;
"Im Walde" symphony, 132
Rameau, 168
Recitative, 219, 220, 228 _et seq._
Reed instruments, 98 _et seq._
Reformation, its influence on music, 275, 278, 280
Refrain, 25
Register of the orchestra, 85
Repetition, 22, 25
Rhapsodists among writers, 13, 315 _et seq._
Rhythm, 19, 21, 26, 160
"_Ridendo castigat mores_," 225
Rinuccini, "Eurydice," 234
Romantic music, 36, 64 _et seq._, 71, 277
Romantic opera, 225
Ronconi, 242
Rondeau and Rondo, 135
Rossini, 147, 228, 242;
his overtures, 147;
"Il Barbiere," 228;
"William Tell," 93, 100
Rubinstein, 59, 152, 167, 168, 287;
his historical recitals, 167;
his sacred operas, 287;
"Ocean" symphony, 59;
"Feramors," 152
Ruskin, John, 302
Russian composers, 134
Sacred Operas, 287
Saint-Saëns, "Danse Macabre," 101, 111;
symphony in C minor, 141;
"Samson and Delilah," 288
Salvi, 242
Sarabande, 173, 174, 177
Sassarelli, 240
Scarlatti, D., 167, 172, 182;
his technique, 172;
"Capriccio" and "Pastorale," 172
Scheffer, Ary, 246
Scherzo, 133, 179
Schröder-Devrient, 232
Schubert, 168
Schumann, 49, 64, 132, 133, 139, 140, 141, 167, 188, 189, 190, 196,
254, 308, 310;
his Romanticism, 188;
and Jean Paul, 189;
his pedal effects, 196;
on popular judgment, 308, 310;
symphony in C, 132;
symphony in D minor, 139;
symphony in B-flat, 140;
"Rhenish" symphony, 140, 141;
"Carnaval," 189, 190;
"Papillons," 189, 190;
"Kreisleriana," 190;
"Phantasiestücke," 190
Score, 120
"Scotch snap," 52, 200
Second movement in symphony, 133
Seidl, Anton, 77
Sembrich, Marcella, 242, 245
Senesino, 239, 240
Sense-perception, 18
Serenade, 149 _et seq._
Shaftesbury, Lord, 311
Shakespeare, his dances, 153, 179;
his dramas, 202;
a Romanticist, 221;
"Two Gentlemen of Verona," 150;
Queen Mab, 90
Singing, physiology of, 215, 218;
operatic, 239;
choral, 268
Singing Societies, 253 _et seq._
_Singspiel_, 223
Smith, F. Hopkinson, 11
_Sonata da Camera_, 173
Sonata, 127, 182, 183
Sonata form, 127 _et seq._
Sontag, 241, 244, 245, 246
Sordino, 90
Space, music has no place in, 59
Speech and music, 43
Spencer, Herbert, 39, 43, 216, 218, 230
Spinet, 168, 170
Spohr, "Jessonda," 225
Stainer, Dr., 39, 316
Stein, pianoforte maker, 196
_Stilo rappresentativo_, 234
Stories, in music, 40
Strings, orchestral, 74, 82, 86 _et seq._, 102
Sucher, Rosa, 247
Suite, 129, 152, 173 _et seq._
Symphonic poem, 142
Symphonic prologue, 148
Symphony, 124 _et seq._, 183
Syrinx, 98
Talent in listening, 4
Tambourine, 110
Tappert, "Zooplastik in Tönen," 51
Taste, 311
Technique, 163 _et seq._
Tennyson, 9
Terminology, musical, 8
_Théatre nationale de l'Opéra-Comique_, 223
Thespis, 212
Thomas, "Mignon," 223
_Tibia_, 98
Titiens, 242
Tonal language, 42, 43
Tones, co-ordination of, 17
Touch, 163 _et seq._
_Tragedia per musica_, 227
Tremolo, 91
Trench, Archbishop, 65, 66
Triangle, 74, 110
Trio, 134
Triolet, 136
Trombone, 82, 105, 106, 109 _et seq._
Trumpet, 105, 108
Tschaikowsky, 88, 132;
"Symphonie Pathétique," 132
Tuba, 82, 85, 106, 108
"Turkish" music, 97
Tympani, 82, 111 _et seq._
Ugly, the, not fit for music, 50
United States, first to have amateur singing societies, 257, 262;
spread of choral music in, 263
Unity in the symphony, 27, 137
Vaudevilles, 224
Verdi, 152, 203, 210, 228, 236, 238, 242, 243;
"Aïda," 152, 228, 238;
"Il Trovatore," 210, 243;
"Otello," 228, 238;
"Falstaff," 228, 236;
Requiem, 290
Vestris, 153
Vibrato, 90
Vile, the, unfit for music, 50
Viola, 74, 77, 82, 92, 93
_Viole da braccio_, 93
_Viole da gamba_, 93
Violin, 73, 74, 77, 82, 86 _et seq._, 144, 162
Violin concertos, 145
Violoncello, 74, 77, 82, 92, 93, 94
Virginal, 168, 170
Vocal music, 61, 215
_Vorspiel_, 148
Wagner, 41, 79, 80, 81, 88, 89, 94, 111, 205, 206, 219, 226, 227, 232,
235, 237, 238, 244, 248, 249, 250, 251, 303, 305, 314;
on the content of music, 41;
his instrumentation, 80, 111;
his dramas, 219, 226, 227, 248;
_Musikdrama_, 227, 249;
his dialogue, 235;
his orchestra, 238, 250;
his operas, 248;
his theories, 249;
endless melody, 250;
typical phrases, 250;
"leading motives," 250;
popularity of his music, 303;
on criticism, 314;
"Flying Dutchman," 248;
"Tannhäuser," 248;
"Lohengrin," 79, 88, 235, 248;
"Die Meistersinger," 249;
"Tristan und Isolde," 87, 237, 249;
"Rheingold," 237;
"Die Walküre," 94, 237;
"Siegfried," 237, 244;
"Die Götterdämmerung," 237;
"Ring of the Nibelung," 249, 251, 305;
"Parsifal," 249
_Waldhorn,_ 107
Wallace, W.V., 223
Walter, Jacob, 53
Water, musical delineation of, 58, 59
Weber, 67, 96, 244, 248;
his Romanticism, 67;
"Der Freischütz," 96, 225;
"Oberon," 225;
"Euryanthe," 225
Weitzmann, "Geschichte des Clavierspiels," 201
Welsh choirs, 255
Wood-wind instruments, 74, 77, 78, 95
Xylophone, 111
Ysaye, on Cadenzas, 146
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