Apparent printer's errors have been retained, unless stated below.
"_" surrounding text represents italics.
Punctuation, capitalization, accents and formatting markup have been
made consistent.
Page 44, "beleagured" changed to "beleaguered". (or when the enemy
demands by trumpet-signal the surrender of a beleaguered town;)
Page 51, "Shakspeare" chagned to "Shakespeare" for continuity. (Although
the chief object was to obtain specimens of the various musical
instruments used by our forefathers, which are alluded to by Shakespeare
and other classical authors, it appeared to me desirable, as
illustrative of the history of music, to incorporate into the collection
the most interesting of the extra-European contrivances of the kind,[Pg
52] and among these principally such instruments of Asiatic nations as
are the prototypes of certain ones of our own.)
Page 75, "Gen[=e]sa" appears with a macron over the second e. [=e] has
been used to represent this.
Page 125, "Leipzic" changed to "Leipzig" for consistency. (This is but a
modest essay in tone-painting compared with a certain production by
Johann Kuhnau, a predecessor of Bach, who depicted entire biblical
stories in a set of six sonatas for the clavichord, which were published
in Leipzig in the year 1700.)
Page 141, "Leipzic" changed to "Leipzig" for consistency. ([Footnote 37:
'Hinterlassene Schriften von C. M. von Weber. Zweite Ausgabe, Leipzig,
1850.' Vol. II., P. 14.])
Page 153, "n" changed to "an". (For instance, respecting an opinion
which he formerly held on German music, he candidly avows ('History of
Music' Vol. IV., p. 606),)
Page 182, "Italianized" changed to "Italianised" for consistency. (Some
English musicians who at the time of James I. visited the continent,
Italianised their names, a rather unpatriotic act to which they probably
would not have thought of resorting, had they not become convinced of
the superiority of the continental music.)