Part 41

=Venice= rivaled Naples in devotion to music, and early took measures to give musical instruction to the wards of charitable institutions. These schools were not named _Conservatorio_, as at Naples, but _Ospedale_ (hospital), since they were a part of the foundation for institutions to receive the poor and infirm, their work as conservatories developing gradually. Such masters as Lotti, Galuppi, Scarlatti, Cimarosa presided over the four schools best known. When the Republic fell, these institutions collapsed in the financial crisis that followed. The principal music school in Venice at the present time is the _Liceo Benedetto Marcello_, which is subsidized by the city. An Italian conservatory of ancient date is the one at =Palermo=, which was established in 1615. At the present time it is a State institution. The Academy of St. Cecilia, at =Rome=, dates its original foundation to a society of musicians formed in 1566, a charter being granted by Pope Gregory XIII, in 1584. The Academy possesses the largest and most important musical library in Italy. =Milan= had a school of music as early as 1483. The celebrated theoretician, Gafurio, was the first great teacher. It was not permanent, however, and though there were schools for singers there from time to time, it was not until 1807 that the municipality established a regular school of music. The first school of music at =Bologna= was established in 1482, but it did not become permanent. In later years, musical affairs were in the hands of academies for the promotion of arts and sciences. In 1864, a school was opened on modern lines. =Genoa= has a school which was founded in 1829; it is subsidized by the city. The school at =Florence= was opened in 1862, and is richly endowed. A school was heavily endowed by Rossini and located at =Pesaro=, his birthplace.

=The Paris Conservatoire=.—To France belongs the honor of following closely in the footsteps of the Italian authorities. In 1784, a Royal School of Singing was opened in =Paris=, under the direction of Gossec, the composer; in 1793 it was enlarged in scope and was called the National Institute of Music; in 1795 the name was changed to the _Conservatoire de Musique_, which it still bears. In 1800 the organization was further modified by Bonaparte. The institution receives an annual subvention from the Government. This school is justly considered as one of the greatest in existence and has been the centre of musical training for practically all the prominent French musicians. A great incentive is the celebrated _Prix de Rome_ (Roman Prize), which enables the winner to spend three years in study in Italy and Germany. The library is one of the most important in France, and dates from the foundation of the school. The Museum, which has one of the finest collections in Europe, was established in 1864. Affiliated schools have been established in the principal French cities, such as: =Marseilles=, =Toulouse=, =Nantes=, =Dijon=, =Lyons= and =Rouen=.

=Musical Education in Germany=.—Among the German conservatories, that at =Prague= is the oldest. It was founded in 1811. Besides music, the course of study provides for instruction in general branches. The violin department of this school is one of its strongest features. The conservatory at =Vienna= was opened in 1817, under the direction of Salieri, as a vocal school; other branches were added and by 1821 the foundation was that of a true conservatory. The course of study is comprehensive and the school has graduated a number of eminent musicians. It is under the patronage of the Society of the Friends of Music. Probably the German conservatory best known to American readers is that founded at =Leipzig=, in 1843, by Mendelssohn, and of which he was the first director. The fund used in starting the school was one of 20,000 thalers bequeathed by a Government official “for the purposes of art and science.” Such masters as Schumann, Moscheles, Ferdinand David, Plaidy, Richter and Reinecke were members of the faculty at different periods in the history of the school. This conservatory has had a larger number of American pupils than any other German institution. The oldest conservatory in =Berlin= was a private institution. The most important school is the Royal High School for Music, which is a branch of the Royal Academy of Arts, and is under the patronage of the Prussian Government. This school has three sections, the one for church music was opened in 1822, for musical composition in 1833, that for executive art in 1869. The violin school, under the direction of Joseph Joachim, attracts pupils from all parts of the world. =Cologne= has a conservatory which is aided financially by the municipality. This school was established in 1850, Ferdinand Hiller being the first director. The Royal Conservatory at =Dresden= was organized in 1856, and has paid considerable attention to its department for opera. =Munich= has a school which receives State aid. It was founded in 1867. Rheinberger, who was teacher of composition here, drew a number of Americans to the school. Other schools receiving State or municipal subventions are those at =Wuerzburg=, =Weimar=, =Frankfort= and =Wiesbaden=.

=Other European Music Schools=.—The other European countries have also promoted the organization of schools for teaching music. The strongest schools in Switzerland are those at =Zurich=, =Geneva=, =Basle= and =Berne=. In Belgium are several fine schools: at =Brussels=, founded in 1813, which is now a Government institution, at =Liége= (1827), at =Ghent= (1833), and at =Antwerp=, the latter founded in 1867, by the noted Belgian composer, Peter Benoit. These four schools receive State aid. Holland has three conservatories in her three large cities, =Amsterdam=, =Rotterdam= and =The Hague=. Scandinavian musical education is cared for by the conservatories at =Copenhagen=, =Christiania= and =Stockholm=, the last being under Government patronage. Spain has conservatories at =Madrid=, =Saragossa= and =Valencia=, and Portugal, one at =Lisbon=. Greece sustains a school at =Athens=.

=St. Petersburg Conservatory=.—A conservatory of great importance is that founded at =St. Petersburg= through the exertions of the famous composer, Anton Rubinstein. In 1859, he organized the Russian Musical Society, the first object of which was to give amateurs an opportunity to practice orchestral playing. Changes in the policy of the Society were gradually introduced, branches were founded in several other cities, among them Moscow, and serious efforts were inaugurated to organize a music school in the Capital. The first instruction was given gratuitously, money was raised in private circles and a floor was rented in a private house in 1862 for the use of the school. The Emperor Alexander II gave to the school an annuity of 5000 rubles and a building which was the property of the Crown. In 1866 the name was officially designated as Conservatory, and from that time on several members of the Royal family became patrons of the school, socially as well as financially. Rubinstein was the first director. The building at present occupied by the school was formerly the Grand Theatre and is very completely furnished for the purposes of the Conservatory, having two concert halls, museums, library, class rooms, chapel, etc. Among the graduates of the institution are Tchaikovsky, Glazounoff, Balakireff, Arensky, Liadow, Gabrilowitsch, Sapellnikoff and Felix Blumenfeld.

=Musical Education in England= is well cared for, principally by the strong schools in London, of which there are four that call for particular notice. =The Royal Academy of Music= is the oldest; it was founded in 1822. This institution has had royal patronage from the beginning. The British public has generously replied with subscriptions to appeals made for funds at different periods in the history of the school, the Government grant being revoked on several occasions. At the present time the revenues are a Government grant, subscriptions, donations, and students’ fees. Such eminent musicians as Dr. Crotch, Sterndale Bennett and Sir George Macfarren have filled the position of principal of the school. Sir A. C. Mackensie is the present head. A strong rival to the Royal Academy is the =Royal College of Music=, which is the outgrowth of the National Training School for Music, founded by the Society of Arts in 1876, Sir Arthur Sullivan, first principal. It was in 1883 that the institution passed into the hands of the newly-organized Royal College of Music. The funds of the college come from fees, subscriptions and endowments. Sir George Grove was director for a number of years and was succeeded by Sir C. H. Hubert Parry, the eminent composer and theorist. =Trinity College= is the outgrowth of the activity of a musical society formed to promote church music and singing. In 1881 it was incorporated under the name it now bears and the scope of its instruction extended. The =Guildhall School of Music= is under the patronage of the authorities of the City of London. This institution was founded in 1880, and has a very large attendance. The present director is Mr. W. H. Cummings. The leading English universities, Cambridge, Oxford, London, Durham, and that at Edinburgh and Dublin have courses in the theory of music, leading to degrees.

=Musical Education in the United States: Boston=.—The United States has no schools of music under Governmental or municipal direction, and none which receive subventions, and but one, established in 1905, in New York City, which is endowed. The spread of musical education has been due to the energies and in many cases the sacrifices of musicians and music lovers in the larger cities. In Lesson LVII reference was made to societies in the three large American cities, Boston, New York and Philadelphia, to further musical education. The oldest true music school in the United States is the =New England Conservatory of Music=, in Boston, founded by Dr. Tourjée, in 1867. A notable feature was the dormitory for female students. Eminent instructors were engaged, both foreigners and Americans, and the school quickly established a reputation as the leading institution for musical education. Dr. Tourjée was succeeded in the directorship by Mr. Carl Faelten, who resigned after several years of service and was followed in the office by Mr. George W. Chadwick, the present director, in 1897. In 1902 a new building was erected largely through the benefactions of several public-spirited citizens of Boston. Among the teachers who exerted a strong influence on American pupils may be mentioned Stephen A. Emery, A. D. Turner, Lyman W. Wheeler, Carlyle Petersilea, Otto Bendix and George E. Whiting. A school in Boston, with special strength in the violin department, was the Boston Conservatory, founded by Julius Eichberg.

=The West=.—In 1878, several music-loving citizens of Cincinnati established the =Cincinnati College of Music=, with Theodore Thomas as the first director. After him came various members of the faculty, and in 1897, Mr. Frank Van der Stucken accepted the post of dean of the faculty. In connection with the Cincinnati Symphony Orchestra and the Festival Association, the College of Music has been a powerful factor in the musical life of the city. As an educational force it has done much for music in the West and the Southwest, and its pupils have carried into all sections of the tributary States sound musical precepts. =Chicago= has, at the present day, several schools, organized and conducted by private enterprise, which are doing splendid work and have made the city the musical centre of the West. Musicians of the highest rank have been brought to the United States by several of these conservatories, to the benefit of musical art in Chicago and the Western States.

=Oberlin Conservatory of Music=, a department of Oberlin College, may be taken as a type of the American idea of musical work in an institution of learning. The school has a strong faculty and a large number of pupils, whose work receives credit for graduation in the college courses; the students in music have all the privileges of those entered in the regular colleges. Oberlin has been a great factor for musical progress in the Middle West.

=The East=.—New York City has two schools that deserve mention: the =National Conservatory of Music=, founded by Mrs. Jeannette Thurber, a school which has offered as teachers to the American pupils such musicians as Rafael Joseffy and Antonin Dvořák; the =Institute of Musical Art=, opened in 1905, with Frank Damrosch as director, with a faculty of high repute, both Europeans and Americans. This school started with an endowment of $500,000 given by Mr. James Loeb, a New York banker. A school of music managed on conservative lines has existed for a number of years in =Baltimore=, in connection with the Peabody Institute, which was endowed by the banker, George Peabody. At the present time nearly every city of importance in the United States contains one or more conservatories, managed on a strictly business basis, and furnishing to the people of their communities thorough instruction at reasonable cost.

=In the Colleges=.—The important American institutions for higher education, both for men and for women, have recognized the claim of music to a place in the curriculum, and have provision for instructions in the theory, history and esthetics of music, many also having facilities for instructions in the practical side of music. =Harvard=, =Yale=, =Columbia=, =Pennsylvania=, =Michigan=, =California= and =Northwestern= Universities have established professorships of music, and have called eminent musicians to the posts. The work done in hundreds of schools of less reputation is a great factor in spreading musical culture throughout the country.

INDEX.

Adam, 355 Aeolian, 30 Akkadians, 25, 36 Albeniz, 497 Alberti, 252 Alkan, 443 Amati (_Amáhtee_), 317 Ambrose, 63 American Indian Music, 531 American Music, 525 Anglebert d’, 258 Antiphony, 59 Apollo, Hymn to, 48, 49 Apthorp, 550 Archæology, 20 Archer, 168 Archilute, 151 Arensky, 521 Arghool, 150 Aria, 190 Aristotle, 47 Aristoxenus, 47 Arkadelt, 128, 136, 140, 143 Astorga, 229 Auber (_O-bare_), 355, 357 Authentic, 64, 66

Babylonian Music, 24, 36 Bach (_Bakh_), C. P. E., 279 Bach, J. C., 278 Bach, J. S., 128, 164, 228, 244, 269, 337, 439 Bach, W. F., 278 Baillot (_Ba-yo_), 328 Balakireff (_Balakeéreff_), 442, 517 Balfe (_Bolf_), 210 Ballad, 455 Ballad Opera, 210 Ballet (_Ballay_), 203 Bantock, 502 Bards, 77 Bassoon, 149 Batiste (_Bateest_), 166 Bauer (_Bower_), 447 Beach, 541 Beethoven (_Baytoven_), 18, 22, 231, 299, 307, 338, 439 Bellini (_Belleénee_), 362 Benda, 277, 350 Bennett, W. S., 405, 459 Benoit (_Benwah_), 503 Bergonzi (_Bergontsee_), 319 Bériot, de (_Bareeoh_), 332 Berlin, 555 Berlioz (_Bareleoh_), 339, 433, 459, 463 Bernhard, 159 Bernacchi (_Bernákkee_), 199 Best, 167 Biber, (_Beeber_), 323 Billings, 526 Binchois (_Banshwah_), 112 Bizet (_Beezeh_), 374 Blockx (_Block_), 505 Blow, 164 Blumenfeld, 522 Boethius, 48, 70 Böhm, J. (_Bame_), 331 Böhm, T., 338 Boieldieu (_Bwah-el-dyu_), 355 Boise (_Boyce_), 551 Boïto (_Boéto_), 375 Bologna, 554 Borodin, 519 Boschi (_Boskee_), 201 Bossi (_Bossee_), 167, 495 Brahms, 439, 458, 459, 463 Brassin (_Brahssan, nasal n_), 438 Breitner (_Britener_), 445 Bridge, 501 Broadwood, 243 Bruch (_Brookh_), 478 Brumel (_Broomel_), 126 Bruneau (_Bruno_), 485 Brussels, 555 Buck, 460, 543 Bull, J., 164, 257 Bülow (_Beelow_), von, 437 Bungert (_Boóngert_), 374, 476 Buonamici (_Bonameéchee_), 448 Buongiorno (_Bonzhórno_), 496 Busnois (_Binwah_), 112 Busoni, 448 Buxtehude (_Bookstehóodeh_), 163, 265 Byrd (_Bird_), 121, 144, 164, 256

Caccini (_Cacheénee_), 175, 177 Caffarelli, 199 Caldara (_Caldáhra_), 226 Cambert (_Cambare_), 204 Canon, 109, 111, 126 Cantata, 174 Capocci (_Capóchee_), 167 Carestini (_Caresteénee_), 201 Carissimi, 184, 226 Carreño (_Carainyo_), 451 Cassi odorus, 74 Cavalière (_Cavaliáire_), 179 Cavalli (_Cavállee_), 184 Celts, 77 Censorinus (_Censoreenus_), 74 Cesti (_Chestee_), 184 Chabrier (_Chahbrieh_), 487 Chadwick, 536, 544 Chaldæans, 24, 36, 37 Chambonnières (_Shambonniair_), 258 Chaminade (_Shaminahd_), 488 Chanson (_Shanson, nasal n_), 144, 455 Charlemagne (_Charlmanye_), 77 Charpentier (_Sharpahntieh_), 485 Chausson (_Showson_, _nasal n_), 487 Che, 26, 28 Chelys (_Kellis_), 56 Cherubini (_Karoobeénee_), 223 Chinese Music, 25-29 Chopin (_Showpan, nasal n_), 387, 417, 425 Chorale, 165, 227 Chorus, Greek, 57 Chromatic Scale, Greek, 55 Church Scales, 64 Cimarosa (_Chimaroza_), 193 Cincinnati College of Music, 558 Cithara (_Kítara_), 56 Clarinet, 150, 338 Clarke, 551 Claudius Ptolemy, 48, 63 Clavicembalo (_Clavichembálo_), 240 Clavichord, 237 Clementi, 18, 380 Coleridge-Taylor, 502 Cologne, 555 Concerto (_Conchairto_), 323 Conductus, 83, 101 Confucius, 26, 27, 29 Contra Bass, 321 Corelli, 250, 323 Cotton, John, 75 Council of Trent, 141 Counterpoint, 111 Couperin (_Kooperan, nasal n_), 258 Cowen, 500 Cramer (_Krahmer_), 382 Crescentini (_Creschenteénee_), 201 Cristofori (_Cristofóree_), 241 Crouth (_Crooth_), 77, 153 Cui (_Koóee_), 518 Czerny (_Chairny_), 384, 425

D’Albert (_Dolbare_), 437, 477 Damrosch, W., 529, 544 Dance Tunes, 248 Daquin (_Dahkan, nasal n_), 259 David (_Dahvid_), 330 Debussy (modified _u_, similar to German ü), 486 DeHandlo, 121 Dekoven, 544 Delaborde, 444 Delibes, (_Deleeb_), 483 Diapason, 59 Diaphony, 73, 93 Dickinson, 551 Didymus, 48 Dièmer (_Diaimeh_), 444 Di Ruta (_Di Roota_), 250 Di Salo (_Di Sahlo_), 316 Discant, 73, 104 Dominant, 66 Donizetti, 361 Dont (_Don, nasal n_), 331 Dorian, 30, 52, 54, 64 Dowland, 144 Drama, 172 Dresden, 555 Dubois (_Doobwah_), 167, 487 Ducis, 161 Dufay, 112 Dulcimer, 237 Dunstable, 121 Dupont (_Doopon, nasal n_), 439 Durante (_Dooráhntay_), 252 Dvořák (_Dvorzhak_), 377, 459, 508 Dwight, 547

Ecclesiastical Scales, 52, 64 Eck, 329 Eddy, 547 Edwardes, 144 Egyptian Music, 38-41 Elgar, 460, 501 Elson, 550 English Music, 80, 115 English Opera, 207 English Opera, typical, 209 Enharmonic Scale, Greek, 56 Enna, 512 Equal Temperament, 243 Erard (_Airar_), 243 Erkel (_Airkle_), 510 Ernst, (_Airnst_), 331 Essipoff, 451 Ethnology, 21 Euclid, 48

Faburden, 73 Farinelli, 200 Fasch (_Fahsh_), 277 Fauré (_Foray_), 413, 487 Ferri, 199 Fibich (_Feebikh_), 510 Fidelio (_Fidaylo_), 222 Fidula, 153 Field, 387, 421 Finck, 551 Finland, 81 Fiorillo (_Feeorillo_), 329 Florence, 173, 554 Florentine School, 177 Flute, 28, 38, 56, 149, 338 Folk-Song, 85, 96, 111, 507, 516, 531 Foote, 539 Form, 18 Franchetti (_Frankettee_), 494 Franck, 167, 459, 483 Franco of Cologne, 72, 104 Franco of Paris, 104 Franz (_Frahnts_), 457 French Opera, 203 Frescobaldi (_Frescobahldee_), 162, 249 Froberger (_Frobairger_), 162, 264 Fugue (_Fewg_), 111, 126, 265 Fux (_Fooks_), 163

Gabrieli, A., 136, 162, 247 Gabrieli, G., 136, 162, 248 Gabrilowitsch (_Gabrílovitch_), 447 Gade (_Gahdeh_), 405 Gagliano (_Galyáno_), 177, 319 Galilei (_Galilaee_), 174 Galio-Belgic School, 107, 124 Gamut, 67 Gastoldi, 144 Gauls, Music of the, 77 Gaviniés (_Gavíniez_), 328 Geminiani (_Zhemineáhnee_), 325 Genoa, 554 German, E, 503 German Opera, 211 Gevaërt, 438 Gibbons, 121, 144, 164, 257 Gilchrist, 536 Gilson (_Zhilson, nasal n_), 504 Giordano (_Zhordáhno_), 493 Gipsies, 33 Glazounoff (_Glazoónof_), 520 Glinka, 377, 516 Gluck (_Glook_), 215 Godowsky (_Godóffsky_), 449 Goldmark, 472 Gombert (_Gombare_), 128, 134 Goss, 167 Gottschalk, 546 Goudimel (_Goodimel_), 128, 136, 140, 142 Gounod (_Goonoh_), 374, 459 Grand Opera, 349, 353, 356 Graun (_au_, like _ow_ in _how_), 227 Gravicembalo (_Gravichembahlo_), 240 Greater Perfect System, 51, 64 Greek Drama, 172 Greek Music, 46 Greek Scale, 50, 52, 55 Gregorian, 43 Gregory, Pope, 63, 70 Grétry (_Greatry_), 353 Grieg (_Greeg_), 448, 511 Guadagnini (_Gwahdanyeénee_), 319 Guarnerius (_Gwarnáirius_), 316, 318 Guglielmi (_Goolyélmee_), 230 Guido (_Gweédo_), 67, 74, 95 Guilmant (_Geelman, nasal n_), 167, 487

Hadley, 540 Hale (_Hahl_), Adam de la, 84 Hale, P., 550 Halévy (_Halaivy_), 359 Hallstrom, 513 Handel, 164, 213, 229, 266, 337 Handel and Haydn Society, 526 Hambourg, 447 Harmony, 18, 19, 59, 73, 75 Harp, 39, 44, 150 Harpsichord, 237 Hasler (_Hassler_), 263 Hasse (_Hasseh_), 230 Haupt (_Howpt_), 166 Hausegger (_Howsegger_), 468 Haydn (_Hyden_), 18, 237, 283, 295, 299, 307, 311, 337 Hebrew Music, 41 Heller, 449 Hellmesberger, 331 Henderson, 551 Henselt, 443 Herbert, 544 Hérold, 355 Hesse, 166 Hexachord, 67, 68 Hiller, F., 405 Hiller, J. A., 220 Himmel, 302 Hindoo Music, 30-33 Hobrecht, 127, 145 Hofmann, J., 450 Hopkins, 167 Huber (_Hoober_), 470 Hucbald (_Huckbald_), 67, 74, 95 Humfrey, 207 Hummel (_Hoommel_), 383 Humperdinck (_Hoomperdinck_), 374, 473 Huneker, 551 Hurdy Gurdy, 153 Hydraulic Organ, 157

Imitation, 102, 109 Indian Music, 531 Indy d’ (_Dandy, French nasal n_), 413, 484 Intermezzo, 192 Ireland, 79 Isidore of Seville, 74 Italian School, Early, 131

Japanese Music, 29, 30 Jean de Garlande (_Zhan, nasal n_), 104 Jean Scot Erigene, 74 Jensen (_Yensen_), 413 Jerome de Moravie (_Morahvee_), 104 Joachim (_Yoáhkim_), 331 Jommelli (_Yomméllee_), 193, 230 Jongleurs (_Zhongler_), 83 Joseffy (_Yoséffy_), 449, 546 Josquin de Pres (_Zhoskan, nasal de Pray_), 127, 145

Keiser (_Kyser_), 213, 227 Kelley, 544 Kerl (_Kairl_), 162, 264 Keyboard, 159 Kienzl (_Keenzel_), 474 Kin, 26, 27 Kistler, 475 Klindworth (_Klindwort_), 443 Klotz, 319 Koto, 30 Krehbiel (_Kraybeel_), 551 Kreutzer (_Kroitzer_), 329 Kuhnau (_Koonow_), 276

Landino (_Landeeno_), 161 Lassen (_Lahssen_), 513 Lasso (_Lahsso_), di, 128, 134, 136, 144, 173 Lawes, 207 Leclair, 328 Lefébure-Wéy (_Lefayber-Waily_), 166 Legrenzi (_Legrentsee_), 184 Leipzig Conservatory, 401, 555 Lekeu (_Lekuh_), 504 Lemare, 168 Lemmens (_Lemman, nasal_), 166 Leo (_Lao_), 226 Leoncavallo, 376, 492 Leonin (_Leonan, nasal_), 104 Leschetizky (_Leshetitsky_), 388, 446 Lesser Perfect System, 51, 64 Lewts, Denis, 75 Liadoff (_Leahdoff_), 521 Lied (_Leed_), 455 Liszt, 425, 436, 459, 463, 465 Locatelli, 325 Lock, 164, 207 Loeffler (_Lerfler_, not sounding the first _r_), 541 Logroscino (_Logrosheéno_), 192 Lolli, 329 Lortzing, 351 Lotti, 184 Lully, 204 Lupot (_Lüpoh_), 319 Lute, 151 Luther, 138 Lydian, 52 Lyre, 39, 50, 56, 150