Part 42

MacDowell, 450, 538 Mackenzie, 460, 500 Madrigal, 143 Magadis, 58, 92 Maggini (_Madgeéni_), 317 Mahler, 469 Marchand (_Marchan, nasal_), 165, 259 Marenzio (_Marentsio_), 144 Marpurg (_Marpoorg_), 277 Marschner, 351 Martucci (_Martoóchee_), 495 Mascagni (_Mascányee_), 376, 491 Mason, L., 527 Mason, Wm., 450, 546 Masque, 203, 209 Massenet (_Massenay_), 482 Mastersingers, 85 Mathews, 548 Mathias (_Matiah_), 444 Mattheson (_Matteson_), 213, 268 Measured Music, 74, 100 Méhul (_Mahul_), 354 Melodrama, 350 Melody, 18, 19, 20, 21, 59 Mendelssohn, 166, 232, 400 Merbecke, 121, 164 Merkel (_Mairkel_), 166 Merulo (_Maróolo_), 162, 247 Mese (_Mayseh_), 51 Meyerbeer, 358 Milan, 553 Minnesingers, 84 Minstrels, 81 Miracle Plays, 179, 213 Mixo-Lydian, 52 Monochord, 47, 237 Monophony, 88 Monteverde (_Montevairday_), 180, 188, 336 Morley, 144, 164 Moscheles (_Móschehless_), 383, 401 Moszkowski (_Moskoffskee_), 449 Motet, 83, 101, 103 Moussorgsky, 518 Mozart (_Motsart_), 219, 231, 291, 299, 307, 311, 337 Muffat, 265 Munich, 555 Musica Ficta, 75 Music Drama, 175 Mysteries, 179, 213

Naples, 552 Nardini (_Nardeénee_), 327 Neapolitan School of Opera, 187 Negro Music, 531 Neri (_Néhree_), 140 Netherlands, 107, 123 Neumes (_Nooms_), 70 Nevin, 544 New England Conservatory of Music, 557 Nicordé (_Nikóhday_), 470 Nocturne, 387, 421 Notation (Greek), 58, 70

Oberlin, 558 Oboe, 149, 337 Octave System (Greek), 54 Odington, 101, 118, 121 Odo (Otger), 74, 94 Offenbach, 356 Okeghem, 126, 134, 145 Opera, 175, 196, 336 Opera Buffa (_Booffa_), 191, 349, 356 Opéra Comique (_Comeek_), 349, 353 Oratorio, 179, 226 Orchestra, 308, 334 Organ, 125, 156, 236 Organ Pedals, 159 Organum, 73, 93, 101 Organum (Secular), 94 Orpheus, 46 Overture, 191, 205, 342

Pachelbel (_Pakhelbel_), 163 Pachmann (_Pakhmann_), de, 449 Paderewski (_Padreffski_), 446, 511 Paganini (_Paganeénee_), 331, 426 Paine, 460, 535 Paisiello (_Paheesiéllo_), 193, 230 Palermo, 553 Palestrina (_Palacetreena_), 136, 139, 173 Pan’s Pipes, 22, 148, 156 Parabosco, 247 Paradies (_Paradees_), 253 Parallelism in Hebrew Poetry, 43 Paris Conservatoire (_Conservatwar_), 554 Paris School, 99 Parker, H., 460, 539 Parker, J. C. D., 543 Parry, 500 Parthenia, 257 Pasquini (_Paskweénee_), 250 Passion Music, 227, 233 Paumann (_Powman_), 161 Pedals (Organ), 159 Pentatonic, 27, 30, 32, 56, 60, 70 Pergolesi, (_Pergolazy_), 192, 228 Peri (_Perry_), 175, 177 Perosi (_Perozy_), 460, 494 Perotin (_Perotan, nasal n_), 104 Perry, 546 Petrucci (_Petroóchee_), 145 Philipp, 444 Phorminx, 56 Phrygian, 52, 54, 64 Pianoforte, 241, 295, 308 Piano Playing, 295, 420, 430 Piccini (_Picheénee_), 193 Pizzicato (_Pitsicácto_), 183 Plagal, 64, 66 Plato, 48 Planquette (_Planket, nasal n_), 356 Polyphony, 88, 129, 132, 164, 337 Porpora, 193, 230, 285 Prætorius, 163 Prague, 554 Program Music, 312, 465 Psalms, 42, 43 Psaltery, 237 Puccini (_Poocheénee_), 376, 493 Pugnani (_Punyáhnee_), 327 Pugno (_Poonyo_), 444 Purcell, 121, 164, 207, 258 Pythagoras, 41, 47

Rachmaninoff (_Rakhmaneénoff_), 443, 521 Rameau (_Rahmo_), 206, 244, 260 Ravanastron, 32 Rebec, 151, 152 Recitative (_Resitateév_) 174, 189 Reed, 149 Reformation, The, 138 Reinecke (_Rynekeh_), 405 Reinken (_Rhineken_), 163, 265 Remenyi, 331 Renaissance (_Renasahns, nasal n_), 171, 246 Reyer (_Ryer_), 483 Rheinberger (_Rhineberger_), 166 Rhythm, 18, 19 Ries (_Reese_), 305 Rimsky-Korsákoff (_Rimsky-Kórsakoff_), 519 Rinck, 165 Rinuccini (_Rinoocheenee_), 175, 177 Risler, 445 Rode, 328 Roentgen (_Rentghen_), 505 Roman Music, 62 Romantic Movement, 345, 404, 407, 423, 439 Rome, 553 Rondeau (_Rondo_), 83 Rore (_Roara_), 128, 136, 144, 162 Rosenthal (_Rosentall_), 437 Rossini (_Rosseénee_), 224, 229 Roundel, 101 Rubinstein, A., 405, 441, 459 Rummel (_Roomel_), 449 Russian Music, 441

Sacchini (_Sakeénee_), 230 Sachs (_Sakhs_), 86 Safonoff (_Safónoff_), 443 Saint Petersburg Conservatory, 556 Saint-Saëns (_San-Sahnz, nasal n_), 167, 444, 459, 481 Salieri (_Solyairee_), 223 Sambuca, 37 Santir, 38 Sapellnikoff (_Sapéllnikoff_), 442 Sauer (_Sour_), 438 Scales, 22, 29 Scandinavian Music, 80 Scarlatti, A., 187, 196, 226, 250, 336 Scarlatti, D., 251, 266 Scheidemann (_Shydemann_), 163 Scheidt (_Shite_), 163 Schillings, 475 Schmidt, B., 162 Schneider, 166 Schopenhauer (_Shopenhower_), 21 Schröter (_Shrayter_), 242 Schubert, 391, 456 Schumann, Clara, 451 Schumann, R., 18, 395, 401, 407, 417, 425, 439, 457 Schütz (_Sheets_), 211, 227 Schytté (_Skittay_), 513 Scottish Music, 79 Scriabine (_Skreáhbeen_), 443, 522 Se, 28 Seidl (_Sidle_), 533 Senesino (_Seneseeno_), 199 Sevcik (_Shevchik_), 333 Sgambati (_Sgambáhtee_), 448, 494 Shawm, 150 Shelley, 542 Sheng, 26 Sherwood, 450 Sho, 29 Shofar, 150 Sibelius (_Seebailius_), 513 Sieveking (_Seevehking_), 447 Silbermann, 242 Siloti, 442 Sinding, 448, 511 Sinfonia, 191, 322 Singing, 195 Singspiel (_Singspeel_), 212, 220 Sjögren (_Shagreén_), 513 Slavinski, 447 Smart, 167 Smetana, 377, 507 Somis (_Somee_), 325 Sonata, 247, 274, 288, 295, 303, 309, 322, 411 Song, 395, 454, 468 Spark, 167 Spieloper (_Speeloper_), 351 Spinet, 239 Spohr (_Spoar_), 232, 329, 350 Spontini (Sponteénee), 223 Stabat Mater (_Stahbat Mahter_), 228 Stainer, Jakob (_Styner, Yahkob_), 319 Stainer, John (_Stayner_), 167 Stanford, 497 Stavenhagen (_Stahvenhahgen_), 438 Stcherbatcheff, 521 Stein, (_Stine_), 243 Sternberg, von, 546 Stojowski (_Stoyoffski_), 447 Stradella, 226 Stradivarius, 319 Strauss (_Strous_), R., 339, 374, 433, 458, 463 Streicher (_Strikher_), 243 Stringed Instruments, 147, 150 Suite, 249 Sullivan, 210, 460 Sumer is Icumen in, 117 Sumerians, 25 Svendsen, 512 Sweelinck (_Swalink_), 128, 162 Sylvester, Pope, 63 Symphonia, 37 Symphonic Poem, 342, 433 Symphony, 59, 342, 411 Syrinx, 62, 148, 156 Szumowska-Adamowska, 447

Tablatura, 86, 151 Tallis, 121, 164, 257 Taneiéff (_Tanaéeff_), 521 Tangent, 238 Tartini (_Tarteénee_), 325 Tausig (_Tousig_), 436 Tchaikovsky (_Chikoffsky_), 522 Tche, 28 Terpander, 47 Tetrachord, 47, 50 Tetrachordon, 56 Thayer, 550 Theile (_Tyleh_), 212 Theorbo, 151 Thiele (_Teeleh_), 166 Thomas (_Toamah_), A., 483 Thomas, T., 528 Tieffenbrucker (_Teefenbrooker_), 316 Tinctoris, 127, 135 Tinel, 504 Ti-Tzu, 28 Tonus Peregrinus, 63 Torelli, 323 Tosi (_Tozy_), 198 Tourte (_Toort_), 320 Tremolo, 183 Trent, Council of, 141 Tritone, 75 Tromba Marina (_Mareéna_), 151, 152 Troubadours, 83 Trouvères (_Troovair_), 82 Trumpet, 150 Tye, 121

Ugab (_Oogabh_), 148 Unity, 102, 109 Upton, 548

Van der Stucken, 540 Venetian School, 184 Venice, 553 Veracini (_Vairacheénee_), 325 Verdi (_Vairdee_), 361, 375 Vienna, 554 Vieuxtemps (_Vyutom, nasal_), 332 Vina (_Veena_), 31, 32 Viol, 145, 151, 154, 315 Violin, 315, 320 Violin Bow, 319 Violin Playing, 322 Violoncello (_Veeolonchéllo_), 320 Viotti (_Veeótti_), 328 Virginal, 239 Virginal Book, 256 Vitali (_Vetáhlee_), 323 Vivaldi (_Veeváhldee_), 325 Vuillaume (_Vweleyome_), 319

Waelrant (_Walerant_), 144 Wagenseil (_Vahgensile_), 278 Wagner (_Vahgner_), R., 339, 360, 364, 458 Wagner’s (R.) Theory, 369, 433 Wagner, S., 476 Weber (_Vaber_), 346, 397 Weelkes, 144 Weingartner (_Vinegartner_), 470 Well-Tempered Clavichord, 271, 300 Wesley, 167 Widor (_Weedo_), 167, 487 Wieck (_Veek_), 408 Wilbye, 144 Wilhelmj (_Vilhelmyeh_), 330 Willaert, 128, 135, 143, 162, 247 Wind Instruments, 147, 148 Wolf, H., 478 Wolf-Ferrari (_Ferráhree_), 496

Ysaye (_Esyeh_), 332

Zeelandia (_Zalahndia_), 112 Zeisler (_Ziseler_), 451

FOOTNOTES:

[1] In his work “The Power of Sound” Gurney has taken up in detail Herbert Spencer’s theory of the origin of music.

[2] Stainer, in “Music of the Bible,” inclines to believe that the Sambuca was a large harp of the kind used in Egypt.

[3] Maspéro, the Egyptologist, says that after the tomb has been sealed, the family and guests return to the house of the deceased, to a banquet, after which the “last link which holds the dead to the family is broken. The sacred harpist plays a prelude, then, standing before a statue of the deceased, chants the dirge first sung long ago at the funeral of the Pharaoh Antouf: ‘The world is but perpetual movement and change.... Not all the lamentations in the world will restore happiness to the man who is in the sepulchre; make then a good-day and do not be idle in enjoying thyself.’”

[4] Smith.

[5] This treatise is now attributed to Cleonidas, writing about 120 A. D.

[6] By this is meant that all intervals of the major second, so-called, are not equally large and cannot be, if a correct division of fourths and fifths be desired. Didymus made the interval from C to D smaller than the other seconds of the scale; Ptolemy put the “minor” tone between D and E, where it is now placed.

[7] Some investigators claim that some of these melodies were part of the Temple service at Jerusalem, making the specific statement that the melody used in some liturgical services, and known as the _Tonus Peregrinus_, is based on a Temple chant.

[8] A fine account of their methods is found in Robert Louis Stevenson’s novel “Kidnapped.”

[9] Mention of prominent American organists and teachers is made in Lesson LIX.

[10] See especially Op. 14, No. 2, first movement.

[11] Grove’s Dictionary says 1611.

[12] See Wasielewski: _Die Violine und Ihre Meister_.

[13] This third sound will correspond to the difference of the vibration numbers of the other two.

[14] 1907.

[15] His mother’s name, Bartholdy, was added to distinguish this branch from other Mendelssohn families.

Transcriber's Notes:

Underscores "_" before and after a word or phrase indicate _italics_ in the original text. Equal signs "=" before and after a word or phrase indicate =bold= in the original text. Small capitals have been converted to SOLID capitals. Illustrations have been moved so they do not break up paragraphs. Old or antiquated spellings have been preserved. Typographical errors have been silently corrected but other variations in spelling and punctuation remain unaltered.