C
C
Caccia, I. 264.Caccini, Francesca, I. 378.Caccini, Giulio, I. 329ff, 333ff, 366;(influence on Gluck), II. 26.Cadences, I. liv, 229.Cadenza, Rossini's use of, II. 186.Cafaro, Pasquale, I. 400;II. 6.Caffarelli (sopranist), II. 4.Cagnoni, Antonio, II. 503 (footnote).Caldara, Antonio, I. 479.Calvin, I. 294.Calzabigi, Ranieri di, II. 18f, 26.Cammarano (librettist for Verdi), II. 490.Cambert, Robert, I. 405ff.Cambodia, music of, I. 57f.Cambodian scale, modern use of, III.327.Camerata, Florentine, I. 329ff.Campion, Thomas, I. 385.Camussi, Ezio, III.383.Cannabich, Christian, II. 67.Canon (definition), I. 228;(early English), I. 237f;(early use of), I. 242ff, 247ff, 312;(Bach), I. 474;(modern 'reincarnation'), III.282.Cantata (sacred), I. 302, 387;(secular), I. 393;(Händel), I. 420;(dramatic element in), I. 453;(Bach), I. 478, 479, 490;(Porpora), II. 4.Cantori a liuto, I. 261, 266, 268.Cantu, Agostino, III.383.Cantus firmus (in early church music), I. 312ff;(Palestrina), I. 320.Canzona, I. 207, 356f, 363ff.Canzona da sonar, II. 54.Canzonetta, II. 69.Capocci, Filippo, III.397.Caribs, music of, I. 6, 8.Carissimi, Giacomo, I. 386f.Carlyle, II. 213.Carré, II. 205.Carse, A. von Ahn, III.443.Caruso, Enrico, III.374.Cascia, Giovanni da, I. 263, 266.Casella, Alfred, III.xxi.Cassiodorus, cited, I. 135, 148.Castanets, primitive, I. 14.Castes, in relation to Egyptian music, I. 76.Castillon, Alexis de, III.xviii,212f.Castrati. See Artificial sopranos.Catalani, Angelica, II. 185.Catharine, Empress of Russia, II. 15, 16, 40;III.41.Catoire, George, III.154.Cavalieri, Emilio de', I. 328f, 334ff, 385.Cavalli, Francesco, I. 346, 380ff, 407;(and Rossini), II. 181.Cavedagni (teacher of Rossini), II. 180.Cavos, C, III.41.Celestine I, Pope, I. 143.Cello. See Violoncello.Celtic influence on early music, I. 196.Ceremonies (in rel. to Indian music), I. 33;(Oriental music), I. 45, 56;(Hebrew), I. 74f.Cesti, Marc'Antonio, I. 382f.Chabrier, Emanuel, III.viii,ix,xviii,2,268;(influence), III.341.Chamber music, I. xviii, lviii;(Bach's period), I. 462ff;(Schobert), II. 68;(Viennese period), II. 96ff, 114f, 165f, 167, 170;(Romantic period), II. 293-333;(modern Italian), III.387;(modern English), III.442.See also String Quartet, etc.Chambonnières, Jacques Champion, I. 375.Champfleury, II. 418.Chandos, Duke of, I. 433f.Chanson, of polyphonic period, I. 207, 230f, 245, 254;(programmistic), I. 276f;II. 69.See also Art Song.Chant. See Plain-chant.Chants (Aztec), I. 55;(Japanese), I. 60;(exotic religious), I. 66f;(kitharœdic), I. 132ff, 138;(early Christian), I. 135ff, 480.Chanteurs de Saint Gervaise, III.285.Characterization (in opera), II. 123, 377;III.326;(in 17th cent. harpsichord music), I. 411f;(in the song), III.263f;(in chamber music), III.274.Charles VII, Emperor, II. 64.Charles X, King of France, II. 188.Charpentier, Gustave, II. 439;III.viii,ix,348ff.Charpentier, Marc Antoine, I. 410.Chateaubriand, II. 184.Chausson, Ernest, III.viii,ix,xiii,308.Che (Chinese instrument), I. 53.Cherubini, Luigi, II. 40ff.Chesnikoff, P. G., III.143.Chevillard, Camille, III.285,363.China, music in, I. 46ff, 56f;(instruments), I. 52ff.Chivalry, I. 215.Chivalry (Age of). See Troubadours, Trouvères, Minnesinger.Choirs (early church), I. 140;(in Lutheran Church), I. 289, 291f;(antiphonal), I. 299f;(divided, of St. Mark's, Venice), I. 311.Choir-training (Bach and), I. 464ff, 470.Chopin, Frédéric, I. xvi, lvi;II. 256ff, 291, 305,314ff;III.vii,xii,49;(influence), III.157,332.Choral Dances, Greek, I. 116, 121.Choral lyricism (Greek), I. 118f.Choral ballad, rise of, III.7.Choral competitions, III.434.Choral music, I. xlviii.See Chorus; Vocal Music.Chorale, Protestant (origin), I. 225, 322, 360, 476;(Bach's), I. 480ff;(relation to song), II. 273, 274;(modern 'reincarnation'), III.282.Chorale-fantasias (Bach), I. 451, 479.Chorale-prelude (origin), I. 292, 360f;(development by Bach), I. 451, 476, 490f.Chord progressions (in early Italian music), I. 269f;(in early choral music), I. 300;(in early Protestant church music), I. 293;(vs. old polyphony), I. 322;(in early 17th cent. music), I. 352f;(in Bach's music), I. 476f, 490.Chords. See Harmony.Chorley, Henry Fothergill, on Verdi, II. 485.Chorus (in early Italian opera), I. 326, 336, 342, 378, 383f;(in early oratorios), I. 386f;(of Henry Purcell), I. 390;(in early French ballet), I. 402f;(of Lully), I. 408;(in passion oratorio), I. 425f, 481;(developed by Händel), I. 438, 441, 447;(of Bach), I. 473, 482;(in symphonic music), II. 171;III.228f,341.Choruses, primitive, I. 17;ancient (Assyrian), I. 68f;(Greek), I. 118, 121.Christian music, conflict with Pagan, I. 188f.Christianity, music of early era of, I.129ff.Chromaticism, Wagner's use of, II. 433f.'Chromatic school' (16th cent.), I. 301f.Chrysander, Friedrich, quoted on Händel, I. 437, 444.Church, Anglican, III.410.Church, Greek. See Church, Russian.Church, Lutheran, II. 288ff, 479ff.Church, Roman (suppression of folk-song), I. 202f;(in rel. to early 17th cent. music), I. 348ff;(influence on early opera and oratorio), I. 378f.See also Church music; also Mass.Church, Russian, III.108f.Church modes. See Modes, ecclesiastical.Church music, I. xii, xlvi, lviii;(modern), I. liv;(early), I. 129ff,133ff, 187ff, 192;(development of polyphony), I.226ff;(use of secular melodies), I. 283;(Renaissance), I. 296f;(Roman, before Palestrina), I. 312f;(Palestrina period), I. 313ff;(Monteverdi), I. 344;(Bach), I. 452ff, 472;(German Protestant), I. 478ff;(Russian), III.108f,130,141ff.See also Church; Reformation.Cicognani, Giuseppe, III.383.Cilea, Francesco, III.369.Cimarosa, Domenico, II. 15.Clarke, Coningsby, III.443.Clarinet, II. 265, 339, 340, 341, 342.Classicism, definitions of, II. 267.Classic Period, foundations of, II. 45ff.See Viennese classics.Classicism (definition), II. 45;(modern revival of), III.5.Clavecin. See Harpsichord.Clavicembalo, II. 162.See also Harpsichord.Clavichord, I. 462, 485;II. 162;(description), II. 294.Clavichord music. See Harpsichord music; Pianoforte music.Clavier. See Clavichord; Harpsichord; Pianoforte, etc.Clavier à lumière. See Light keyboard.Clefs, metamorphosis of, I. 155.Clemens, Jacob (Clemens non Papa), I. 304.Clement of Alexandria, quoted, I. 141.Clementi, Muzio, II. 106 (footnote), 163.Coates, Eric, III.443.Coccia, Carlo, II. 503 (footnote).Coda, II. 95.Coffey, Charles, II. 8f.Colbran, Isabella, II. 184f.Coleridge-Taylor, Samuel, III.437.Collan, Karl, III.100.Colonne, Édouard, II. 439.'Color,' (in early church music), I. 296;(in early orchestral music), I. 341f;(in instrumental works of Haydn and Mozart), II. 118.See also Local color; Tone color, orchestral.Color symbolism, III.158.Coloratura, II. 26, 390.Coloristic school (16th cent.), I. 301f.Combarieu, Jules, quoted, I. 410.Combined rhythms, I. xlix.Comedy, Greek, I. 120.Comedy scenes, in early Roman opera, I. 379f;in early Venetian opera, I. 382f.Comic Opera. See Opera buffa; Opéra comique; Singspiel; Beggars' opera; Operetta; Musical comedy.Commercialism, I. xxxii.Concert des amateurs, II. 68.Concertino, I. 394, 396, 482.Composition (Schools of). See Schools of Composition.Concerto (in Bach's period), I. 482;(Bach), I. 490.See also Pianoforte concerto, Violin concerto.Concerto grosso (Corelli), I. 394ff.Concerts du Conservatoire, III.278.Concerts Populaires, III.278.Concerts Spirituels, II. 65 (footnote), 68, 104.Conflict of styles (in classic period), II. 62.Congregational singing, in Lutheran Church, I. 289, 291f, 386.Conservatoire de Musique (Paris), II. 42, 44, 254.Conservatoire Populaire de Mimi Pinson, III.350.Conservatories (Berlin), III.15;(Cologne), III.10;(Leipzig), II. 261; III.5;(Naples), II. 7, 8, 11, 197;(Paris), II. 42, 44, 254.Conti, Prince, II. 68.Continuo. See Figured bass.Contrast, I. xxxviii, xlii;(in sonata), I. xivf;(germs of, in primitive music), I. 10;(in Palestrina's music), I. 310;(rhythmic, in sonata form), II. 52;(rhythmic, between movements), II. 54f;(intro. of principle in musical form), II. 63ff.Conventions (in musical design), I. xxxv, xxxvii. lii.Cook, James, I. 16f, 23.Copenhagen, II. 40;III.62.Coquard, Arthur, II. 471.Corder, Frederic. III.421.Corea (musical instruments), I. 53.Corelli, Arcangelo, I. 375,394ff, 452;II. 51;III.385;(influence on Händel), II. 446;(influence on Bach), II. 472.Cornelius, Peter, II. 380f;III.viii,235f,239,245.Cornet à pistons, II. 340, 341.Corroborie dance, I. 13.Corsi, Jacopo, I. 329ff.Cortopassi, Domenico, III.384.Costa, P. Mario, III.401.Costumes, in early Italian opera, I. 336.Cotto, Johannes, I. 172f.Council of Trent, I. 312ff.Counterpoint, I. xliii, xlvi, 227;(in early Italian music), I. 269ff, 282f;(reaction against), I. 311, 330;(Palestrina), I. 319f;(Monteverdi's violation of rules), I. 338ff;(influence of harmony), I. 352ff;(Mozart), II. 111.See Polyphonic style.Couperin, François, I. 398,410ff, 485;II. 60, 351.Courante, I. 371f.Courtney, W. L., III.321.Coward, Henry, III.422.Cowen, Frederic H., III.xiv,415,418.Crab canon, I. 248.Cramer, Jean Baptiste, II. 259.Cremona violins, I. 362.Crescendo (intro. by Mannheim school), II. 12, 138;(Jommelli's), II. 65;(Rossini's), II. 181.Croatian folk-song, Haydn's use of, II. 98.Croche, Monsieur (pseudonym), III.332.Crotola (Egyptian instrument), I. 82.Csermák, III.188.Cui, César, III.xvi,131ff;(on Scriabine), III.157.Cumberland festival (England), III.434.Curschmann, Friedrich, III.19.Cuscina, Alfredo, III.384.Cuzzoni, Francesca, I. 437.Cycle. See Song Cycle, etc.Cyclic form. See Sonata.Czech music, characteristics of, III.166ff.Czernohorsky, Bohuslav, II. 19.Czerny, Carl, on Beethoven's playing, II. 162.
D
Da capo(in aria form), II. 3, 10;(Gluck), II. 25;(Haydn), II. 273.Dale, B. J., III.442.Dampers (in the pianoforte), II. 297.Damrosch, Leopold, III.237.Dance music, I. xliv, xlvii, xlviii.See also Ballet; Suite.Dance rhythms, III.xv.Dance song, I. 195f.Dance tunes (as constituents of the suite), I. 369ff.Dancing (primitive), I. 11f;(Peruvian), I. 56;(Oriental), I. 57ff;(Egyptian), I. 84;(Greek choral), I. 116ff, 121;(mediæval), I. 195;(Troubadours), I. 208f.See also Ballet; also Folk-dances.Dannreuther, Edward, III.91,430;quot., II. 170, 174.Dante (songs of), I. 260f, 264;(Liszt's dramatic symphony), II. 259f.Dargomijsky, Alexander Sergeyevitch, III.ix,xvi,xix,38,42,46ff,107,121.Darwin's theory of the origin of music, I. 4f.Daudet (L'Arlésienne), II. 391.Davey, Henry, III.430.David, Félicien, II. 390;III.7.Davies, James A., cited, I. 40.Davies, Walford. III.426.Day, C. R., cited, I. 49.Debussy, Claude, I. xviii;II. 439;III.ix,xi,xiv,xviii,250,318ff;(quoted on Bruneau), III.346;(on modern French music), III.333;(influence of), III.335,336,364;(and Ravel), III.341.Declamation (in French opera), I. 408f;(in song), III.260.Dehmel, Richard, III.274.Dehn, Siegfried, III.16.Délibes, Léo, II. 389;III.7,278.Delius, Frederick, III.x,xi,xiv,xix,424f.Denmark (political aspects), III.61ff,62;(folk-song), III.65;(modern composers), III.70ff.Dent, E. J., III.431.Denza, Luigi, III.401.Derepas, Gustave, quot. on Franck, II. 472.Descant, I. 162, 235, 270.See also Polyphony.Descriptive color, in early music, I. 276f.Després, or Desprez. See Josquin.Devil dances, I. 58.Diaghileff's Russian ballet, III.331,340.Dialogue, musical. See Recitative.Diaphony, I. 163ff, 237.Diatonic scale (used by Egyptians), I. 86.See Scales.Dietrich, Albert, III.14,257;(quot. on Brahms), II. 451.Dietsch, Pierre, III.291.Dickinson, Edward, quoted on Beethoven, II. 130.Dilettanti, Florentine, I. 329ff.Discant. See Descant.Dithyrambs, I. 119f.Dittersdorf, Carl Ditters von, II. 2, 49, 63, 67, 71, 94, 114.Doles, Johann Friedrich, II. 107.Domchor, Berlin, III.15.Dohnányi, Ernst von, III.195f.Doni Giovanni Battista, quoted, I. 335.Donizetti, Gaetano, II. 187,192ff.Dorian mode, I. 100, 103, 113, 136.Dorian school (of Greek composition), I. 117.Dostoievsky, III.40,108.Double-bass, II. 338.Double-bassoon, I. 446;II. 96, 341.Double choir. See Choir (divided).Double-stopping, in early violin music, I. 368.Dowland, John, I. 306.Draeseke, Felix, III.235,241.Drama (Greek), I. 118ff, 329f;(English, 17th cent.), I. 430;(German, 18th cent.), II. 80f.See Opera; Oratorio.Dramatic element (in early madrigals), I. 277f, 281;(in sacred music), I. 321f;(in 17th cent. opera), I. 380ff, 384f;(in 18th cent. opera), I. 428;(in Händel's operas), I. 429, 435;(in early oratorio), I. 386;(in passion oratorio), I. 425, 480.Drame lyrique, II. 209f, 390.See Opera, French.Dresden (early opera in), I. 384,416;(in Hasse's period), II. 5, 78;(Wagner), II. 406.Drums (primitive), I. 15ff;(Indian), I. 35;(Aztec), I. 52;(Assyrian), I. 67;(Hebraic), I. 73f;(modern), II. 265, 341.See also Percussion, instruments of.Drum-stick, II. 341.Du Schwert an meiner Linken, II. 234.Dubarry, Jeanne. See Barry, Mme. du.Dubois, Théodore, III.336.Duchesne, cited, I. 146.Ducis, Benedictus, I. 297.Dudevant, Madame. See Sand, George.Dudy (Czech instrument), III.166.Duet (in early passion oratorio), I. 425;(in Italian opera), I. 427f.Dufay, Guillaume, I. 235f,240ff.Dukas, Paul, III.viii,ix,x,xi,xiv,xviii,321,334,357ff.Dulcimer, Assyrian, I. 66.Dumas, Alexandre,fils, (Dame aux Camélias), II. 492.Dumka (Czech dance), III.166.Dunhill, T. F., III.442.Duni, E. R., II. 24, 122.Dunstable, John, I. 236, 239ff;III.409.Duparc, Henri, III.x,xviii,287,311.Duple rhythm (in early church music), I. 229.Durante, Francesco, I. 400f;II. 8, 11, 14.Durazza, II. 31.Durchkomponiertes Lied, II. 274, 280.Dürnitz, Count von, II. 114.Dussek, J. L., II. 90;III.165,166.Dvořák, Antonín, II. 455;III.xiv,xv,74,165,166,175ff,181;(influence of), III.183,184;(influence in England), III.437.
E
Ecclesiastical modes. See Modes, ecclesiastical.Ecclesiastical music. See Church music.Eckhardt, J. Gottfried, II. 67, 102.Eclecticism, III.viii,xxii;(in France), III.25ff;(in Russia), III.146ff.École de musique réligieuse, III.279.Egypt, music in, I. 65, 76ff;(influence on Greece), I. 86;(compared to Assyrian), I. 78, 82ff.Egyptian Flutes, I. 26.Ehlert, Louis, III.20.Eist, Diet von, I. 218.Elgar, [Sir] Edward, II. 440;III.x,xi,xiv,xviii,415,419.Elling, Cath., III.98.Eloy, I. 244.El'ud (Arabian instrument), I. 54.Emotion, I. xxxiv, xliv, li, ixi;(primitive, as the cause of music), I. 5;(musical expression of, by Monteverdi), I. 345.Empiricists (school of Greek composition), I. 109.Engel, Carl, quoted, I. 13, 16, 70, 80.England (folk-song), I. xliii; III.422f;(minstrelsy), I. 200f;(polyphonic period), I. 237ff, 257;(Reformation), I. 295;(16th-17th cent.), I. 305f, 369ff;(17th cent. masque and opera), I. 385;(Purcell's period), I. 388ff;(18th cent.), I. 430ff;(modern), III.x,xviii,409ff.English horn, II. 341.English language (use of, in opera), I. 438.English Musical Renaissance (The), III.409-444.English oratorio. See Oratorio (Händel).'English suites,' of Bach, I. 490.Enna, August, III.73f.
Ensemble, operatic, II. 10;(development by Mozart), II. 179.
Epic, mediæval, I. 168ff, 190ff.Ephorus, cited, I. 95.Epringerie, I. 208.Equal temperament, I. 483, 485ff.Equilibrium (in art), I. xxxv.Érard, Sébastien, II. 163, 198.Erkel, Franz, III.190.Ernst, Wilhelm, I. 460.Eskimos, I. 11.Esposito, E., III.155.Estampida, I. 208f.Esterhazy, Princes Anton and Nicolaus, II. 87.Etruscans, I. 131.Eumolpos, I. 111.Euripides, I. 120.Eusebius, bishop of Cesarea, I. 139f.Exotic music, I. 42-63.Exoticism, in modern music, II. 42f, 389f;III.199,269,279,327.Expression (vs. organization), I. xxxiv;(in early church music), I. 242;(in polyphonic period), I. 245.Expressive style, in early Italian opera, I. 330ff, 335.
F
Fabo, III.200.Fagge, Arthur, III.422.Fanelli, Ernest, III.361.Farinelli, I. 436f, 398;II. 4, 185.Farkas, III.200.Fasch, Johann Friedrich, II. 7, 8, 52, 56.Fauré, Gabriel, III.ix,xiv,xviii,2,268,285,287,291ff,325;(influence of), III.336,341.Faustina. See Hasse, Faustina.Faux-bourdon, I. 235, 266.Favart, II. 24, 31.Feo, Francesco, I. 400f;II. 6, 8, 11.Feodor, Czar, III.40.Ferdinand, King of Naples and Sicily, II. 15, 197.Ferrara (opera in), I. 327, 328.Ferrata, Giuseppe, III.397,398.Festa, Constanzo, works of, I. 273ff, 303f.Festivals. See Music festivals.Fétis, F. J., cited, I. 86f, 263.Fibich, Zdenko, III.181ff.Field, John, II. 258.Fielitz, Alexander von, III.20.Figuration (in Chopin's music), II. 321.Figured Bass (origin), I. 353ff;(in early violin music), I. 368;(Corelli), I. 375;(in monody), II. 51;(Stamitz), II. 12, 65ff;(Haydn), II. 95.Filtz, Anton, II. 67.Finale (operatic), II. 10, 179;(sonata), II. 54.Finck, Heinrich, I. 304.Fingering. See Keyboard Instruments.Finland (political aspects), III.61ff;(folk-music), III.66ff;(modern composers), I. 100ff.Flat (origin of), I. 156.Flemish school, rise of, I. 234.Floridia, Pietro, III.392.Florence (ars nova), I. 230, 263ff;(national festival), I. 324f;(early opera), I. 326, 330ff, 379.Florentine camerata, I. 329ff.Florimo, Franc., quoted, II. 16.Flotow, Friedrich von, II. 380.Flute (in early Germany), I. 198;(in early Italian opera), I. 333;(in Händel's orchestra), I. 424;(modern), II. 117, 265, 335, 337ff, 341.Flutes, primitive, I. 22ff;(Indian), I. 36;exotic, I. 54;(in Mohammedan funeral services), I. 62;ancient (Egyptian), I. 80f, 84;(Greek), I. 121ff.Flutists (Greek), I. 112.Foerster, Christoph, II. 7.Fokine, M., III.340.Folk-dances, III.39;(Bohemian), III.166f.See also Dancing.Folk-lore, II. 223.Folk-music, I. xli, xlii-ff;(Swedish), III.65;(Italian), III.390f,391;(negro), III.179;(Spanish), III.404f.See also Folk-songs; Primitive music; Exotic music.Folk-poetry, III.61.Folk-songs, I. xxxviii;(in Middle Ages)I. 186ff;(definition), I. 191ff;(early French), I. 192ff;(early German, etc.), I. 195ff;(early English), I. 237f;(used in the Mass), I. 242;(Haydn's use of), II. 98;(Schubert's use of), II. 273;(Smetana's use of), III.171ff;(in rel. to art-song), II. 274;(general), III.xv,xvi,39,61;(Danish), III.65;(Norwegian), III.66;(Finnish), III.66ff;(Grieg's use of), III.68;(Swedish), III.79;(Russian), III.139;(Bohemian), III.167;(Magyar), III.186;(Hungarian), III.198ff;(Breton), III.314;(Italian), III.391;(British), III.422f,434,437;(Irish), III.423.Follino, quoted, I. 343.Fontana, Giovanni Battista, I. 368.Ford, Ernest, III.430,432.Forkel, Nikolaus (opposition to Gluck), II. 31.Form, I. xxiv-ff, xxxviii, lviii, 264, 350-376, 450;II. 53ff;III.202f;(conflict with matter), III.206.See also Aria, Canzona; Sonata; Song form; Symphonic form, etc.Fortunatus, I. 136f.Four-movement form. See Symphonic form.France (folk-song), I. xliii, xliv, 191ff;(primitive instruments), I. 24f;(mediæval minstrelsy), I. 202ff;(Troubadours, etc.), I. 204ff;(polyphonic period), I. 228ff, 242f, 266;(Reformation), I. 294;(17th cent. harpsichord music), I. 374ff;(17th century opera and ballet), I. 384, 401ff;(opera after Lully), I. 413f;(18th cent.), II. 23;(early 19th cent.), II. 199ff;(Romantic period), II. 241f, 253ff, 350ff, 385ff, 469ff;III.7;(modern), III.ix,xvii,277ff,317-365;(modern, influence on Spain), III.406.Franchetti, Alberto, III.369,392.Francis I of Austria, II. 27.Francis II of Austria, II. 91.Franck, César, I. 478;II. 439,469ff, 471f;III.xi,xii,xiv,xviii,205,279,281f;(the followers of), III.277ff;(pupils of, enumerated by d'Indy), III.296;(influence of), III.301,314;(and Debussy), III.319.Francke, Kuno, quoted, II. 48.Franco-Prussian war, III.284.Franz, Robert, II. 289ff;III.18,257.Frauenlob (minnesinger), I. 220, 222.Frederick the Great, I. 468f;II. 31, 48, 50, 58, 70, 78, 107, 204, 277.Frederick William III of Prussia, II. 198.Frederick William IV of Prussia, II. 261.Fredkulla, M. A., III.88.Freemasons, II. 76.Freischützbuch(Das), II. 375.French Revolution. See Revolutions (French).French schools, etc. See France.Frescobaldi, Girolamo, I. 358ff;III.385.Friskin, James, III.442.Froberger, John Jacob, I. 359f, 376.Frontini, III.394.Frottola (the), I. 271, 326.Fugue, I. xiii, xxxix, xli, lii;(Dufay), I. 236;(Sweelinck), I. 359;(before Bach), I. 451, 476;(Bach), I. 469, 473ff, 487, 489ff;(after Bach), I. 478;(modern), III.282.Fulda, Adam von, I. 304.Fuller, Loie, III.364.Fuller-Maitland. See Maitland, J. A. Fuller.Fumagalli, Polibio, III.397.Fürnberg (von), II. 86.Furiant (Czech dance), III.166.Futurists, Italian, III.392f.Fux, Johann Joseph, I. 416;II. 62.Fyffe, quoted, II. 232, 237ff.
G
Gabrieli, Andrea, I. 330, 356.Gabrieli, Giovanni, I. 356.Gade, Niels W., II. 263, 347;III.69,72,92.Gagliano, Marco da, I. 335, 378;(quoted), I. 333.Galeotti, Cesare, III.397.Galilei, Vincenzo, I. 329f.Galliard (the), I. 371f, 375.Gallo-Belgian school, I. 234ff.Galuppi, Baldassare, II. 15, 179.Garcia, Manuel, II. 185.Gardiner, Balfour, III.422.Garibaldi Hymn, II. 504.Gassmann, F. L., II. 62.Gaultier, Denys, I. 374f.Gavotte (the), I. 372.Gazette Musicale de Paris, II. 247.Geisha dance, I. 58f.Geistliche Lieder(Bach), II. 273.Gelinek, Joseph, II. 161f.Gellert, II. 49, 275.Geminiani, Francesco, II. 51.Generative theme, III.282,302,314.'Genre,' musical. See Miniature.Genre symphony, III.7.George IV of England, II. 184.Gerbert, Martin, I. 142;II. 67.German, Edward, III.425,426,432.German influence (on Jommelli), II. 12;(in English music), III.413f.'German Requiem' (Brahms), II. 455.Germany (folk-song), I. xliii, 195ff;(mediæval minstrelsy), I. 200ff;(minnesingers), I. 214ff;(Reformation), I. 288ff;(15th-16th cent.), I. 304f;(organ music, 16th-17th cent.), I. 359ff;(instrumental music, 17th cent.), I. 371ff;(harpsichord music, 17th cent.), I. 374ff;(opera, oratorio, etc., 17th cent.), I. 384, 387;(later 17th cent.), I. 414ff;(opera, 18th cent.), I. 421ff;(Bach), I. 448ff;(reaction against Italian opera), II. 9;(supremacy over Italy), II. 46;(18th century, social and religious aspects), II. 48ff, 76ff;(early classic period), II. 50ff;(Viennese period), II. 75ff;(Beethoven), II. 128ff;(Romantic movement), II. 213ff;(19th cent. national reawakening), II. 231ff;(devel. of thelied), II. 269ff;(pianoforte music, 19th cent.), II. 299ff;(Romantic chamber music), II. 328;(Romantic orchestral music), II. 343ff, 361ff;(Romantic opera), II. 372ff;(choral music of Rom. period), II. 394ff;(Wagner), II. 401ff;(neo-Romanticism), II. 443ff;III.1ff;(modern symphonists), III.viii,201ff;(modern opera), III.238ff;(modern song), III.257ff;(the ultra-moderns), III.268ff.Gernsheim, Friedrich, III.209f.Gesellschaft der Musikfreunde, II. 134.Gesualdo, Carlo, I. 276.Gevaert, F. A., quoted, I. 131, 135, 140, 144, 146f.Gewandhaus (Leipzig), II. 261;III.5.Giammaria (lutenist), I. 328.Gibbons, Orlando, I. xlvii, 306.Gigue (the), I. 371f, 375.Gilman, Benjamin Ives, cited, I. 14, 40.Gill, Allen, III.422.Giordano, Umberto, III.369,377.Giorgione, I. 327.Gipsies. See Gypsies.Glazounoff, Alexander Constantinovitch, III.x,xi,xii,xiv,xvii,137ff.Glière, Reinhold, III.xvii,146,150f.Glinka, III.xvi,38,39,42ff,107,134.Gluck, Christoph Willibald, II. 8,17ff;(quoted), II. 208.Gnecchi, Vittorio, III.382.Gobbi, III.200.Godard, Benjamin, III.35f,283.Goethe, II. 49, 134, 140, 223, 232, 283;III.61,267,358.Goetz. See Götz.Gogol, III.39,108,123,136,138.Golden Spur, Order of, II. 23, 71, 103.Goldicke, A., III.155.Goldmark, Karl, II. 455;III.viii,x,102,241f.Goldschmidt, Adalbert, III.241.Golpin, F. W., III.430.Gombert, Nicolas, I. 296f.Gomez, Carlo, III.408.Goodhart, A. M., III.442.Goosens, Eugène, Jr., III.441.Gossec, François Joseph, II. 41, 65,68, 106.Götz, Hermann, III.viii,209,239,245f.Goudimel, Claude, I. 294f.Gounod, Charles, II. 207,386ff, 438;III.7,278.Goura (African instrument), I. 28.Grädener, Karl, III.14.Granados, Enrico, III.406.Grandmougin, Charles, III.293.Grammann, III.256.Graun, Joh. Gottlieb, II. 58.Graun, Karl Heinrich, I. 416;II. 58.Gray, Alan, III.442.Greco, II. 8.Greece (Ancient), music of, I. 84ff,88-127;(influence on Roman and early Christian music), I. 131ff, 136, 138, 151ff, 160, 165;(influence in Italian renaissance), I. 329, 330, 332, 346.Greek modes and scales. See Modes, Scales, Tetrachords.Greene, Maurice, I. 432.Greene, Plunket, III.443.Gregorian tones. See Plain-song.Gregorian tradition, I. 145f.Gregory I, Pope, I. 144ff, 151, 156.Grell, Eduard August, III.16.Gretchaninoff, Alexander, III.128,143,144f.Grétry, André E. M., II. 25, 41, 106.Griboiedoff, III.108.Grieg, Edvard, II. 440;III.xiv,xv,xvi,64,68,69,70,77,89ff,96;(quoted on Hartmann), III.72;(influence of), III.99,332.Grillo, Giovanni Battista, I. 364f.Grillparzer, II. 134;III.190.Grimm, [Baron] Melchior, II. 24, 31, 102 (footnote).Grimaldi, Niccolini, I. 432.Grisar, Albert, II. 211.Grisi, Giulia, II. 193.Ground-bass, I. 367.Grove, [Sir] George (citations, etc.), I. 313;II. 143, 150, 157, 162, 166, 168f, 344.Grove's Dictionary of Music and Musicians, III.430.Grovlez, Gabriel, III.407.Guarneri family, I. 362.Guecco, II. 187.Guerre des bouffons, I. 414f;II. 24, 35.Guglielmi, Pietro, II. 14.Guicciardi, [Countess] Giulia, II. 141, 145.Guidicioni, Laura, I. 328.Guido d'Arezzo, I. 167ff.Guidonian Hand, I. 171.Guillaume (the troubadour), I. 205.Guilmant, Alexandre, III.36,285.Gui, Vittorio, III.400.Guy, Abbott of Chalis, I. 174f.Gypsies, II. 250, 322;III.187,319.