H
Haarklou, Johannes, III.98.Hadow, W. H., II. 98;III.430;quoted (on Paësiello), II. 15;(on Sarti), II. 40;(on Bach's influence), II. 59;(on musical patronage), II. 88;(on Mozart's 'Paris symphony'), II. 104;(on development of art forms), II. 110;(on difference betw. Haydn and Mozart), II. 112;(on Mozart's concertos), II. 115;(on Schubert), II. 227.Hägg, J. Adolph, III.79.Häle, Adam de la. See Adam.Halévy, Jacques Fromental E., II. 207.Halévy, Ludovic, II. 393.Halle a.d. Saale, I. 360, 419ff, 422f, 463;II. 289.Hallé, Sir Charles, III.411.Hallén, Andreas, III.80f.Halsley, Ernest, III.442.Hallström, Ivan, III.79.Halvorsen, Johann, III.98.Hamburg (17th century opera), I. 384, 414f, 422ff;(Brahms), II. 454.Hamerik, Asger, III.73,74f.Hammer-clavier. See Pianoforte.Hammerschmidt, Andreas, I. 387.Han, Ulrich, I. 285.Hand-Clapping, I. 14, 69, 83.Händel, George Frederick, I. 387, 393f, 397, 416f,418ff, 463;II. 8, 56;III.410.Hanslick, Eduard, II. 436;(quoted, on Grieg), II. 440.Harmonic alteration of melodies, I. xlix.Harmonic style, I. xlvii.See also Monody.Harmony, I. xxxix, xl, xlix, l, 43;(traces of, in primitive music), I. 16, 18ff;(Oriental meaning of the term), I. 48;(supposed traces of, in ancient music), I. 69, 88, 97;(Greek use of the term), I. 90;(harmonic foundation of early folk-songs), I. 198;(mediæval beginnings)I. 160ff;(13th cent. example), I. 237;(15th cent.), I. 269ff;(16th cent.), I. 293f;(musica ficta), I. 301f;(Palestrina), I. 320, 322;(Monteverdi, chromaticism), I. 341;(development in 17th cent.), I. 352ff;(German and English instrumentalists), I. 371f;(Purcell), I. 389;(A. Scarlatti), I. 393;(Lully), I. 409;(Rameau), I. 414;(Händel), I. 441;(Bach), I. 475ff, 487, 489ff;(influence on form), I. 51ff;(Haydn and Mozart), II. 111f;(Beethoven), I. 167;(Schubert), I. 227;(Schumann), II. 285, 286, 307;(influence of the pianoforte), II. 298;(Chopin), II. 320f;(Liszt), II. 324f;(Wagner), II. 433ff;(Brahms), II. 463;(Franck), II. 471;(modern innovations), III.155ff,164,198,272,275f,290,295,325.Harps (African), I. 29;(Assyrian), I. 66;(Egyptian), I. 78ff;(Greek), I. 85, 125;(modern), II. 341.Harpsichord (or clavier, in early opera), I. 333;(in the operatic orchestra), I. 424;(asbasso continuo), I. 354;(description), II. 60, 373ff;II. 294.Harpsichord music (early English), I. 306, 369;(Chambonnières), I. 375;(Froberger), I. 376;(Purcell), I. 390;(Domenico Scarlatti), I. 398f;(Couperin), I. 411f;(Händel), I. 445;(Bach), I. 471f.See also Pianoforte music.Harpsichord playing, I. 375;(J. S. Bach's), I. 461, 489;(improved systems of fingering), I. 484ff;(C. P. E. Bach's), II. 59.Hartmann, Georges, III.320.Hartmann, J. P. E., II. 347;III.71f,73.Hasse, Faustina (Bordoni), I. 416, 437;II. 5ff.Hasse, Joh. Adolph, I. 416, 427;II. 5ff, 31.Hauschka (author of Austrian national hymn), II. 91.Hausegger, Siegmund von, III.270.Hawaiian Islands, I. 22f.Hawley, Stanley, III.441.Haydn, Joseph, II. 49 (footnote), 55, 57, 68f,83ff;(and Mozart), II. 105ff, 114, 115, 116;(and Beethoven), II. 138;(as song composer), II. 273.Haydn, Michael, II. 73ff;(influence on Mozart), II. 102.Health, in relation to music, I. 90ff.Hebbel, II. 380.Hebrews (ancient), I. 70ff.Heidegger, I. 437.Heiligenstadt testament (Beethoven's), II. 136, 158, 159, (illus. facing p. 158).Heine, Heinrich, II. 224, 249, 288f.Heinrich von Meissen. See Frauenlob.Heise, Peter A., III.73.Helen, Grand Duchess of Russia, III.49.Helgaire, quoted, I. 189.Heller, André, III.321.Heller, Stephen, II. 322;III.17.Hemiolia, II. 461.Henderson, W. J., quoted, I. 326;II. 276, 282.Henschel, Georg, III.212.Henselt, Adolf, II. 322;III.17.Heptatonic scale, I. 46ff.Herbeck, Johann, III.212.Herder, III.61.Hérold, L. J. F., II. 207, 211.Herz, Henri, III.18.Hertzen, III.108.Herzogenberg, Heinrich von, III.209,210.Hesiod, I. 92.Hexachordal system, I. 167ff.Heyden, Sebald, cited, I. 240.Hierocles, quoted, I. 90, 109.Hilarius, I. 142.Hildburghausen, Prince Joseph of, II. 71 (footnote).Hill, Aaron, I. 431, 438f.Hiller, Ferdinand, II. 263 (footnote);III.9,256.Hiller, Johann Adam, II. 8, 191.Himmel, Friedrich Heinrich, II. 152, 162.Hindoos, I. 47ff, 59ff.Hinton, Arthur, III.427.History. See Musical History.Hobrecht, Jacob, I. 248, 251.Hoffmann, E. T. A., II. 308ff, 379.Hoffmann, Leopold, II. 63.Hoffmeister (publisher), II. 109.Hofmann, Heinrich, III.20,212,257.Holbrooke, Joseph, III.viii,ix,x,xi,xix,438.Holmès, Augusta, III.296.Holstein, Franz von, III.256.Holtzbauer, Ignaz, II. 67.Homer, I. 92.Homophonic style, I. xiii. See also Monody.Homophony (in Greek music), I. 161;(and monody), I. 259.See also Monody.Honauer, Leonti, II. 102.Hopi Indians, I. 38f.Horns (primitive), I. 21;(in mediæval Germany), I. 198, 218;(in the classic orchestra), II. 65, 117, 335;(in the Romantic period), II. 337ff;(modern), II. 117, 265, 335, 337, 338, 340, 341;(valve-horn), II. 340.Hřimaly, Adalbert, III.180.Hubay, Jenő, III.190,194f.Huber, Hans, III.212.Hucbald, I. 162ff.Hughes, Rupert (quot.), II. 331.Hugo, Victor, II. 244, 486.Hullah, John (quoted), I. 256.Hummel, Johann Nepomuk, II. 259, 321.Humor (in early polyphonic music), I. 254;(in opera), see Opera buffa.Humperdinck, Engelbert, II. 437;III.viii,x,238,245,247,267f.Humfrey, Pelham, I. 385.