P
Pachelbel, Johann, I. 361, 451.Pacino, Giovanni, II. 196.Pacius, Frederick, III.100.Paër, Ferdinando, II. 181.Paganini, II. 76 (footnote), 249, 323.Paësiello, Giovanni, II. 15, 181, 182.Painting (art of), I. xxix.Paladilhe, Émile, II. 207.Palestrina, Giovanni Pierluigi da, I. 243,314ff, 353, 480;II. 477;III.385.Palmgren, Selim, III.101.Parabasco, Girolamo, I. 328.Paracataloge, I. 115.Parallel motion (in descant), I. 165.Paris (14th cent. musical supremacy), I. 228;(ars nova), I. 230, 231f, 265;(16th cent. ballet), I. 401;(early opera), I. 406ff;(Guerre des bouffons), II. 32ff;(18th cent. composers), II. 16, 79;(Gluck), II. 32ff;(early symphonic concerts), II. 65, 68;(Mozart), II. 104, 116;(Rossini), II. 188;(Berlioz), II. 241ff;(Meyerbeer), II. 200ff;(revolutionary era), II. 213, 218;(Chopin), II. 257ff, 313ff;(Wagner), II. 405, 418;(orchestra concerts, modern), III.285;(musical glorification of), III.354;(Bohemianism), III.349.Paris Conservatory, II. 42, 254;III.291,336.Paris Opéra (establishment), I. 406, 407;(Gluck), II. 32, 34, 35, 39;(Spontini), II. 197;(Auber), II. 210;(Wagner), II. 418.Paris Opéra Comique, II. 41, 193, 391.Parlando recitative, I. 115;II. 26.See Recitative.Parratt, Walter, III.421.Parry, [Sir] C. Hubert H., III.xii,xiv,415,416f;(on evolution of music), I. xxix-lxi;quoted, I. 476;II. 164.Part-songs (modern), II. 53.Pasdeloup, Jules, III.278.Passamezzo, III.188.Passion oratorio (origin and development in Germany), I. 424f, 480f;(dramatic element introduced), I. 453;(Bach), I. 472, 477ff.Passions. See Emotions.Pasta, Giuditta (Negri), II. 185, 187, 194, 195.Pasticcio, II. 20.Pastoral plays, I. 325, 327f, 405.Pastoral songs. See Pastourelle.Pastourelle, I. 203, 207f, 264.Paul, Jean. See Richter, Jean Paul.Pavan, I. 371, 375.Pedrell, Felippe, III.404.Pedrotti, Carlo, II. 503 (footnote).Pelissier, Olympe, II. 191.Pepusch, John, I. 430.Pentatonic scale, I. 45ff, 49, 69, 164;III.179.Percussion, instruments of (primitive), I. 23f;(Oriental), I. 52ff;(Assyrian), I. 67;(Egyptian), I. 82.See also Drums; Instruments.Perfect immutable system (Greek music), I. 102ff.Percy, Bishop, II. 129, 223.Pergin, Marianna, II. 22.Pergolesi, Giovanni Battista, II. 7, 8, 52, 55f;(influence on Mozart), II. 125.Peri, Jacopo, I. 329ff, 343, 378;II. 26, 27.Periods. See Classic Period, Romantic Period.Perosi, Don Lorenzo, III.395f.Perotin, I. 184.Perrin, Pierre, I. 405f.Persiani, Fanny, II. 185.Personal expression, I. li-f, lxi.Peru, I. 24.Peruvians (ancient), I. 44f, 52, 56.Pesaro, II. 191.Peter the Great, III.40.['Le]Petit prophète de Boehmischbroda,' II. 24.Petersen-Berger, Wilhelm, III.80,81ff.Petrella, Enrico, II. 503 (footnote).Petrograd. See St. Petersburg.Petrucci, Ott. dei, I. 245, 271, 285f.Pfitzner, Hans, III.viii,243,247f.Philammon, I. 111.Philidor, François-André-Danican, II. 24, 41, 65 (footnote).Phillips, Montague, III.443.Phillips, Stephen, III.135.Phrygian mode, I. 100, 103, 113.Pianoforte (mechanical development), II. 162, 296f.Pianoforte concerto, II. 72;(Mozart), II. 115;(Beethoven), II. 165, 167;(Weber), II. 303;(romantic composers), II. 330f;(Chopin), II. 314, 319;(Liszt), II. 327;(Brahms), II. 466;(Franck), II. 474f;(Tschaikowsky), III.50;(Grieg), III.70;(Saint-Saëns), III.280.Pianoforte music (Kuhnau), I. 415f;(J. S. Bach), I. 474ff, 483ff, 487, 490f;(C. P. E. Bach), II. 59;(Mozart), II. 114;(Beethoven), II. 163ff;(romantic period), II. 293-333;(neo-romantic), II. 464f, 472ff;('genre' forms), III.17;(impressionistic school), III.326f,340,405;(modern Italian), III.393f.See also Harpsichord music; also Pianoforte sonata.Pianoforte sonata (D. Scarlatti), I. 399;II. 51;(Kuhnau), I. 416;II. 58;(C. P. E. Bach), II. 59f;(Mozart), II. 114;(Beethoven), II. 165, 167, 170, 173f;(Schubert), II. 300;(Weber), II. 302;(Schumann), II. 310;(Chopin), II. 319;(Brahms), II. 453, 464.Pianoforte style, I. xx, xxi, 399;II. 60, 163, 297;III.333.Piave (librettist), II. 488.Piccini, Nicola, II. 14f, 35, 37;(influence on Mozart), II. 122.Piccolo, II. 341.Pictorialism, in Wolf's songs, III.267.See also Program music; Impressionism; Realism.Pierné, Gabriel, III.xiv,285,361,362.Pierson, H. H., III.414.Pietà, Monte di, II. 481.Pindar, I. 118f.Piombo, Sebastiano del, I. 327f.Pipes (primitive), I. 21ff;(Assyrian), I. 66f;(Egyptian), I. 80f.Plagal modes, I. 151ff.Plagiarism (in 18th cent.), I. 434, 441f.Plain-chant. See Plain-song.Plain-song, I. xlvi, 157, 183, 320, 349;III.299.See also Church music (early Christian); Liturgy.Plain-song, the age of, I. 127-159.Planer, Minna, II. 405.Planquette, Robert, III.363(footnote).Platania, Pietro, II. 503 (footnote).Plato, I. 77, 89f.Plautus, I. 325f.Play instinct (the) in rel. to music, I. 5f.Pleyel, Ignaz, II. 90.Plutarch, I. 114.Poe, Edgar Allan, III.152.Poetry, in relation to Greek music, I. 90ff.See also Lyric poetry.Pogojeff, W., III.155.Pohl, Karl Ferdinand, II. 94.Pointer, John, III.443.Poliziano, I. 326f.Polka (dance), III.166.Polonaise, II. 259, 315.Polybius, I. 95.Poly-harmony, III.xx.Polynesia, I. 9.Polyphonic style, I. xii, xxxviii, xxxix, xlvi, lvii;(development in Middle Ages), II. 226ff, 269, 296f, 348, 351;(early instrumental music), II. 282, 354, 363, 366, 369, 370, 372;(Lasso), I. 310;(Palestrina), I. 319ff;(reaction against), I. 330f, 353, 361;(fusion with harmonic style), I. 418, 441;(Bach), I. 472, 481f, 489, 490;(in string quartet), II. 69;(Mozart), II. 111;(orchestral), I. liv;II. 118, 418, 422;(Chopin), II. 320f;(Wagner), III.426;(modern), III.xxi,272,308;(ultra-modern), III.164.See also Counterpoint; Chanson; Madrigal; Motet.Polyphony, the beginnings of, I. 160-183;(Netherland schools), I. 226-257;the golden age of, II. 284-323;(early forms of), see Organum, Diaphony, Descant.Ponchielli, Amilcare, II. 478, 503.Pontifical Choir, I. 318.Popular music (modern), I. xlviii.Porges, Heinrich, III.237.Porpora, Nicola, I. 400f, 436;II. 4ff, 85.Porta, Constanzo, I. 304.Portman, M. V., cited, I. 9.Portraiture musical (in 17th cent. harpsichord music), I. 411f;(Mozart), II. 123.See also Characterization.Portugal, III.408.Pougin, Arthur, II. 209.Prague, II. 107, 235;III.168.Pre-Raphaelites, III.321,361.Prelude (origin of form), I. 353;(Chopin), II. 317;(dramatic), see Overture.See also Chorale prelude.Premier coup d'archet, II. 104.Prévost, L'Abbé ('Manon Lescaut'), II. 210.Primitive music, I. xxxviii, xli, xliii,1ff.Printing of music. See Music printing.Prix de Rome, II. 254.Program music, I. li;(16th cent.), I. 276f, 296f;(17th cent.), I. 411f, 416;(Bach), I. 458;(Beethoven), II. 172;(Berlioz), II. 351ff;(Liszt), II. 359ff;(defense of), II. 367ff;(modern), III.217;(impressionistic), III.351.Prokofieff, S., III.155.Prosa. See Sequences.Prose, in opera, III.344.Prosodies (Greek), I. 117.Prosody, I. xxxiv.Protestant Church. See Lutheran Church.Protestant Reformation. See Reformation.Prout, Ebenezer, III.421.Provence, I. 205.Psalmody, I. 140, 142f.Psychology (in program music), III.217;(in music drama), III.254;(in the song), III.262.Ptolemy, Claudius, I. 110, 132.Publishing. See Music publishing.Puccini, Giacomo, III.viii,ix,250,335,369,370,372f.Puffendorf, II. 47.Pukuta Yemnga, I. 15.Purcell, Henry, I. 385,388ff, 431, 433;(influence on Händel), I. 439.Pushkin, III.107,121,128,145,152.Pythagoras, I. 90ff, 105ff.Pythic festivals, I. 113.Pythic games, I. 94.
Q
Quantz, Joachim, I. 468;II. 58.Quarter-tones, I. 39f, 47, 49, 113;II. 332.Quartet. See String quartet.Queens Hall Orchestra, III.422.Quichua Indians, I. 45.Quilter, Roger, III.443.Quinault, II. 34.
R
Rabaud, Henri, III.363.Rachmaninoff, Sergei Vassilievich, III.xi,xii,xiv,xvii,151ff.Racine, Jean (and Lully), I. 409;II. 31.Radecke, Robert, III.212.Radnai, III.200.Raff, Joachim, II. 322, 346f;III.22ff.Raga, I. 49.'Ragtime,' I. 11;III.327.'Rákoczy March,' II. 341f;III.189,193.Rameau, Jean Philippe, I. 398,413f;II. 1, 21, 68, 351;III.307,334,358,360.Ramis de Pareja, B., I. 269.Ranat (Burmese instrument), I. 53.Raphael, I. 327.Rasoumowsky quartet, II. 143.Rationalism, II. 48.Rattle (as instrument), I. 14f, 35, 52.Ravanello, III.397.Ravel, Maurice, III.xiv,xviii,xxi,318,321,328,335f;(and Debussy), III.341.Rawlinson, George (cited), I. 78.Realism, III.318,339,342,344,351.See also Verismo.Rebikoff, Vladimir, III.159,160f.Recitative, I. 331f, 335, 381f, 385, 386f, 389;(French), I. 406, 408;II. 3, 10;(accompanied), I. 393;II. 16, 182;(in German church music), I. 453, 480;(Bach), I. 477, 490;(Gluck), II. 26;(Rossini), II, 178, 182, 187;(Wagner), II. 431.Recitativo secco.See Recitative.Reformation, I. 288ff, 387.See also Church, Lutheran.Reger, Max, III.xi,xii,231ff,243,269,318,335;(songs), III.266.Regino, I. 145.Reicha, Anton, III.165,168.Reichardt, Johann Friedrich, II. 277, 374;III.62.Reinecke, Carl, II. 263;III.11ff,257.Reinken, Jan Adams, I. 451, 457.Reinthaler, Karl, III.256.Reiser, Alois, III.182.Reissiger, Karl Gottlob, II. 409.Reiteration, I. xli, xlii;II. 63.Rékai, Ferdinand, III.200.Relativity in art, I. lv.Religion, I. xliv, xlvii;(in rel. to exotic music), I. 50, 55;(influence on Minnesang), I. 222;(influence on German music), II. 48.See also Church.Religious emotions (plain-song), I. 157f;(in music of Bach), I. 452, 454.Religious music. See Church music.'Reliques,' Percy's, II. 129, 223.Reményi, Eduard, II. 451.Renaissance (the), I. 214, 258ff, 306, 322.Requiem (Mozart), II. 108, 125;(Berlioz), II. 398;(Verdi), II. 498.Retroensa, I. 208.Reutter, Georg, II. 62, 84.Revolutions (Carbonarist), II. 184;(French), II. 42, 75, 155, 213ff, 443;(of 1830), II. 207, 241, 246;(of 1848), II. 413f.Reyer, Ernest, II. 390, 438.Reznicek, Emil Nikolaus von, III.181.Rheinberger, Joseph, III.209,210f,257.Rhythm, I. xiii, xliii-ff;(in primitive music), I. 11f, 20f;(Oriental music), I. 63;(Assyrian music), I. 68;(Egyptian music), I. 82;(Greek music), I. 96, 98, 112, 126;(plain-song), I. 144;(measured music), I. 175, 176ff, 185;(mediæval folk-song), I. 194f;(Troubadours), I. 209f;(ars nova), I. 229, 266;(absence of, in Palestrina style), I. 321, 323, 348f, 351;(in 17th cent. instrumental music), I. 351, 361, 364f, 369ff, 371, 373;(Carissimi oratorios), I. 386;(Bach), I. 475f;(Lully), I. 486;(opéra comique composers), II. 209f;(Chopin), II. 315;(Wagner), II. 435;(Brahms), II. 461;(Tschaikowsky), III.57.Ricci, Frederico, II. 503.Ricercar, I. 356ff.Richepin, Jean, III.293.Richter, Franz Xaver, II. 67.Richter, Hans, II. 422.Richter, Jean Paul, II. 263, 306.Ricordi, Tito, III.381.Riddle canons, I. 247.Riemann, Hugo, II. 8, 60;(quoted), I. 88, 115, 121, 137, 165, 207, 225, 229, 231, 264, 274, 303f, 438, 443, 476;II. 8, 25, 66, 117f, 120, 125;III.232.Ries, Franz (b. 1755), II. 131, 145.Ries, Franz (b. 1846), III.212.Rietz, Eduard, III.11.Rietz, Julius, III.10.Rimsky-Korsakoff, Nicholas Andreievitch, II. 35, 53;III.ix,x,xiv,xvi,38,107,112,123ff,134,143,319;(quoted on Moussorgsky), III.119;(influence), III.138,145;(and Stravinsky), III.162.Rinuccini, Ottavio, I. 328, 332f, 343;II. 3.Riquier, Guirant, I. 211.Ritornello, I. 336.Riseley, George, III.422.Ritter, Alexander, III.213,214.Robert of Normandy, I. 205.Roble, Garcia, III.407.Rockstro, W. S. (quoted), I. 233, 427, 440.Roger-Ducasse, III.xviii,363.Rogers, Benjamin, I. 373.Rohrau, II. 90.Rolland, Romain, cited, I. 312f, 325, 336;II. 253, 254, 283f.Roman empire, I. 130ff, 187.Romance (Troubadour form), I. 207.Romanticism, I. xvi, lvi;II. 129, 267;(French), III.6,7,298;(Russian), III.37;(German), II. 129;III.5,209.See Romantic Movement.Romantic Movement, II. 213-268;(song literature), II. 269-292;(pianoforte and chamber music), II. 292-333;(orchestral music), II. 334-371;(opera and choral song), II. 372-400;(by- and after-currents), III.1-36.Romberg, Andreas, and Bernhard, II. 132.Rome,(Palestrina), I. 314ff;(early opera), I. 327, 378f;(Händel), I. 428;(Jommelli), II. 11.See also Church, Roman.Ronald, Landon, III.422,443.Rondeau, I. 195.Rondet de carol, I. 208.Rondo, II. 54, 167.Rootham, C. B., III.442.Ropartz, Guy, III.313f.Rore, Cipriano di, I. 273, 275, 302f.Rosa, Carl, III.443.Rose, Algernon (cited), I. 31.Rossbach, battle of, II. 48.Rossi, Gaetano, works of, II. 187, 196.Rossi, Luigi, I. 379, 385f.Rossi, Salvatore, I. 367.Rossini, Gioachino Antonio, II. 180ff, 503.Rotta, I. 211.Rousseau, Jean Jacques, I. 162;II. 24, 28, 29, 32, 35.Roussel, Albert, III.xviii,315,363.Royal Academy of Music (London), I. 432ff.Rozkosny, Joseph, III.180.Rubens, Paul, III.433.Rubenson, Albert, III.80f.Rubini, Giovanni Battista, II. 185, 194.Rubinstein, Anton, II. 459;III.xvi,47ff.Rubinstein, Nicolai, III.18,111.Ruckers family, I. 373f.Rucziszka, II. 225.Rudolph, Archduke of Austria, II. 133.Rue, Pierre de la, I. 248.Rungenhagen, Karl Friedrich, III.16.Rupff, Konrad, I. 290f.Ruskin, John (quoted), II. 267.Russian ballet, III.163.Russian church music, III.141ff.Russian Imperial Musical Society, III.107.Russian music, I. 63;III.ix,xvi,37,58;(romanticists), III.37ff;(neo-romanticists), III.47ff;(nationalists), III.107ff;(contemporary), III.137ff;(folk-song), III.139;(church music), III.141ff;(modern eclectics), III.146f.Ruzicska, III.189.Rydberg, III.102.
S
Sabbata, Vittore de, III.382,389,391.Sacchini, Antonio, II. 14.Sachs, Hans, I. 223ff;II. 421;III.190.Sackbut. See Trombone.Sacred drama. See Oratorio.Sacred music. See also Church music; Cantata; Oratorio, etc.Sacred representations (sacre rappresentazione), III.324.St. Ambrose, hymns of, I. 135ff, 142f.St. Augustine, I. 135, 137, 141.St. Basil, I. 140.St. Foix, G. de (cited), II. 67 (footnote), 103.St. Gregory, I. 144ff, 151, 156.St. Hilarius, I. 142.St. Leo the Great, I. 143.St. Petersburg (18th cent. composers), II. 15;(composers at court of Catherine II), II. 79.St. Petersburg Conservatory, II. 40; III.48,126,138.St. Petersburg Free School of Music, III.107.St. Petersburg Opera, III.134.St. Petersburg pitch, II. 40.Saint-Saëns, II. 418, 438;III.viii,x,xii,xiii,xviii,2,7f,24,31ff,48,93,278,279,282,284;(quoted on Oriental music), I. 52f.Saint-Simonism, II. 246.Saldoni, Baltasar, III.404.Salieri, Antonio, II. 37, 39f, 92, 225, 238.Salle Favart, II. 43.Salo, Gasparo da, I. 362.Salomon, Johann Peter, II. 89.Salon de la Rose-Croix, III.321.Salvai (Signora), I. 434.Salzburg, II. 73f, 101ff.Samazeuilh, Gustave, III.315,362.Sammartini, Giovanni Battista, II. 19, 114.Samisen (Japanese instrument), I. 53.Sand, Georges, II. 257.Sanderson, Wilfred, III.443.Sanko (African instrument), I. 30.Santoliquido, Francesco, III.40.Sappho, I. 115.Sarabande, I. 371f, 423.Sarti, Giuseppe, II. 40.Sarto, Andrea del, I. 327.Satie, Erik, III.336,361f.Savages, music of. See Primitive Music.[La] Scala, II. 484.Scalero, Rosario, III.395.Scales (primitive), I. 6ff, 21ff, 27f, 31, 45;(Chinese), I. 46ff;(Oriental), I. 51, 63;(pentatonic), I. 45ff, 69, 164;III.179;(Greek system), I. 99ff, 113, 110, 301;(octatonic), I. 114, 165;(early Christian), I. 152, 164;(hexachordal division), I. 169;(modern tonality), I. 301;(harmonic and melodic minor), I. 301 (footnote);(equal temperament), I. 483, 485ff.See also Modes; Modulation.Scalp Dance, I. 34.Scandinavia, III.xv,59-106.See also Denmark, Finland, Norway, Sweden.Scarlatti, Alessandro, I. 347, 388,392ff, 397f, 401, 409;II. 5.Scarlatti, Domenico, I. 397ff, 453;II. 51, 55, 60.Scenic display (in 16th cent. pastoral), I. 328;(in early Venetian opera), I. 382;(in 17th cent. opera), I. 376f;(in early French ballet), I. 402ff.Schaden, Dr. von, II. 135.Schantz, F. von, III.100.Scharwenka, Philipp, III.212.Scharwenka, Xaver, III.212.Scheffer, Ary, II. 388.Schenck, Johann, II. 138.Schering, Arnold, cited, I. 443.Scherzo, II. 54, 167, 170, 311f, 318f.Schikaneder, Anton, II. 108, 109, 124.Schiller ('Ode to Joy'), II. 171.Schillings, Max, III.viii,243f.Schindler, Anton, II. 133, 143.Schjelderup, Gerhard, III.99f.Schlesinger, Kathleen, III.430.Schmitt, Florent, III.xi,xiv,xviii,321,363,364.Schobert, Johann, II. 67ff;influence on Mozart, II. 67, 102.Schola Cantorum (mediæval), I. 141, 146, 147.Schola Cantorum (Paris), III.285,298.Schönberg, Arnold, II. 369;III.xx,271ff.Schönbrunn, II. 22.Schoolcraft, quoted, I. 37.Schools of composition, I. xii-ff;(conflict of, in classic period), II. 62;(rise of nationalistic), II. 216;See also Berlin school, Leipzig school, Mannheim school, Netherland schools, Romantic Movement, Venetian school, Viennese classics, also Impressionism, Realism, also England, France, Germany, Italy, Russia, Scandinavia, etc.Schopenhauer, II. 173, 415, 417.Schubert, Franz, I. xvi;II. 115,221ff;(songs), II. 279ff;(pianoforte works), II. 299ff;(operas), II. 380;(general), III.202,223,257.Schumann, Clara, II. 264, 449, 452, 453, 455, 457;III.14,69.Schumann, Georg, III.209.Schumann, Robert, I. xvi, lvii;II. 262ff;(as song writer), II. 284ff;(pianoforte works), II. 304ff;(operas), II. 380;(antagonism to Wagner and Liszt), II. 448f;(general), III.xi,257;(influence), III.13ff,78,92,95,105,183,202.Schumann-Mendelssohn tradition, III.209.Schuppanzigh, Ignaz, II. 143, 152.Schuré, Édouard, II. 208.Schütz, Heinrich, I. 384f, 387, 424, 478, 480.Schweitzer, Albert, I. 476.Schytte, Ludwig, III.76.Scotland (folk-song), I. xliii;III.424.Scott, Cyril, III.xiv,xix,335.Scott, [Sir] Walter, II. 194, 209, 223.Scotti, Antonio, III.374.Scriabine, Alexander, III.x,xi,xii,xiv,xx,2,155,156ff,164.Scribe, Eugene, II. 187, 200, 203, 210.Scudo, Paul, quoted, II. 209.Sculpture (art of), I. xxix.Sebastiani, Johann, I. 481.Secular music, mediæval, I. 186ff;(in conflict with church music), I. 227;(early polyphonic), I. 230f;(in the mass), I. 242, 313, 320;(in Lutheran hymns), I. 290.See also Folk-songs; Instrumental music; Madrigals, etc.Seghers, Antoine, III.278.Selinoff, III.155.Selmer, Johann, III.97f.Senesino, Francesco Bernardi, I. 434, 437;II. 4, 185.Senfl, Ludwig, I. 288, 304f.Sequences, I. 149f.Serenade (Troubadours), I. 207;(orchestral), II. 115.Sergius II, and early church music, I. 167.Sérieyx, Auguste, III.307.Serpent (instrument), II. 341.Sévérac, Déodat de, III.315,362.Serrao, Paolo, II. 11.Seven Years' War, II. 50.Sexual attraction, as the cause of music, I. 4f.Sgambati, Giovanni, III.386f.Shakespeare, I. xiv;II. 139, 380, 388, 488f, 500;III.110.Sharp (origin of), I. 156.Sharp, Cecil, III.423.Shelley, I. xlv.Shophar (Hebraic instrument), I. 73.Shukovsky, III.42.Siam, I. 53, 57f.Sibelius, Jean, III.xi,xiv,64,67,68,70,101ff.Siklós, III.200.Silbermann, Gottfried, II. 163.Silcher, Friedrich, II. 276.Silvestre, Armand, III.293.Simonides, I. 118.Simphonies d'Allemagne, II. 13, 67.Simrock (publisher), II. 132, 147.Sinding, Christian, III.xv,70,96f.Sinfonia, I. 368;II. 54, 66 (footnote).See also Overture (Italian).Sinfonietta, III.7.Singers (18th cent.), I. 423, 427;II. 4, 6, 10, 21, 26, 33, 39;(19th cent.), II. 185.See also Opera Singers.'Singing allegro,' II. 8, 52.Singing masters (early famous), I. 250, 329ff, 333ff, 400, 436.Singspiel, II. 9, 106, 123, 236, 277, 374;(Danish), II. 40;III.62.See also Opera, German.Sinigaglia, Leone, III.389,390,395.Sjögren, Emil, III.80,81f.Skroup, Frantisek, III.168.Skuherský, Franz, III.180.Slavs (folk-song of), I. xliii.Smareglia, Antonio, III.369.Smetana, Friedrich, III.xi,xii,xiv,xv,165,166,169ff,181;(influence), III.183.Smithson, Henriette, II. 254, 354.Smolenski, Stepan Vassilievitch, III.142.Smyth, Ethel Mary, III.426.Snake Dances, I. 14, 34.Social conditions, influence of, I. xxxv.Socialism, III.342,349,351.Société des Jeunes Artistes du Conservatoire, III.278.Société de Sainte Cécile, III.278.Société Nationale de Musique Française, III.284,297.Society of Authors, Playwrights and Composers, III.435f.Sociological music drama, III.345.Sokoloff, Nikolai Alexandrovich, III.145.Solfeggi, II. 4.Solo, vocal (in 14th cent. art music), I. 262;(in 16th cent.), I. 281f.Solo melody. See Monody.Soloman, Edward, III.432.Somervell, Arthur, III.427.Sommer, Hans. III.240,268.Sonata. See Pianoforte sonata; Violin sonata; Sonata da camera; Sonata da chiesa; Sonata form.Sonata da camera, I. 369ff, 395f.Sonata da chiesa, I. 357, 365ff, 395f.Sonata form, I. xiv-f, xxvi, l-f, lii, lvi, 8,52ff, 58, 72, 174f;III.280.Sonata period, I. xli.See also Mannheim school; Viennese classics.Song. See Folk-song; Art-song; Part-song; Secular music, mediæval.Song cycles (Beethoven), II. 278, 282;(Schubert), II. 282f;(Schumann), II. 287f.Song form. See Binary form.Song style, I. lix.Sonnenfels (quoted), II. 29.Sontag, Henriette, II. 185.Sophistication (rhythmic), I. xlv-ff.Soula (Troubadour form), I. 207.Sound-producing materials (Chinese classification), I. 48.South America (primitive instruments), I. 22.Spain, modern, III.403ff.Spanish color. See Local color.Spanish influence, on music of American Indians, I. 38f.Späth, Friedrich, II. 163.Spencer, Herbert, I. 4f.Spendiaroff, A., III.141.Spinelli, Niccola, III.369,371.Spitta, Philipp, I. 455, 467.Spohr, Ludwig, II. 329ff, 331f, 346f, 377, 386, 397.Spontini, Gasparo, II. 197ff.Sports, in rel. to music, I. 6.Squire, William Barclay, III.430,443.Stage directions (Cavalieri's), I. 335.Stainer, [Sir] John, III.421.Stainer and Bell (publishers), III.435.Stamitz, Johann, I. xiv (footnote), 481;II. 8, 12, 57,63ff, 67, 94.Stanford, [Sir] C. Villiers, III.415,419,423.Standfuss, II. 8.Stassoff, Vladimir, III.38,107.Stcherbacheff, N. V., III.146.Steffani, Agostino, I. 429.Stegliano, Prince, II. 8.Steibelt, Daniel, II. 161.Stein, Johann Andreas, II. 163, 231.Steinberg, Maximilian, III.154.Stendhal (Henri Beyle), quoted, II. 186.Stenhammer, Wilhelm, III.69,85f.Stepán, W., III.182.Stephan I, King of Hungary, III.187.Stile rappresentativo, I. 330ff, 335.Stillfried, Ignaz von, II. 71.Stockholm, II. 79;III.62,77.Stolzer, Thomas, III.187,305.Stone Age, instruments of, I. 24f.Strabo, cited, I. 77, 85.Stradella, Alessandro, I. 441f.Strindberg, August, III.77,105.Stradivari, Antonio, I. 362.Strauss, Johann, II. 455, 460;III.21,230.Strauss, Richard, I. xvii;II. 362, 411;III.viii,x,xi,xiii,xiv,xx,69,108,201f,204,213ff,227,249ff,265,269,335;(quoted on Verdi), II. 501.Stravinsky, Igor, III.xx-f,128,155f,161ff.Streicher, Nanette, II. 142.Streicher, Theodor, III.268.Strepponi, Giuseppina, II. 485.Striggio, Alessandro, I. 276f.String instruments (primitive), I. 28;(exotic), I. 53f;(Assyrian), I. 65f, 68f;(Greek), I. 122ff;(mediæval), I. 211;(modern), II. 335, 338, 339, 340, 342.See also Double bass; Harp; Lute; Organistrum; Rotta; Viol; Viola; Violin; Violoncello.String quartet, I. xii;II. 69ff;(Haydn), II. 97;(Mozart), II. 114;(Beethoven), II. 165, 167, 170;(Schubert), II. 328f;(Spohr), II. 329f;(Brahms), II. 467;(Verdi), II. 498.Stumpff, Karl, II. 132.Stuttgart, II. 12, 78.Styles (differentiation of), I. lviii;(conflict of, in classic period), II. 51, 62.Subjectivity. See Personal expression.Subjects. See Themes.Suite (the), I. xiii-f, 369ff;II. 52, 54;(Bach), I. 472, 474f, 489;(modern orchestral), III.7;(modern), III.234.Suk, Joseph, III.182f.Suk, Vása, III.181.Sullivan, [Sir] Arthur, III.ix,91,415f.Sully-Prudhomme, III.293.'Sumer is icumen in,' I. 237.Suppé, Franz von, III.22.Suspension, I. xlvii.Süssmayr, François Xaver, II. 125.Svendsen, Johann, III.xv,88.Sweden (political aspects), III.61ff;(folk-music), III.65,79;(modern composers), III.79ff.Sweelinck, Peter, I. 358ff.Switzerland (Reformation), I. 294.Symbolism, III.229ff,351,361.See also Impressionism.Symbolist poets, influence of, on modern French music, III.321.Symonds, John Addington, quoted, I. 64, 188, 258ff, 268.Symons, Arthur, quoted, II. 153, 159, 160, 169.Symphonic form (modern), III.203f;(applied to song), III.260.See Symphony.Symphonic poem (the), II. 361ff, 390, 475;III.204,223,228,428.Symphony (the), I. xv-ff;II. 65ff, 126f;(Haydn), II. 93ff;(Mozart), II. 115ff;(Beethoven), II. 165, 166, 170f, 173, 174;(Schubert), II. 344f;(romanticists), II. 345ff;(Brahms), II. 456, 466, 468;(Franck), II. 472;(modern evolution), III.204,221,227ff,329;(choreographic), III.340;(modern Italian), III.387.See also Sinfonia; also Overture.Sympson, Christopher, I. 367.Syncopation, I. xlvii;II. 462.See also Ragtime.Swieten, Baron van, II. 91.Szendi, A., III.197.