A Popular History of the Art of Music | Page 2

as He Appeared on the Street 314
Beethoven Autograph 315
Facsimile Title Page Mss. Beethoven 318
Gluck 329
Gr��try 340
Boieldieu 343
Purcell 350
J.L. Dussek 358
Hummel 362
Moscheles 363
Schubert 390
Spinet, 1590 393
Ornamentation of Same 394
Another View of the Same 395
Mozart's Grand Piano 396
Cristofori's Design of Action 397
His Action as Made in 1726 398
��rard Grand Action 399
Steinway Iron Frame and Over-stringing 400
Carl Maria von Weber 407
Meyerbeer 412
Richard Wagner 417
Mme. Schr?der-Devrient 420
Paganini 430
Paganini in Concert (Landseer) 431
Chopin 442
Liszt 452, 453
Hauptmann 460
Mendelssohn 462
Schumann 476
Rossini 480
Verdi 484
Auber 489
Gade 498
Sterndale-Bennett 502
Rubinstein 506

CONTENTS.
PAGE.
LIST OF ILLUSTRATIONS 4
CHRONOLOGICAL CHART OF GREATEST COMPOSERS 11
CHRONOLOGICAL CHART OF ITALIAN COMPOSERS 12
CHRONOLOGICAL CHART OF PRINCIPAL GERMAN COMPOSERS 13
CHRONOLOGICAL CHART OF PIANISTS AND COMPOSERS FOR PIANO 14
INTRODUCTION 15-23
Music defined--general idea of musical progress--conditions of fine art--qualities of satisfactory art-forms--periods in musical history--difference between ancient and modern music.
BOOK FIRST--MUSIC OF THE ANCIENT WORLD.
CHAPTER I
--MUSIC AMONG THE ANCIENT EGYPTIANS 27-39
Sources of information--antiquity of their development--instruments--uses of music--their ideas about music and education--"Song of the Harper"--kindergarten.
CHAPTER II
--MUSIC AMONG THE HEBREWS AND ASSYRIANS 40-47
Music among the Hebrews--Jubal--kinnor--ugabh--musicians in the temple service--psaltery--flute--larger harp--Miriam--liturgy of the temple--musical ideal in Hebrew mind--music among the Assyrians--types of instruments.
CHAPTER III
--MUSIC AMONG THE ANCIENT GREEKS 48-69
Importance of this development--extent of the time--date of Homeric poems--epoch of ?schylus--extracts from Homer--Hesiod--patriotic applications of music--choral song--festivals--lyric drama--d��but of ?schylus, Sophocles and Euripides--nature of the classic drama--orchestic--Socrates--Aristoxenus--problems of Aristotle--Greek theory of music--Pythagoras and ratios of simple consonances--devotional use of music--Greek scales--Claudius Ptolemy--Didymus--the lyre and cithara--magadis--flute--?sthetic importance--Plato on the noble harmonies--loyalty to the true--Greek musical alphabet--notation--Ode from Pindar.
CHAPTER IV
--MUSIC IN INDIA, CHINA AND JAPAN 70-77
Early beginning--use of the bow--national instruments--the vina--theory--ravanastron--music exclusively melodic--saying of the Emperor Tschun--the ke--Japanese ko-ko.
BOOK SECOND--APPRENTICE PERIOD OF MODERN MUSIC
CHAPTER V
--THE TRANSFORMATION AND ITS CAUSES 81-86
General view of the transformation to modern music--causes co-operating--difference between ancient and modern music--harmony and tonality--consonance and dissonance--three steps in the development of harmonic perceptions--when were these steps taken?--tonality defined--growth of tonal perception--unconscious perception of implied or associated tones.
CHAPTER VI
--THE MINSTRELS OF THE NORTH 87-108
Importance of Celtic development of minstrelsy--origin of the Celts--the minstrel--old Breton song--the druids--classification of bards--degrees--F��tis on the Welsh minstrel--"Triads of the Isle of Britain"--old harp music--"The Two Lovers"--Gerald Barry on the Welsh--old Welsh song--the Irish--Sir Brian Boirohen's harp--English and Saxon music--King Arthur as minstrel--organ at Winchester--Scandinavian scalds--Eddas--"Sumer is Icumen in"--Anglo-Saxon harp--source of the harp in Britain--the crwth--melody in pentatonic scale.
CHAPTER VII
--THE ARABS, OR SARACENS 109-114
The Arab apparition in history--their taste for poetry--competitive contests of poetry and song--encouragement of literature--rebec--eoud; santir.
CHAPTER VIII
--ORIGIN OF THE GREAT FRENCH EPICS 115-120
Period of the Chansons de Geste--social conditions of France as given by M. L��on Gautier--"Cantilena of St. Eulalie"--subjects of the Chansons de Geste.
CHAPTER IX
--TROUBADOURS, TROUV��RES AND MINNESINGERS 121-127
The troubadours--Count Wilhelm--varieties of their songs--melody from Thibaut--Adam de la Halle--"Story of Antioch"--"Song of Roland"--minnesinger Reinmar--Heinrich Frauenlob--minstrel harps--Hans Sachs--influence of these minstrel guilds.
CHAPTER X
--INFLUENCE OF THE CHRISTIAN CHURCH 128-133
Church not influential in the development of music as such--nature of the early Christian hymns--St. Ambrose--the Ambrosian scales; corruptions elsewhere--St. Gregory and his reforms--the Gregorian tones--many later reforms--limitations of these reforms--incidental influence of the Church through her great cathedrals.
CHAPTER XI
--MUSICAL DIDACTIC FROM THE FIFTH TO FOURTEENTH CENTURY 134-147
Macrobus--Martinus Capella--Boethius--Cassiodorus--Bishop Isidore; Venerable Bede--Aurelian--R��mi of Auxerre--Hucbald--examples--instruments of music during the seventh and eighth centuries--Odon of Cluny--Guido of Arezzo--staff--Franco of Cologne--Franco of Paris.
CHAPTER XII
--THE RISE OF POLYPHONY; OLD FRENCH AND GALLO-BELGIC SCHOOLS 148-159
Origin and meaning of polyphony--monodic and homophonic--canonic imitation--chords as incidents--variety and unity--early French school--Coussemaker's researches--L��onin--descant--P��rotin--names of pieces--Robert of Sabillon--Pierre de la Croix--Jean of Garland--Franco of Paris--Jean de Muris--fleurettes--John Cotton--Machaut--Gallo-Belgic school--Dufay--Hans de Zeelandia--Antoine de Busnois.
CHAPTER XIII
--SCHOOLS OF THE NETHERLANDS 160-167
Wealth of the Low Countries--freedom of the communes--strength of the burgher class--period of these schools--table of periods and masters--Okeghem--Tinctor--Josquin--his popularity--Arkadelt; Gombert--Willaert--Goudimel--Cypriano de Rore--Orlando de Lassus--his Munich school--his genius.
CHAPTER XIV
--POLYPHONIC SCHOOLS OF ITALY--PALESTRINA 168-178
Prosperity of Italy in fifteenth century--great cathedrals and public works--conservatories founded at Naples--Willaert at St. Mark's, Venice--Zarlino--his reforms in theory--Cypriano de Rore--Goudimel; Palestrina--the council of Trent--Palestrina's music--Martin Luther.
CHAPTER XV
--CHANGES IN MUSICAL NOTATION 179-188
General direction of musical progress toward classification and the establishment of unities of various kinds--early letter notation of the Greeks and Romans--Roman notation as used by Guido of Arezzo--neum?--with lines--additional lines--"Lament for Charlemagne"--notation employed by the French Trouv��res--clefs--new staff proposed by an American reformer.
CHAPTER XVI
--MUSICAL INSTRUMENTS--THE VIOLIN AND ORGAN 189-207
Progress in tonal perceptions--influence of harp and lute--description of the latter--system of stringing--locating the frets--the violin--bow discovered in India--early forms of bowed instruments--rebec; barytone--viol da Gamba--Amati--Stradivari--peculiarities of his instruments--Maggini--Stainer--antiquity of the organ--early forms--organ sent Charlemagne--organs at Munich--Malmesbury Abbey--measure of organ pipes--portable organ--clumsiness of the old keyboards--the organ in 1500 A.D.
BOOK THIRD--THE DAWN OF MODERN MUSIC.
CHAPTER XVII
--CONDITION OF MUSIC AT BEGINNING OF EIGHTEENTH CENTURY 211-220
Justification of the name "apprentice period"--office of domestic musicians in England in the reign of Elizabeth--great fondness for music everywhere--casual influence of counterpoint in educating harmonic sense--madrigal--multiplicity of collections of this kind--absurd use of madrigals for dramatic monody--the work of the seventeenth century, free melodic expression--the new problem