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THE ORGAN AT HAARLEM.

THE

HISTORY OF MUSICA HANDBOOK AND GUIDE FOR STUDENTS

BY

WALDO SELDEN PRATTPROFESSOR OF MUSIC AND HYMNQLOGY IN HARTFORD THEOLOGICAL SEMINARY LECTURER ON MUSIC HISTORY AT THE INSTITUTE OF MUSICAL ART AUTHOR OF "MUSICAL MINISTRIES IN THE CHURCH"

NEW YORKG.

SCHIRMER,

3

EAST 43D STREET

COPYRIGHT,G.

1907,

BY

SCHIRMER

PREFATORY NOTETHEpresent bookis

the outgrowth of a fragmentary syllabusin 1897.It is

for classes that

was issued

meant

to

be distinctly

a book of reference for students rather than a literary or criti cal survey of a few salient aspects of the subject, or a specialist's report of original research. Aiming at a certain degree of it brings together facts and conclusions encyclopaedic fullness, from a great variety of sources. Much labor has been expended

grouping the material in such a way as to give a systematic In many cases some impression of the enormous field in view. what full lists and summaries of details are given, partly toin

provide means for easy reference, partly to suggest how multi farious are the facts, and sometimes to indicate upon what sortof data are based the general statements that are offered. At an effort is made to emphasize the leading tenden every point

movements of musical advance, referring to particular and composers as illustrations. styles It was originally intended to include fairly exhaustive bib liographies, and a great amount of material was collected butcies or;

the magnitude of this branch of the subject precluded its In connection with each period presentation in this volume.in the history, however, a brief statement is made concerning the musical literature of the time, but without any attempt at

completeness. This is not in any sense a history of instruments, but some hints are given of the range and interest of the topic, both by

The

statements in the text and by illustrations of selected specimens. latter are drawn from the well-known collections of the

Museum in New York and of the University of Michigan at Ann Arbor, to the custodians of which the hearti est thanks are due for multiplied courtesies.Metropolitan7

6

01 661 G

8

PREFATORY NOTE

In arranging the material for presentation, specially helpful suggestions have been derived from Prosniz' "Compendium der

and Riemann's "Geschichte der Musik seit Musikgeschichte Beethoven/' For the statistical facts recourse has been had to a variety of authorities, chief of which is the colossal " QuellenLexikon der Musiker"

"

of Eitner.is

Every acknowledgment

also

made

of the liberality of the

publishers in making the book rich and attractive, and for the invaluable assistance of the several advisers whose criticisms

have been helpful in bringing the text into its final shape. In a work of this character the number of names and datesnecessarily great, and, in spite of

is

be avoided.received.

The

every effort, errors can hardly indication of such errors will be gratefully

For the help of students and classes, a small manual, Class Notes in Music History" (32 pp.), is issued by the publishers of this work, giving condensed summaries of important topics from about 1500, with, numerous references to standard general treatises andbiographies.

"

CONTENTSINTRODUCTIONPAGE

THE HISTORY OF Music

IN

GENERAL

17

PARTCHAPTERI.

I.

UNCIVILIZED AND ANCIENT MUSIC25

PRIMITIVE OR SAVAGE MusicSEMI-CIVILIZED Music

II.

32

III.

GREEK AND ROMAN Music

-56377 93

PARTIV,

II.

MEDIAEVAL MUSIC

V.VI.

THE RISE OF CHRISTIAN Music POLYPHONY AND SECULAR SONG THE FIFTEENTH CENTURY

PARTVII.VIII.

III.

THE VENETIAN

THE SIXTEENTH CENTURY AND ROMAN SCHOOLS .... .

.

in147

IX.

CHURCH Music IN NORTHERN AND WESTERN EUROPE SECULAR Music. INSTRUMENTS. THEORY..

.

.128.

.

PARTX.XI.XII.XIII.

IV.

THE SEVENTEENTH CENTURY165

XIV.

THE EARLY MUSICAL DRAMA THE EXPANSION OF DRAMATIC Music PROGRESS IN CHURCH Music THE ORGAN STYLE THE VIOLIN. MUSICAL LITERATURE

180

194

214229

PARTXV.XVI.

V.

THE EARLY EIGHTEENTH CENTURY249

CHURCH Music IN BACH^ TIME THE CULMINATION OF THE EARLY9

ITALIAN OPERA

.

.

273

IOCHAPTER

CONTENTSfrAGB

XVII.XVIII.

INSTRUMENTS AND INSTRUMENTALISTS

.

.

.

-297.

FORMS OF COMPOSITION.VI.

THEORY.

LITERATURE

.

315

PARTXIX.

THE LATER EIGHTEENTH CENTURYTHE SONATA AND THE ORCHESTRA..

HAYDN.

.

.335355

XX.XXI.XXII.XXIII.

GLUCK AND THE DRAMATIC REFORM

.

.

MOZART AND THE EXALTATION OF MELODY

.

.

.371.

THE

RISE OF PIANISM.

SACRED Music

.

.

.

385

THEORETICAL AND LITERARY PROGRESS

.

.

.

.400

PARTXXIV.

VII.

THE EARLY NINETEENTH CENTURY

THE ADVENT OF BEETHOVEN XXV. THE ROMANTIC OPERA AND THE SONGITALIAN AND FRENCH OPERA

....

.411424438

XXVI.XXVII.XXVIII.

INSTRUMENTAL VIRTUOSITY

457

CHURCH AND ORGAN Music

479 490

XXIX.

GROWTH OF MUSICAL LITERATURE

PART

VIII.

THE MIDDLE NINETEENTH CENTURY501.

XXX. SCHUMANN AND ROMANTICBSMXXXI.XXXII.XXXIII.

MENDELSSOHN AND THE UJJPSIC CIRCLE

5^55 29

NEW

LIGHTS UPON PIANISM

XXXIV.

THE OPERA ASIDE FROM WAGNER WAGNER AND THE RECONSTRUCTION OF THE OPERASYMPHONISTS AND INSTRUMENTALISTS

.....

546562

XXXV.XXXVI. XXXVII.

5805996r 7

CHORAL Music.

THE SONG. THE ENGLISH SCHOOL MUSICAL EDUCATION AND LITERATURE

CONCLUSIONBRIEF SKETCH OF THE LATER NINETEENTH CENTURY635

INDEX OF SUBJECTS AND PLACES INDEX OF PERSONS

657664

ILLUSTRATIONSThe OrganFIGURE1.

at

Haarlem

FrontispiecePAGE

Alaskan Stone Flute

28 28 28

2. 3.

Arab PanVPipe or SyrinxAfrican Zanzes

4.5.

MiscellaneousAfrican

Drums Marimba

28 28

6.7. 8.

Primitive Harps and Zithers Chinese Pipas or Japanese Biwas

9.

Chinese Moon-Guitar or Yue-kin Chinese Ur-heen or Japanese Kokiu

30 34 34

10.

Japanese Samisen 11. Chinese Temple Gong 12. Chinese Cheng and Japanese Sho 13. Japanese Kotos14.15.1

34 3435

35

6.

17.

18.

Hindu Vina Hindu Sitars Hindu Sarindas Hindu Sarungi Burmese Soung

36 383$ 38

or Sarungis

39 39 4 40 4041 42

Javanese Anklong Burmese or Javanese Gong-Piano 21. Burmese or Siamese Crocodile Harp 22. Chinese and Siamese Ranats19. 20.

23. 24.25.

Arab Kemangehs Arab Kissars or Lyres Arab Kanoon or ZitherPersian Guitar

424243

26. 27. 28.29.

Arab KebabsPersian Santir or DulcimerPersian Guitar or Lute

31.

Persian Antelope Harps Egyptian Shoulder Harp or Buni 32. Egyptian Harp and Harpist 33. Egyptian Harp or Buni30..

44 44 44 4448

484^ii

12

ILLUSTRATIONS

ILLUSTRATIONSFIGURE

13PAGE

Recorders or Flutes Douces and Flutes a Bee 79. Recorders78.

298298;

80. 81.

Flutes and Piccolo

298

Serpent

300308

82.83.

German ClavichordItalian

Harpsichord 84. Clavichord and Harpsichord Actions85. 86.

Cristofori Pianoforte

308 308 310310

Cristofori Pianoforte1

Baryton (large Viola d Amore) 88. Cors Anglais or English Horns'87.