Chapter XII

.

If any of our younger composers of comic opera are possessed of an artistic ideal, doubtless in nine out of ten cases it is to write an opera that shall combine the sterling worth of good music with telling popular qualities in the measure that 'Robin Hood' does it. It is too late a day to write either a description or analysis of a work every page of which is familiar to the great majority of our music-loving public. It alone, of all the successes of past years, survives in the popular affection; and it is reassuring to those who fear an ultimate total depravity of taste that his work of charming grace and color can still hold the boards. 'Robin Hood' was the third opera which de Koven wrote. It was produced in 1890 by the Bostonians. Its success was not at first marked, but it did not take long for it to find its place, and it is estimated that the work now has over three thousand performances to its credit.

De Koven in this appealing work has successfully simulated the hale and hearty style of the English ballad and the idyllic simplicity of the country dance and pastoral scene. With these qualities he has combined the richer warmth of a glowing romantic melodiousness and a graceful and lilting gaiety after methods of the Viennese and French schools. Vocally stirring and effective in both its solo parts and ensembles, colorful if not brilliant in its orchestration, 'Robin Hood' is a masterpiece of its _genre_. Withal de Koven is always natural and spontaneously straightforward--traits that have laid him open to the accusation of persistent plagiarism. Mr. de Koven does at times employ themes that suggest other works, but this is true of many another composer whose integrity is unquestioned, and there is much truth in Mr. Hughes' designation of de Koven as 'the best abused composer in America.'

Since the success of 'Robin Hood' Mr. de Koven has been in the unfortunate position of a man attempting to repeat a success along similar lines. Once only has he made any near approach to it and that in his seventh opera, 'Rob Roy' (produced in 1894). There is in this score much of the same freshness that characterizes 'Robin Hood,' and its melodies are not too reminiscent of the earlier works. The same cannot be said of many of de Koven's other operas, for in his less inspired moments the composer's heartiness becomes a rather too square pomposity and his lighter moments often descend to a banality unworthy of his best style. The following are among the other operas of de Koven, with the dates of their productions: 'The Begum' (1887), 'Don Quixote' (1889), 'The Fencing Master' (1892), 'The Knickerbockers' (1893), 'The Algerian' (1893), 'The Tsigane' (1895), 'The Mandarin' (1896), 'The Paris Doll' (1897), 'The Highwayman' (1897).

* * * * *

Victor Herbert in his comic operas has contrived to write in a vein somewhat more varied than de Koven. While he has never achieved a success to equal that of 'Robin Hood,' his operas taken as a whole exhibit a more sustained power of invention and inspiration than those of de Koven. Herbert's style is more marked by piquancy and lightness, but he is not lacking in a melodic sense both charming and natural.

Herbert's style has undergone an evolution since his entrance into the comic opera field. His earlier works, such as 'The Wizard of the Nile,' 'The Serenade,' and 'The Idol's Eye,' are very simple in structure, while in some of his later works he employs an ambitious scheme that the laity are wont to identify with 'grand' opera. Some of Herbert's later scores are: 'The Red Mill,' 'Mlle. Modiste,' 'Algeria,' and 'Sweethearts.' Mr. Herbert was born in Ireland in 1859, was musically educated in Germany, and came to America at about the age of twenty-seven as solo 'cellist to the Metropolitan Opera House. His 'Americanism' is, therefore, acquired.

John Philip Sousa's fame, as is well known, is not primarily that of an opera composer. As the 'march king' Mr. Sousa's fame is as unique as it is deserved. Sousa is of German-Spanish descent. He was born in Washington in 1859. His career has been one of rich practical experience and opportunity, leading to an engagement as the leader of the United States Marine Band. In 1892 he organized the band which bears his own name and that organization has, perhaps, a more world-wide fame than any other feature of our musical life.

Mr. Sousa has been often held up as the most representative of American composers, an estimate that is not without considerable truth. An analogy has been made between the Strauss waltzes and the Sousa marches: the latter have not perhaps so much art as the former, but they are all admirable pieces of composition, solid in harmonic structure, and stirring in their melodic directness. 'The Washington Post,' 'The Liberty Bell,' 'The High School Cadets,' and 'King Cotton' have each, in turn, inspired the land with their martial vigor, while 'The Stars and Stripes Forever' has become permanent in the people's affections, being, indeed, a national anthem more eloquent in Americanism than many of the tunes that bear the official seal as such.

Sousa has written several comic operas. One only of these, 'El Capitan,' has met with success. It contains much music of an agreeable brilliancy and gracefulness, notably one of the best examples of the composer's marches. There is lacking, however, in Sousa's music a quality very essential to the rounding out of a successful opera score. We refer to the more sensuous melodic line which lends color to the sustained portions of a work. Later operas of Sousa include: 'The Bride Elect,' 'The Charlatan,' 'Chris and the Wonderful Lamp,' and 'The Glass Blowers,' and it may be added that Mr. Sousa has made several incursions into the field of more serious music, having written a symphonic poem and several other works for orchestra.

One of the most prolific composers of American light opera was Julian Edwards (1855-1910). Mr. Edwards' list of about twenty operas includes the names of several that have had remarkable success. 'Brian Boru' and 'Dolly Varden' are more than names to many. In 1904 Mr. Edwards wrote the opera 'Love's Lottery,' which served as the vehicle whereby Mme. Schumann-Heink entered the comic opera field.

Ludwig Englander and Gustav Luders are other names endeared to American comic opera lovers. Both are of foreign birth, however. The operas of the latter include 'King Dodo,' 'Grand Mogul,' and 'The Prince of Pilsen,' all works which, though neither marked by originality nor over-refined, contained enough of musical vitality to have won a place in the public esteem.

Less known writers who have from time to time added their quota to the country's enlivening and tuneful music include: G. Thorne, whose opera, 'A Maid of Plymouth,' was one of the first in the répertoire of the Bostonians; Henry Waller, the composer of 'Olgallalas,' which was also produced by the Bostonians; Carl Pflueger, who wrote '1492,' given by the Boston Cadets, an amateur organization, in one of their excellent productions; and Barnet, whose 'Jack and the Beanstalk' was also sung at one of the Cadets' 'shows.'

Several of the more serious composers have essayed the comic opera, not always successfully. George W. Chadwick's 'Tabasco,' first produced by the Boston Cadets, had a fair success when subsequently given professionally, but Edgar Stillman-Kelley's 'Puritania' and Henry Hadley's 'Nancy Brown' were decided failures. One of the recent successes was Deems Taylor's 'The Echo,' originally written as a college 'show' but achieving a long run on New York's Broadway.

Viewed in the light of present-day conditions and compared with the class of works that constitute the large part of modern musical stage-works, most of the foregoing operas may be classed as hopelessly old-fashioned and _passé_. The decline of comic opera commenced with the ascendency of the English 'musical comedy.' There are, it is true, many works of the latter order that contain pages of music far better than what is to be found in many of the more strictly operatic works. Such works as 'Florodora' and 'The Geisha,' as well as many later ones, have had much charm and refinement. It is the tendency of these works to abolish the romantic strain of the old-fashioned opera that constitutes its baneful influence. The play and the music have become gradually more and more divorced and to-day the musical portions of such a work have little or no bearing on the action or the scene, but consist almost entirely of topical songs introduced in much the same irrelevant manner in which they are so ingeniously brought into a vaudeville 'act.' Paraphrasing Voltaire, the majority of this degenerate class is neither musical nor comic.

This is the direction followed by our lighter musical plays of most recent times. It is to be regretted that the grace and refinement that marks many of the English musical comedies is so entirely lacking in the American imitations of the same class. A note of vulgarity insinuates itself unfailingly into the bulk of our contemporaneous popular music. Flagrant examples of the ultimate type of musical play above described are those of George M. Cohan, in whose inspiration some have seen the first manifestation of the American 'genius.' The titles of some of Mr. Cohan's plays, such as 'Yankee Doodle Boy,' 'Little Johnny Jones,' and 'George Washington, Jr.,' reveal the jingoistic qualities of his inspirations. The musical numbers of these works are expressed in terms more or less Mr. Cohan's own. He has utilized 'ragtime' largely and in the rhythmical excitement of his songs lies their strongest appeal. Other authors whose works follow generally either the Americanized form of the English musical comedy or the more distinctly native form of Mr. Cohan's 'musical shows' are: Jean Schwartz, Silvio Hein, Gus Edwards, Manuel Klein, Raymond Hubbel, and Robert H. Bowers.

It is to be hoped that there will be a return to the more legitimate forms of lighter operas and that a revival of taste for the more refined forms of stage work may soon offer again to the American composer opportunities to demonstrate the very suitable field which this branch of the art offers to his talent. An optimistic observer of present conditions may see in the unqualified vulgarity of our popular music to-day only the token of a vitality which, when softened by the refining touch of the next decade, shall result in an expression of individual charm.

B. L.

LITERATURE FOR VOLUME IV

_In English_

WILLIAM F. ALLEN: Slave Songs of the United States (1867).

W. G. ARMSTRONG: A Record of Opera in Philadelphia (Phila., 1884).

RUDOLPH ARONSON: Theatrical and Musical Memories (New York, 1913; Boston, 1913).

W. J. BALTZELL: Music in American Cities (The Musician, vol. 18, No. 6, pp. 369-373; No. 9, pp. 587-590).

HENRY CLAY BARNABEE: Reminiscences of Henry Clay Barnabee; ed. by Geo. L. Varney (Boston, 1913).

FREDERICK R. BURTON: American Primitive Music (New York, 1909).

Cabin and Plantation Songs as Sung by the Hampton Students (New York, 1874).

LOUIS C. ELSON: The National Music of America and Its Sources (Boston, 1900).

LOUIS C. ELSON: The History of American Music (New York, 1904).

ARTHUR FARWELL: New York's Municipal Music (Review of Reviews, Vol. 44, pp. 451-458).

ARTHUR FARWELL: Folksongs of the West and South, Negro, Cowboy, and Spanish-Californian, Harmonized (Newton Center, Mass., 1905).

D. B. FISHER: The Story of New Orleans' Rise as a Music Center (In Musical America, Vol. 19, No. 19, pp. 3-5).

HENRY F. GILBERT: The American Composer (Musical Quarterly, Vol 1, pp. 169-180).

HENRY F. GILBERT: Nationalism in Music (The International, New York, Dec., 1913).

LAWRENCE GILMAN: Edward MacDowell (New York, 1909).

PHILIP H. GOEPP, ed.: Annals of Music in Philadelphia (Phila., 1896).

OCTAVIA HENSEL: Life and Letters of Louis M. Gottschalk (Boston, 1870).

History of the American Stage, 1773-1870 (New York, 1870).

RICHARD HOFFMAN: Some Musical Recollections (New York, 1910).

RUPERT HUGHES: American Composers (Boston, 1914).

J. N. IRELAND: Record of the New York Stage (New York, 1866-67).

F. O. JONES: Handbook of American Music and Musicians (Buffalo, 1887).

H. E. KREHBIEL: Indian Melodies; Interesting Experiments with Their Settings, etc.; Ojibway Songs (1902).

H. E. KREHBIEL: Afro-American Folksongs (New York, 1914).

H. E. KREHBIEL: Chapters of Opera (New York, 1909).

MAX MARETZEK: Crotchets and Quavers (New York, 1855).

J. B. T. MARSH: The Story of the Jubilee Singers with their Songs (Boston, 1880).

LOWELL MASON: Musical Letters from Abroad (New York, 1854).

WILLIAM MASON: Memories of a Musical Life (New York, 1901).

W. S. B. MATTHEWS: A Hundred Years of Music in America (Chicago, 1889).

MUSICAL COURIER (Vol. 37, No. 1, pp. 27-29): Musical Statistics of San Francisco from 1849-1898.

MUSICAL COURIER (Vol. 47, No. 10, p. 8): The French Opera in New Orleans.

L. O'CONNELL: Music in Mayflower Days (The Musician, Vol. 11, No. 9, p. 435).

J. L. ONDERDONCK: Colonial Patriotism in Song (Amer. Hist. Register, Vol. 3, pp. 472-80, 1896).

C. C. PERKINS and J. S. DWIGHT: History of the Handel and Haydn Society of Boston (Boston, 1883-93).

FREDERIC LOUIS RITTER: Music in America (New York, 1883).

THOMAS RYAN: Recollections of an Old Musician (New York, 1883).

T. F. SEWARD: The Story of the Jubilee Singers with Their Songs (London, 1897).

O. G. SONNECK: Early Concert Life in America (Leipzig, 1907).

O. G. SONNECK: Early Opera in America (New York, 1915).

O. G. SONNECK: Francis Hopkinson and James Lyon (Washington, D. C.).

O. G. SONNECK: Report on 'The Star-Spangled Banner,' 'Hail Columbia,' 'Yankee Doodle' (Washington, D. C., 1909).

VANCE THOMPSON: The Life of Ethelbert Nevin (Boston, 1913).

JULIEN TIERSOT: Folk Music of Canada and the United States (New York).

CHARLEY WHITE: Negro Minstrelsy's Origin (Diary of the late Charley White, N. Y. Sun, April 20, 1902).

_In German_

ALBERT FRIEDENTHAL: Musik, Tanz und Dichtung bei den Kreolen Amerika's (Berlin, 1913).

J. C. GRIGGS: Studien über die Musik in Amerika (Leipzig, 1894).

A. LASER: Musikleben in Amerika (Die Musik, Vol. 4, pp. 244-246).

E. HANSLICK: Aus dem Tagebuch eines Musikers (Berlin, 1892).

MAURICE HALPERSON: Symphonie-Musik in New York (Allgemeine Musikzeitung, Vol. 39, Nos. 32-33).

H. MOSENTHAL: Geschichte des Vereins 'Deutscher Liederkranz' in New York (New York, 1897).

_In French_

HENRI HERZ: Mes Voyages en Amérique, (1866).

JACQUES OFFENBACH: Notes d'un musicien en voyage (Paris, 1877).

JULIEN TIERSOT: La musique chez les peuples indigènes de l'Amérique (Notes d'ethnographie musicale) (Paris, 1910).

INDEX FOR VOLUME IV N. B.--_Figures in italics indicate major references._

A

Abbey, Henry E., 136f, 142f.

Abbott, Emma, 160f, 168.

à Becket, Thomas, 326.

Aborigines. See Primitive music; also Indians.

Aborn, Milton and Sargent, 155ff, 173.

Abt, Franz, quot., 309f.

Ade, George, 457.

Adgate, Andrew, 73, 87, 235.

Ainsworth, Henry, 19.

Albany (N. Y.), early concerts in, 68.

Alda, Frances, 153.

Allen, Paul, 449.

Allen, William Francis (quoted on negro music), 289, 295, 301, 304.

Alvary, Max, 140, 145, 147.

Amato, Pasquale, 153.

'America' (national anthem), 324.

American Institute of Applied Music, 255.

American Opera Company (of 1885), 140f.

Americanism. See Nationalism.

Anderson, Arthur Olaf, 400.

Andrews, Mark, 358f.

Annapolis (Md.), 80f, 108.

Anschütz, Carl, 132ff.

Anthems. See Church music.

Antognini, 125.

Appreciation (musical) in America, etc., iv-ff.

'Archers (The),' first American opera, 112.

Arditi, Luigi, 126f, 135, 171.

Aretinian Society (of Boston), 98.

Aronson, Rudolph, 144, 177f.

Arne, (Dr.) Thomas, 39, 69f.

Arnold, Maurice, 346f, 433.

Ash, Gilfert, organ-builder, 64.

Aston, Tony, 105ff.

Astor Place Opera House, 128f.

Avery, Stanley R., 400.

Ayres, Frederick, 415ff.

B

Baermann, Carl, 250.

Bailey, Daniel, 29ff.

Bailey, William, 29.

Baker, Benjamin F., 222.

Balfe's 'Bohemian Girl,' in New York, 126.

Ballad opera in America, 104ff. See also English opera.

Ballantine, Edward, 442.

Baltimore, early musical activities in, 41f, 81f, 87, 101, 234.

Bangor (Me.), music festivals, 223.

Banjo, primitive and modern, 296.

Bardin, Edward, 65.

Barnabee, Henry Clay, 175, 177.

Barrère, Georges, 205.

Barrère Ensemble, 205.

Bartlett, Homer N., 383f.

Battell, Robbins, 224.

'Battle Hymn of the Republic,' 329.

Bauer, Clara, 250f.

Beach, John, 390f.

Beach, [Mrs.] H. H. A., 342.

Beale, Frederick Fleming, 401.

Beethoven, in early American concerts, 95, 97; influence of in America, 360f.

Beethoven festival (in New York), 186.

Bentley, John, 72.

Bergmann, Carl, 131f, 183, 185, 189, 203, 208, 209.

Bergh, Arthur, 391ff.

Bertucca (Signora), 128.

Berwald, W., 358f.

Bethlehem (Pa.), choral music in, 214, 233f.

Billings, William, 39, _49ff_, 61; as singing teacher, 98; original compositions of, 234f; patriotic songs of, 322.

Bird, Arthur, 402.

Bispham, David, 147.

Bliss, P. P., 245.

Bohemian Club of San Francisco, 228f, 396ff.

'Bohemian Girl' (Balfe), 126.

Bori, Lucrezia, 155.

Boston, early musical activities, 31ff, 236ff, 240ff; early public concerts, 56ff, 83; early musical societies, 98ff; early opera, 109f; opera, 172f; orchestral organizations, 188ff; chamber music in, 203f; choral societies, 206ff; music festivals, 223; 'Boston group' of composers, 335ff.

Boston Conservatory, 250.

Boston Symphony Orchestra, 190.

Bostonians (light opera troupe), 176f; their influence on comic opera, 457.

Bottesini, 127.

Boudousquie, and New Orleans opera, 161ff.

Bradbury, William B., 222, 244f.

Brahms, influence of, in America, 348, 362.

Brahms festival, 186.

Brand, Michael, 193f.

Brandt, Marianne, 138, 140.

Branscombe, Gena, 438f.

Brattle, Thomas, 19.

Bremner, James, 69, 85.

Brewer, John Hyatt, 358.

Brignoli, 132.

Bristow, George F., 334; (quoted) 182.

Broadhurst (Miss), 74f, 111.

Brockway, Howard, 382f.

Brooklyn (N. Y.), choral societies of, 213.

Brooklyn Philharmonic Society, 185.

Brounoff, Platon, 450.

Brown, A. L., quoted, 102.

Brown, William, 66f, 72.

Buck, Dudley, 345f.

Bull, Ole, in America, 130f.

Bullard, Frederick Field, 353.

Bunyan, John, quoted, 12.

Burleigh, Cecil, 401.

Burleigh, Harry, 443.

Burrian, Carl, 155.

Burton, Frederick R., 347.

Busch, Carl, 394f.

Byrd, William, 4.

C

Cable, George W., 307f.

Cadman, Charles Wakefield, 425ff.

Calvé, Emma, 144, 146, 151.

Campanari, Giuseppe, 147.

Campanini, Cleofonte (opera conductor), 152f, 171f.

Campanini, Italo, 133, 135f, 141.

Campbell-Tipton, 422ff.

Canada, conservatories of, 259ff.

Canadian folk-song, 313.

Capron, Henri, 66, 72.

Caradori-Allan (Mme.), 124.

Carey, Henry, 324.

'Carmen,' in New York, 135, 155.

Carnegie, Andrew, 211.

Carnegie Hall (New York), 211.

Carpenter, John Alden, 427f.

Carr, Benjamin, 112.

Carroll, Marcus H., 354.

Caruso, Enrico, 149, 155.

Casino Theatre (New York), 177f.

Catholic Church. See Church music; also Palestrina.

Cavalieri, Lina, 151, 153.

'Cavalleria Rusticana' (Mascagni), in New York, 143.

Century Opera Company (New York), 155ff.

Chadwick, George W., 248f, 311, _337f_, 357, 462.

Chamber music ensembles, in the United States, 201ff.

Chappell, on music in the 17th century, 6.

Charleston (S. C.), early concerts in, 9, 40ff, _76ff_, 83; early musical societies of, 86f; early opera, 106, 108, 111.

Cheney, Moses E., 244.

Chicago, opera in, 169ff; orchestral organizations of, 191ff; chamber music organizations in, 205; choral societies of, 216f; musical conventions in, 222, 244; music festivals in, 223.

Chicago Conservatory, 254f.

Chicago Musical College, 253f.

Chicago-Philadelphia Opera Company, 169, 171f.

Chittenden, Kate S., 255.

Chopin, influence of, in America, 361, 419f.

Choral music, in early Boston, 60, 73, 88; in Bethlehem (Pa.), 214, 233f.

Choral societies, community choruses, xix; early American, 84ff; American, 206ff. See also German choral societies.

Christy, Edwin T. (negro minstrel), 316ff.

Church music, in America, x; in early New England, 13ff; early American, 45, 231ff, 332f; (influence of) 345; early Philadelphia institution for, 87f; American composers of, 355ff. See also Sacred Music.

Church music, Institution for the Encouragement of, 73.

Cincinnati, choral societies, 214ff; music festival, 222f; opera in, 173f; orchestral organizations of, 193f.

Cincinnati College of Music, 254.

Cincinnati Conservatory, 247, 250f.

Clapp, Philip Greeley, 390.

Classic composers, American, 331ff, 360ff, 407ff.

Claxton, Philander D., 242f.

Cleveland Conservatory, 253.

Clifton, Chalmers, 442.

Clough-Leighter, Henry, 436f.

Coerne, Louis Adolphe, 343.

Cohan, George M., 463.

Coini, Jacques, 157.

Cole, Rossetter G., 384.

College of Music of Cincinnati, 193.

Colleges (American), musical courses in, 261ff.

Colleges, musical. See Conservatories.

'Columbia, the Gem of the Ocean,' 326.

Columbia Anacreontic Society, 90f.

Columbia University, music department of, 267f.

Comer, Thomas, 188.

Comic opera, in America, 174ff; American, 456ff.

Commercialism in music in America, xvi.

Community drama. See Pageants.

Composition, courses in. See Colleges (American), musical courses in; also Conservatories.

Concerts, (early American) 31, 33ff; compared to European, in 18th cent., 83, _55ff_, _84ff_; (municipal) xviii-f; (symphony, at popular prices), xix; (free public) 273ff. See also Musical organizations.

Concordia Society (of New York), 97.

Congregational singing in early New England, 15ff.

Conried, Heinrich, 149ff.

Conservatories, American, vii-f, _246ff_. See also Canada; also specific names.

Convention, musical, 244. See also Music festivals.

Converse, C. C., 357.

Converse, Frederick S., 154, 227, _377ff_.

Cook, Will Marion, 443f.

Coombs, C. W., 355.

'Coon song,' 454f.

Corre, Joseph, 67.

Cotton, John, cited, 17, 20f.

Counterpoint (Billings quoted on), 51.

Cowboy songs, 311f.

Creoles, music and dances of, 304ff.

Cromwell, Oliver, cited, 13.

D

Damrosch, Frank, 187, 211, 212, 213, 256ff; quoted on American conservatories, 246.

Damrosch, Leopold, 138f, 183, 185, 210.

Damrosch, Walter, 140, 142ff, 184ff, 211; quoted, 382; as composer, 395.

Dance songs, in 'popular' music, 455f.

Dances, of negroes, 304f.

Daniels, Mabel, 403.

Dartmouth College, early musical society in, 101f, 238f.

Davis, John, 115, 161.

Davis, T. Kemper, cited, 242.

Deblois, Stephen, 57f.

de Koven, Reginald, 353, _458ff_.

Debussy, influence of, in America, xiii; works of, introduced in America, 186.

Delacroix, Joseph, 66f.

Demarest, Clifford, 358f.

Democracy and American music, xvii.

Denver (Colo.), orchestra in, 199.

Destinn, Emmy, 153.

Dillon, Fannie, 405.

Dippel, Andreas, 147, 152ff, 154, 171f, 179.

Dipper, Thomas, 57f.

'Dixie,' 318, 327f.

Dixon, George Washington (negro minstrel), 318.

Dowland, John, 4.

Drama. See Comic Opera; Musical Comedy; Opera; Theatre.

Drum, as used by negroes, 297.

Dunlap, William, 112; on early American opera, 111f; librettist of first American opera, 112.

Dunn, James Philip, 440.

Dvořák, Antonin, 184, 256; on American music, xii, 332; on negro folk-song, 310.

Dwight, J. S., quoted, 100, 238.

Dwight's Journal of Music, 238.

E

Eames, Emma, 143, 147.

Eccles, Solomon, cit., 13f.

Education, musical. See Musical Education.

Edwards, Julian, 461.

Eichberg, Julius, 250, 457.

Eichheim, Henry, 447.

Eisfeld, Theodore, 203.

Eliot, John, cit., 16, 19ff.

Elizabeth (Queen), cit., 5.

Elkus, Arthur, 400.

Elson, Louis C., on early American music, 2, 32; cited, 97; quoted, 99; on American patriotic songs, 320, 324.

Emery, Stephen, 334.

Emmett, Daniel D. (negro minstrel), 316, 318; composer of 'Dixie,' 327f.

Engel, Carl, 446f.

England (music and customs), in 17th cent., 3ff; opera in, during 17th-18th cent., 106f; pageants in, 226, 228; church music in, 356; comic opera in, 457.

Englander, Ludwig, 461f.

English influence, (on early German music) 4f; (on early American musical societies) 90f; (on music in early Boston) 236f; (on early American music) 284.

English language, opera in. See Opera in English. See also Comic opera.

English musical comedy. See Musical comedy, English.

English opera, in early America, 36f, 107ff, 112; in 17th-18th cent., 106ff; decline of, in New York, in early 19th cent., 117; revival of, 119ff, 123ff.

Enstone, Edward, 24f.

Erskine, Thomas Alexander, 70.

Essex Musical Association, 101.

Esterley, George, 75.

Europe, concert life of, during 18th century, 83.

European influence, on American composition, 284, 331ff.

European universities, musical courses in, 264.

Euterpean Society, of early New York, 89ff.

F

Faelten, Carl, 248.

Fairchild, Blair, 432f.

Farrar, Geraldine, 151, 155.

Farwell, Arthur, 226f, 310, _410ff_; on municipal music, 273ff.

Fay, C. N., 191.

Felsted, Samuel, 61.

Festivals, musical. See Music festivals.

Fickenscher, Arthur, 450.

Finck, Henry T., cited, 353, 368.

Finden, Amy Woodforde, 406.

Fischer, Emil, 140, 145, 147.

Fisk University, Jubilee Singers of, 308ff.

Flagg, Joseph, 29, 45.

Flagg, Josiah, 59.

Flagler, H. H., 186.

Flonzaley Quartet, 204f.

Floridia, Pietro, 188.

Florio, Caryl, 358f.

Foerster, Adolph M., 196; quoted 197.

Folk-song (in America), vi-f, xi-ff, _277ff_, 451f. See also Cowboy songs; Negro folk-song; Indians; Canadian folk-songs; Spanish-American folk-songs; 'Popular' music.

Foote, Arthur, 338ff, 357.

Forrage, Stephen, 70.

Foster, Stephen Collins, 286, _318ff_, 452; (influence of) 416.

Francis, Samuel, 65.

Franklin, Benjamin, 29, 70.

Fredericksburg, early musical life of, 82, 87.

Free concerts. See Concerts.

Freer, Eleanor Everest, 404.

Fremstad, Olive, 149.

French influence, on music in America, xiii-f, 74, 79, 81; on negro music, 304ff; on modern American music, 407, 409, 414, 416, 427, 437f, 441, 444, 446ff.

French opera, in early America, 104, 110f, 114ff, 126; in (modern) New York, 152, 154, 178f; in New Orleans, 161ff; in Philadelphia, 168.

French-Canadian folk-song, 313.

Friedenthal, Albert, cited, 305.

Frieze, Henry S., 268.

Fry, D. H., quoted, 130.

Fry, E. R., 128.

Fry, William H. (opera composer), 132, 167f, _333f_.

Funeral songs, of negroes, 302f.

Futurism, 440, 442.

G

Gadski, Johanna, 145, 147.

Gale, Clement R., 357.

García, Manuel (in New York), 118f.

Garden, Mary, 152.

Gatti-Casazza, Giulio, 152ff.

Gaynor, Jessie, 355.

Georgia, early concerts in, 82.

Gericke, William, 190f.

German choral societies, (in New York) 209f; in the west, 215f; (general) 218. See also German musical societies.

German influence on American music, x-ff, 22, 215f, 233f, 243ff, 360ff, 369; (modern) 420, 422, 435f, 440f, 449; in early Boston, 236.

German musical societies, in early New York, 97.

German opera, in New York, 131ff; in the United States, 159ff.

Germania orchestra (Boston), 188f.

Gerster, Etelka, 137, 160.

Gerville-Réache, Jeanne, 152.

Getty, Alice, 406.

Gibbons, Orlando, 4.

Gilbert, Henry F., 311, _408ff_; quot. on racial influence, 278.

Gilchrist, W. W., 357.

Gilibert, Charles, 148, 152.

Gilman, Lawrence, cited, 366, 368.

Gleason, Frederic Grant, 346.

Gluck, works of, in early American concerts, 62, 79, 80.

Goldmark, Rubin, 381.

Goodrich, Wallace, 208.

Goritz, Otto, 149.

Gottschalk, Louis Moreau, 307, _334f_.

Gould, Nathaniel D., 242.

Gounod, influence of, on American church music, 356.

Grant, James Augustus, 298.

Grattan (Mrs.), 73.

Grau, Maurice, 142ff, 149, 175, 177.

Graupner, Gottlieb, 100, 207, 236.

Green, Joseph, quoted, 19.

Grétry, works of, in early American concerts, 62, 79, 81.

Griffes, Charles T., 442.

Grunn, J. Homer, 401.

Gualdo, Giovanni, 70.

H

Hackett, Karleton, cited, 169.

Hadley, Henry, 375ff, 462.

Hague, Eleanor, quoted, 312f.

'Hail Columbia' (national song), 324f.

Hale, Philip, on Toronto Choir, 219f; cited, 390.

Hamerick, Asger, in America, 247.

Hamilton, Edward, 222.

Hammerstein, Oscar, 144, 151ff, 169, 179.

Hammond, William G., 355.

Hanby, B. R., 318.

Handel, works of, in early American concerts, 32ff, 37ff, 58ff, 62, 64ff, 70, 72f, 77, 80, 93ff.

Handel and Haydn Society (of Boston), 102f, 206ff.

Handel and Haydn Society (of early New York), 96.

Harris, Augustus, quoted, 146.

Harris, Charles K., 454.

Harris, Victor, 355.

Hartford, early concerts in, 62f.

Harvard University (music department of), 237f, 263.

Harvard Musical Association, 189, 203, 237f.

Haskell, M. A., quoted, 299.

Hattstaedt, John J., 254f.

Hawley, Charles B., 355.

Haydn, works of, in early American concerts, 38f, 41, 62f, 66f, 72f, 75, 80f, 96f.

Hearn, Lafcadio, cited, 299, 306.

Hebrew, operas in, 160.

Heckscher, Celeste, 404.

Hempel, Frieda, 155.

Henderson, W. J., cited, 144; quoted, 186.

Hendricks, Francis, 442.

Henius, Joseph, 393.

Hensel, Heinrich, 155.

Henschel, George, in America, 190.

Herbert, Victor, 154ff, 197, _447f_, _460_.

Herbert-Förster, 141.

Hertz, Alfred, 149, 153.

Hess, Willy, 204.

Heyman, Katherine Ruth, 406.

Higginson, Henry L., 190.

Higginson, Thomas Wentworth, quoted, IV. 303.

Hill, Edward Burlingame, 388ff.

Hill, Uriah C., 181, 183, 202.

Hodgkinson, Francis, 111.

Hodgkinson, John, 90.

Holden, Oliver, works of, IV. 52-53.

Holyoke, Samuel, 52f.

Homer, Louise, 148.

Homer, Sidney, 435f.

Hone, Philip, 122.

Hopekirk, Helen, 405.

Hopkinson, Francis, _46ff_, 69, 71, 85.

Hopkinson, Joseph, on origin of 'Hail Columbia,' 324f.

Howland, William Legrand, 396.

Hughes, Rupert, cited, 337, 342, 353, 405, 433f, 459.

Huhn, Bruno, 355.

Hull, Alexander, 440f.

Humiston, W. H., 311, _430f_.

Huss, Henry Holden, 348f.

Hutchinson (Colonel), cited, 13.

Hymnology, American, x, 332f. See also Church music; Psalmody.

I

Ide, Chester, works of, 400.

Incas. See Peruvians.

Indians (American), primitive music of, 281; (in American music) xi-ff, 2f; (used by American composers) 365, 394f, 410ff, 417, 424ff, 434, 443, 448. See also Primitive Music in General Index (Vol. XII).

'Indian' song, in 'popular' music, 455.

Indian Suite (MacDowell), 366f.

[d']Indy, cited, 429.

Institute of Musical Art (New York), 256ff.

Instrumental music, forbidden by Puritans, 18f; beginnings of, in New England, 24ff, 32ff. See also Concerts, Orchestral organizations, Chamber music ensembles.

Instruments (primitive), of negroes, 296.

Irish influence on music in America, 22.

'Irish' song, in 'popular' music, 455.

Isaacs, Lewis M., 442.

Italian influence on music in America, xi.

Italian opera in early America, 104, 110; in New York City, 117ff; in the U. S., 158ff.

Italian Symphony Orchestra (New York), 188.

J

Jacchia, Agide, 157.

Jackson, L. J., 263f.

Jadlowker, Hermann, 155.

James, Philip, 358f.

Johns, Clayton, 353.

Johnson, [Dr.] Samuel (quoted), 202.

Jones, Darius E., 242.

Jones, John, 65.

Jordan, Eben D., 172, 249.

Jörn, Carl, 153.

Journet, Marcel, 148f.

K

Kahn, Otto H., 155f.

Kansas City (orchestra in), 199.

Kaun, Hugo, 449.

Kelley, Edgar Stillman. See Stillman-Kelley.

Kellogg, Clara Louise, 159.

Kelly, Earl of. See Erskine, Thomas Alexander.

Kentucky mountaineers, folk-songs of, 313f.

Kernochan, Marshall, 437.

Key, Francis Scott, 325f.

Kimball, Jacob (Jr.), 52f.

Kneisel Quartet, 204.

Knoch, Ernst, 157.

Koemmenich, Louis, 212.

Korn, Clara A., 405.

Kramer, A. Walter, 441f.

Krehbiel, H. E., on opera in early America, 104; cited, 128, 146, 457; on folk-songs, 283, 285, 288ff, 305f, 316ff.

Kreider, Noble, 419f.

Kriens, Christian, 401.

Kroeger, E. R., 311, _379f_.

Kunwald, Ernst, 195.

Kurt, Melanie, 155.

L

La Forge, Frank, 354f.

Labor songs of negroes, 298.

Lambord, Benjamin, 420ff.

Lambord Choral Society, 213.

Lang, Henry, 400.

Lang, Margaret Ruthven, 343.

Langdon, William Chauncey, 226ff.

Law, Andrew, 52f.

Lehmann, Lilli, 140, 142f, 147.

Light opera. See Comic opera.

Lipkowska, Lydia, 155.

Liszt, influence of, in America, 362.

Litchfield County Choral Union, 223ff.

Loeb, James, 257.

Loeffler, Charles Martin, 444ff.

Longy Club of Boston, 204f.

Loomis, Harvey Worthington, 413ff.

Los Angeles (Cal.), opera in, 173f.

Love, Charles, 64.

Love songs of negroes, 299, 306f.

Luders, Gustav, 461f.

Lund, John, 139.

Lutkin, P. C., 253f.

Lyon, James, 46, 48f.

Lyricists, American. See Song-writers.

M

McCormack, John, 153.

McCoy, William J., 396f.

MacDowell, Edward, 225, 267, 281, _362ff_.

MacDowell Chorus (New York), 213.

MacDowell Festival (Peterboro, N. H.), 225f.

MacDowell Memorial Association, 225.

Macfarlane, Will C., 357.

McGill University (Toronto), 260f.

McGuckin, Barton, 141.

McLean, John, 70.

Madrigal (in England), 5.

Maguire, Hugh, 234.

Mahler, Gustav, in America, 150f, 153, 184.

Mallet (Mr.), 62.

Manchester, Arthur L., 262.

Manhattan Opera House (New York), 144, 151ff.

Manney, Charles Fonteyn, 401.

Manning, Edward, 354.

Mapleson, James H., 135, 137f, 139, 146f, 159, 168.

'Marching through Georgia,' 329.

Maretzek, Max, 127, 128ff.

Marsh, J. B. T., quoted, 308f.

Marston, George W., 343, 357.

Martinelli, Giovanni, 155.

Martini, works of, in early American concerts, 66f, 69, 75, 79.

Maryland, early music in, 80ff.

'Maryland, My Maryland,' origin of, 327.

Marzo, Eduardo, 358.

Mascagni, Pietro, in America, 148.

Mason, Daniel Gregory, 385ff.

Mason, Lowell, 52ff, 239ff, 245f.

Mason, William, 203, _344f_.

Massachusetts Musical Society, 102.

Materna, Amalia, 138.

Mather, Cotton, cited, 19, 21.

Matzenauer, Margarete, 155.

Mearns, John, 75.

Melba, Nellie, 144, 147, 151.

Melodramatic music (first American), 90.

Mendelssohn, Felix, on music conservatories, 248.

Mendelssohn Quintet Club, 203f.

'Messiah' (Handel), early performance in New York, 65, 96.

Metcalfe, James W., 355.

Metropolitan Opera House (organization and history of), 136ff.

Mexico, folk music of, 312f.

Mildenberg, Albert, 395f.

Milton, cited, 12.

Milwaukee, choral societies of, 216.

Minneapolis, opera in, 173f.

Minneapolis Symphony Orchestra, 198.

Minstrelsy. See Negro minstrelsy.

Mittelberger, Gottlieb, cited, 68.

Modern Music Society of New York, 213, 421f, 432.

Montressor, 121.

Moodie, John W. D., cited, 290.

Moore, Mary Carr, 405.

Moravian settlement (Bethlehem, Pa.), 214, 233f.

Mordkin, Mikail (dancer), 154.

Morley, Thomas, cited, 5.

Mozart, works of, in early American concerts, 39, 66, 80, 95ff.

Muck, Karl, 191.

Municipal music, xviii-f, 272ff.

Music festivals in America, 220ff; (musical convention) 244. See also Pageants.

Music publishing, early English, 14; early American, 27ff.

Music teachers, licensing of, viii.

Music Teachers' National Association, 271.

Musical Art Society of New York, 212.

Musical Colleges. See Conservatories.

Musical comedy (English) in America, 178, 462f; (American) 463.

Musical convention. See Music festivals.

Musical Education, American, vii-viii, xv-ff, 87, _230ff_.

Musical societies. See Musical organizations.

Musical Fund Society, 93, 96f.

Musical organizations, early American, 82, _84ff_; American (instrumental), 181ff. See also Choral societies.

N

National Conservatory of Music (New York), 255f.

National Opera Company, 141.

National songs, American, 321ff.

Nationalism (in American music), vi, 277ff, 365, _407ff_.

Nationalists (school of American composers), 407ff.

Negro folk-song, 10f, _284ff_, 451; in American composition, xi-ff, 365, 409f, 413, 416, 430ff, 442ff, 450. See also 'Coon song.'

Negro minstrelsy, rise of, 314ff.

Neidlinger, W. H., 353f.

Nelson, Dora, 193, 254.

Nevin, Arthur, 424f.

Nevin, Ethelbert, 349ff.

New England, influence of, on music in America, 1-2; early music of, 11ff, 22ff; attitude of, toward music, 44f; early musical societies of, 97ff; choral societies in, 214; early music in, 232f, 236ff, 332f.

New England Conservatory (Boston), 247ff.

New Haven (Conn.), early concerts in, 62f.

New Jersey, early concerts in, 68.

New Orleans, early music in, 42; early opera in, 114ff; opera in, 161ff.

Newport (R. I.), early concerts in, 62f; St. Cæcilia Society of, 101.

New York City, public concerts, xviii; early music in, 36ff; early public concerts, _63ff_, 83; early musical societies, 88ff; opera in (early) 104, 106ff, 116, (recent) 117ff; orchestral organizations of, 181ff; chamber music in, 202ff; choral societies, 208ff; music festivals, 223; music in public schools, 242, 271; conservatories, 255ff; municipal music in, 273ff; N. Y. group of composers, 347f.

New York Choral Society, 93ff.

New York Sacred Music Society, 95f.

Niblo, William, 126f, 129ff.

Nicolini, 138.

Niemann, Albert, 141.

Nikisch, Arthur, 190f.

Nilsson, Christine, 133, 136.

Noble, T. Tertius, 357.

Nordica, Lillian, 138, 142f, 147, 152.

Norris, Homer, 437f.

Northwestern School of Music, 253f.

Notation, 27ff.

O

Ober, Margarete, 155.

Oberhoffer, Emil, 198.

Oberlin Conservatory, 247, 251f.

'Occupational' songs (of negroes), 297.

Offenbach, Jacques, in America, 134.

Oldberg, Arne, 373ff.

Opera, in England, 14; beginnings of, in America, 104ff; in New York City, 117ff; popular-price, in N. Y., 155; in the United States, 158ff. See also Opera, American; Opera in English.

Opera, American, (first) 112; (early) 333ff; (first to be prod. in Met. Opera House, N. Y.) 154; (A. Nevin) 424f; (Herbert) 447f.

Opera, Comic. See Comic opera.

Opera, English. See English opera.

Opera in English (in New York), 141ff, 145, 148, 155ff; (in Philadelphia) 168. See also Musical comedy.

Oratorio, first heard in Boston, 61; in early Philadelphia concerts, 73f; in early New York, 96; in early Boston, 99; in Chicago, 216f.

Oratorio Society of New York, 210ff.

Orchestral organizations in the United States, 181ff.

Orchestras, early New York, 92, 120.

Organ (Brattle), first in New England, 19.

Organizations. See Musical organizations.

Ornstein, Leo, 442.

Orpheus Club (Philadelphia), 85f.

Osgood, George L., 249.

P

Page, Nathaniel Clifford, 399.

Pageants, xix, 226ff, 412.

Paine, John Howard, 114.

Paine, John Knowles, xii, 262, _336f_.

Palma, John, 68f.

Palmo, Ferdinand, 125f.

Park Theatre (early New York), 118, 123ff.

Parker, Gilbert, 226.

Parker, Horatio W., 155, 265ff, _340ff_, 357.

Parker, H. T., on Toronto Choir, 220.

Parker, James C. D., 343.

Parks, Edna R., 355.

'Parsifal' (Wagner), first American performance of, 149f.

Patriotic songs (American), _321ff_, 452.

Patti, Adelina, 133, 137, 139, 141ff, 160, 163, 166, 171.

Paur, Emil, 184, 191, 197.

Pavlova, Anna (dancer), 154.

Peabody Institute, 247.

Pelissier, Victor, 112f.

Pelosi, Vincent M., 75.

People's Symphony Orchestra (New York), 187.

Perlet, Herman, 398f.

Pfitzner, Hans, cited, 429.

Pflueger, Carl, 462.

Philadelphia, early music in, 36, 38ff, 234f; early public concerts, _68ff_, 83; early musical societies, 85, 87f; early opera, 108, 110ff; opera, _164ff_; orchestra, 199ff; choral societies, 213; pageant (of 1912), 228.

Philadelphia Symphony Orchestra, 199f.

Philharmonic Society of New York, 181ff.

Pianoforte, first in New England, 32.

Pianoforte music, American (treatment), 419.

Piccolomini, Maria, 133.

Pike, Thomas, 77.

Pilgrims, 19. See also Puritans.

Pittsburg, orchestral organizations of, 195ff.

Plançon, Pol, 144, 147.

Pleyel, works of, in early American concerts, 35, 41, 62f, 66f, 72f, 79, 81.

Polyphony in early English music, 4.

Ponte, Lorenzo da, in America, 121ff, 127.

'Popular' music in America, 2, _451ff_, 464. See also Negro folk-song.

'Popular-price' opera. See Opera, popular.

Portland, Me., early concert in, 101; music festivals in, 223.

Powell, John, works of, 431f.

Pownall (Mrs.), 74f, 80.

Pratt, John Harradan, 399.

Pratt, Silas G., 346.

Price (first professional musician in New England), 24.

Prouty, Elijah K., 244.

Providence (R. I.), early concerts in, 62f, 101.

Prynne, quoted, 13.

Psalmody, early New England, _13ff_, 25ff, 332f.

Public Schools, American music in, viii, 240ff, 270ff.

Pulitzer, Joseph, 184.

Purcell, Henry, composition by, in early New York concert, 64.

Puritans, _11ff_; influence of, on American music, 1f, 22f, 333.

R

Racial influence (in music), 277ff.

'Ragtime,' in 'popular' music, 454ff; in musical plays, 463.

'Railroad songs' (of negroes), 298.

Read, Samuel, 52f.

Redding, Joseph D., 399.

Reinagle, Alexander, 66f, 72, 74, 81; and early Philadelphia opera, 111.

Religious songs, of negroes, 299ff.

Renaud, Maurice, 152.

Reszke, Jean de, 143f, 146f.

Revere, Paul (as music engraver), 29.

Rhythm, in negro folk-song, 289ff.

Rice, J. B., 169ff.

Rice, W. D. ('negro' comedian), 314f.

Riker, Franklin, 355.

Ritter, Frederic Louis, on early American music, 2, 22; cited, 32f, 37; quoted, 50, 52, 89, 92ff, 102, 112f, 120f; on German choral societies, 216.

Rivafinoli, Chevalier, 122.

'Robin Hood' (de Koven), 176, 179, 458f.

Rochester (N. Y.), 'community chorus' in, xix.

Rogers, James H., 355.

Romantic school, in American music, xii, xiv, 360ff.

Rooke, William Michael, 124.

Root, George F., 222, 246; patriotic songs of, 329.

Roper, Virginia, 406.

Rowe, John, quoted, 59, 110.

Rübner, Cornelius, 267.

Rummel, Walter Morse, 448f.

Russell, Alexander, 439f.

Russell, Henry, 172f.

Russell, Lillian, 178.

Russian influence, on American music, xiv.

Russian Symphony Society of New York, 187f.

S

Sabin, Wallace, 398.

Sacchini, works of, in early American concerts, 74, 79.

Sacred music, early American societies for cultivation of, (New York) 95f, (Boston) 102. See also Church music; also Oratorio.

Safonoff, Wassili, 184.

St. Paul (Minn.), orchestra, 198.

St. Louis (Mo.), orchestra in, 199; choral societies, 216; pageant (1914), 227.

St. Denis, Ruth, cited, 434.

St. Cæcilia Society, of Newport, 101.

St. Cecilia Society, of (early) New York, 88f.

St. Cecilia Society, of Charleston, 41, 77ff, 86.

Salem (Mass.), early concerts in, 62f.

'Salome' (Strauss) perf. in New York, 150, 153.

Salter, Mary Turner, 405f.

Sanders, W. D., 253.

San Francisco, opera, 158ff, 173f; orchestras, 199; choral societies, 217; composers, 396ff. See also Bohemian Club of San Francisco.

Sankey, Ira D., 245.

Savage, Henry W., 137, 147ff.

Savannah (Ga.), early music in, 42, 82.

Scales, in negro music, 289, 291ff.

Scandinavian singing societies (of America), 218.

Scheff, Fritzi, 148.

Schelling, Ernest, 450.

Schindler, Kurt, 213, 449f.

Schlesinger, Daniel, 97.

Schmidt, J. H., 68.

Schnecker, P. J., 358.

Schneider, Edward F., 397f.

Schoenefeld, Henry, 311, 346, _433f_.

Schola Cantorum (New York) 212f.

Schools. See Public schools and Conservatories.

Schott, Anton, 138.

Schroeder-Hanfstängel, Marie, 138.

Schuch, Ernst von, in America, 147f.

Schumann, Elisabeth, 155.

Schumann, Robert, influence of, in America, 361.

Schumann-Heink, Ernestine, 147, 152.

Scotch influence, on American music, 22.

Scotti, Antonio, 148.

Seattle (Wash.) Symphony Orchestra, 199.

Secular music, beginnings of, in America, 33, 46ff, 54.

Seidl, Anton, 140, 145f, 183.

Seidl-Krauss, Auguste, 138, 140.

Seiffert, Max, cited, 5.

Selby, William, 59ff.

Sembrich, Marcella, 137.

Severn, Edmund, 401f.

Sewall, Samuel, quoted, 16f.

Shapleigh, Bertram, 402.

Sharp, William, Edward MacDowell compared to, 364.

Shaw, David T., and 'Columbia,' 326.

Sheafe, William, 57.

Shelley, Harry Rowe, 357f.

Shepherd, Arthur, 417ff; cited, 429.

'Shouting' (of negroes), 304.

Sight-reading (in 17th cent.), 5f; in early New England, 16.

Singing, congregational, in early New England, 15ff.

Singing schools, formation of, in early New England, 25ff; early American, 232ff. See also Choral societies.

Singing societies. See Choral societies.

Slaves, music of. See Negro folk-song.

Sleeper, Henry Dike, on music in colleges, 261.

Slezak, Leo, 155.

Smith, David Stanley, 387f.

Smith, Gertrude Norman, 404.

Smith, John Stafford, 325.

Smith, Samuel F. (author of 'America'), 324.

Smith, Wilson L., 352f.

Social centres, xviii-f. See also Municipal music.

Societies. See Choral societies; Musical organizations; Orchestral organizations.

Soldene, Emily, in America, 175f.

Song-writers (American), 349ff, 362ff, 408ff.

Sonneck, Oscar G., cited, 36, 39f, 47ff, 56, 64, 68, 76f, 82, 89f, 98, 101, 104; quoted, 323f.

'Sorrow songs' (of negroes), 297f, 302f.

Sousa, John Philip, 460f.

South (the), early music in, 9ff; early concerts in, 40ff, _76ff_; attitude of, toward music, 44; early professional musicians in, 45; early opera in, 106, 108; music festivals in, 223.

Southwest, music in the, 10.

Spaeth, Sigmund, cited, 12.

Spanish opera, in New York, 139.

Spanish-American folk-songs, 312f.

Speaks, Oley, 355.

Spirituals (of negroes), 301f, 304.

Spross, Charles Gilbert, 355.

Stamitz, Johann, works of, in early American concerts, 38, 63, 66f, 69, 75, 79, 81.

Stanley, Albert A., 268.

Stanton, Edmund C., 140.

'Star Spangled Banner,' 325ff.

Stearnes, Henry V., 400.

Stephens, Ward, 355.

Stewart, Humphrey J., 397.

Stillman-Kelley, Edgar, _368ff_, 462.

Stock, Frederick A., 192.

Stoeckel, Carl, 224.

Stokowski, Leopold, 200.

Stoughton Musical Society, 97ff.

Stover, Charles B. (N. Y. Park commissioner), 274f.

Strakosch, Maurice, 132f, 171.

Strakosch, Max, 133ff.

Stransky, Josef, 184.

Strauss, Richard, 150; influence of, on American music, 375f.

Stricklen, Edward G., 399.

Sullivan, [Sir] Arthur, comic operas of, in America, 175f, 179, 457.

Sunday School music, 245.

Symmes, [Rev.] Thomas, 16, 18, 21; on singing, 26f; on 'singing by note,' 232f.

Symphony orchestras. See Orchestras; also Concerts.

Symphony Society of New York, 185ff.

Syncopation. See Ragtime.

T

Tamagno, Francesco, 142, 144.

'Tannhäuser,' first performance of, in New York, 145.

Tansur, works of, printed in America, 29f, 45.

Taylor, Deems, 442, 462.

Teaching. See Music Teachers; Public schools; Conservatories; Colleges.

Ternina, Milka, 148f.

Tetrazzini, Luisa, 152.

Thackeray, cited, 316.

Theatre (American), beginnings of, 104ff.

Thomas, Theodore, 140f, 168, 171, 183, 185, 191f, 193, 203, 222.

Thompson, Vance, cited, 351.

Thorne, G., 462.

Thurber, Jeannette M., 255.

Tietjens, Teresa, 134.

Toerge, George, 195.

Tombo, Rudolf, quoted, 262.

Tonality (in music of negroes), 289, 291ff.

Toronto Conservatory, 259f.

Toronto Mendelssohn Choir, 218ff.

Toscanini, Arturo, 153.

Tourjée, Eben, 248.

Trajetta, Filippo, 111, 236.

Trentini, Emma, 152, 179.

Troyer, Carlos, 442f.

Tschaikowsky, influence of, on American music, 362.

Tuckey, William, 30, 37, 39f, 64f, 233.

Tufts, John, 27ff.

U

Ullman, Bernard, 132f.

Universities, musical courses in, 261ff.

University of Michigan, music department of, 268.

University of Pennsylvania, music course in, 261.

University of Wisconsin, music department of, 268f.

Uranian Academy, 73, 87f.

Urlus, Jacques, 155.

V

Van Buren, Alicia, 406.

Vaudeville, influence of, on popular music, 453f.

Verdi, operas of, in America, 142.

Viennese operetta in America, 179.

Violin playing (among negroes), 297.

Viols, in England, 5f; in America, 9.

Virginia, in 17th cent. 6ff; early public concerts, 42, 82; early musical societies, 87; early opera, 108.

Vogt, A. S., 218ff, 259.

Vogt, Theodore, 399.

Volpe, Arnold, 188.

Voltaire, quoted, 356.

Von Hagen, 78.

W

Wachtel, Theodore, 159.

Wagner, 145f, ('Parsifal' in N. Y.) 149f; influence of, in America, 360ff, 370f, 424.

Walker, Caroline Holme, songs of, 406.

Wallaschek, Richard, cited, 288.

Waller, Henry, 462.

Walter, Thomas, cited, 17, 21, 28.

Ward, Frank Edwin, 358f, 393f.

Ward-Stephens, 355.

Ware, Harriet, 403f.

Warren, Mercy (author of early patriotic song), 321f.

Washington, Booker T., quot. 298.

Washington, George, concert in honor of, 33f; quoted, 79.

Watt, Isaac, 29.

Wa-Wan Press, xii.

Webb, George J., musical activities, 188.

Weil, Hermann, 155.

Weingartner, Felix, in America, 184, 186.

Weiss, Arthur, 399.

Wellesley College, 264f.

West, orchestral organizations in, 197ff.

White, Charles (negro minstrel), 316.

White, Richard Grant, quot. 202.

Whitelocke, Balustrode, cited, 13.

Whiting, Arthur, 347f, 357.

Whiting, George, 343.

Whitmer, T. Carl, 428f.

Williams, Aaron, 30, 45.

Winslow, on early New England music, 15.

Women composers (American), 402ff, 438f.

Woodbridge, William C., on music in the public schools, 240f.

Woodman, R. Huntington, 355.

Worcester (Mass.), 31; choral society, 214; music festival, 221f.

Work, Henry Clay, 286, 320f, 329.

Worrell, Lola Carrier, 406.

Wright, Louise Drake, 406.

Y

Yale University, music department in, 265ff.

'Yankee Doodle,' 322f.

Z

Zerrahn, Carl, 189; conductor of music festivals, 222.

Ziegfeld, Florens, 252.