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CHAPTER XV

MODERN LYRICISTS OUTSIDE OF GERMANY AND FRANCE

The new Russian school: Balakireff, etc.; Moussorgsky and others--The Scandinavians and Finns--Recent English song-writers.

We have referred in another chapter to the neo-Russian school of composers, who worked under the influence of Mily Balakireff and based their composition largely upon the native folk-songs. It is this group that has created Russia’s musical art. Tschaikowsky and Rubinstein are, in the Russian view, out of the direct line of succession. In the direct line, which commences with Glinka, we find a distinguished company of geniuses. After Glinka comes Alexander Dargomijsky (1813-1869), one of the earliest converts to Wagnerian principles outside of Germany and a radical innovator in dramatic and harmonic method. His opera, ‘The Stone Guest,’ looks forward a quarter of a century to modern harmonic effects, whole-toned scale and all. But, in consideration of the time he was working, it is not to be expected that his songs are of a radical cast. They, however, show the innovating genius of the man and his full-blooded artistic life. Some ninety in all, they are extraordinarily varied in style and contents, some graceful and elegaic, some exotic, and some humorous. Dargomijsky took the traditional mantle of Russian genius upon his shoulders in satirizing the bureaucracy and wrote some of his finest humorous songs on the subject. Among the best of his songs we may mention ‘An Eastern Song,’ ‘I Think that Thou Wert Born for This,’ and ‘O Maid, My Rose.’ His dramatic ballads, of which ‘The Knight Errant’ and ‘The Old Corporal’ are the finest, are marked by directness and simplicity which give them a rare laconic force.

[Illustration: Famous Song Interpreters. Top: Julia Culp and Elena Gerhardt Bottom: Ludwig Wüllner and David Bispham]

Dargomijsky was one of the older generation, a sort of father confessor to the neo-Russian group. This group worked under the inspiration of Mily Balakireff (1837-1910), a young enthusiast with fine visions and a considerable knowledge of music, mostly self-learned. It was he who first of all gave the great emphasis to the use of folk-songs in Russian composition and this he made the cornerstone of the new school. As members of his little group he was lucky enough to have two geniuses of very nearly the first order, one Modest Moussorgsky (1835-1881) and the other Nicholas Rimsky-Korsakoff (1844-1908). Balakireff’s own songs show artistic qualities of a high order; they are marked by unfailing taste and proportion and range over a broad field of expression, nearly everywhere successfully. But, though his artistic and critical sense was superb, he had not the creativeness of most of the group. One man who has done much finer work in song than he is Alexander Borodine (1834-1887). Borodine entered the neo-Russian group as a mere amateur, but he became filled with the new enthusiasms and set himself to work in earnest. The high and consistent creative level of his work, considering his short and interrupted study and the smallness of his output, is amazing. He wrote some twelve songs in his lifetime and fully half of them are masterpieces. Borodine was courageous in his attitude toward new musical principles and extremely happy in his use of the new materials. Expressive dissonance, in particular, he uses with rare effectiveness. The ballad or romance entitled ‘The Sleeping Princess’ is surely one of the finest things of its kind in existence. The spell of the enchanted forest, the calm beauty of the sleeping princess, are suggested in a succession of major second dissonances which weave a web over the mysterious melodies of the accompaniment. The same power of creating ‘atmosphere’ with simple means is shown in ‘The Sea-Queen,’ which is an exquisite inspiration. The romance, ‘A Dissonance,’ is a gem of concentrated lyricism. But the most original of Borodine’s songs, one of the most memorable of the whole Russian product, is ‘The Song of the Dark Forest.’[33] This is written purely in the Russian idiom, with a great and savage melody which is irresistible in its vigor. The accompaniment only duplicates the voice part, with the addition of dissonances that sound forth like trumpet blasts. With his handful of songs and his definite quantity of genius Borodine has made a place for himself in the history of lyric music.

César Cui (born 1835), who was in early years the press agent of the neo-Russian group, need be mentioned here only to be passed over. His song output is generous and nearly always marked with much grace and good taste. But Cui took less stock in the adoration of the folk-song than the other members of the group and his art product is in every way weaker. Rimsky-Korsakoff combined an intense feeling for the native Russian idiom with an exhaustive knowledge of the technique of music and produced a large number of works which, while being truly Russian, seem not unnatural to western ears. He is shown in romantic vein in two early songs, ‘On the Georgian Hills’ and ‘A Southern Night.’ His oriental songs are perhaps the best known of his lyric works. In these the greatest modern master of musical exoticism has brought vividly to our ears not only the phrases, but the very spirit of the east. The ‘Hebrew Love Song’ may be taken as one of the best of the group. But the greatest of the neo-Russian group, the greatest Russian composer hitherto, and one of the great composers of all musical history, was Moussorgsky. This man was utterly absorbed in the Russian folk-song and based his style on nothing else. He had the faculty of genius which goes straight to the heart of something new and produces his result without seeming effort. Few musicians of the nineteenth century have spoken with so individual a voice. The world is only beginning to appreciate the greatness of his operas. As for his songs, they have made their way even more slowly, but where they are once known they are never forgotten. Moussorgsky’s many remarkable qualities are not to be set down in a single paragraph like the present. Suffice it to point out his harmonic originality, which made use of atmospheric chords, unusual scale combinations, and powerful modulation long before Debussy’s time (Debussy, in fact, confesses to have learned much from Moussorgsky); his freshness of inspiration, which has produced some of the most glorious of melodies; and his unsurpassed ability in the delineation of character and mood. His songs are not a great many, but there are few of them that are not masterpieces. His pictures of peasant life are marvellous in their persuasive picturesqueness. As an example we may quote the ‘Peasant Cradle Song,’ one of the greatest of songs anywhere. The ineffable pathos of the beginning, the strange ethereal light of the end, are hardly to be paralleled in the whole range of song. But it is more than a mere lullaby; it is a peasant’s lullaby and the music almost makes us see the poor hut in which the mother croons her song. Another lullaby, the ‘Cradle Song of the Poor,’ is hardly less appealing, but is totally different in design. Another song showing Moussorgsky’s highest genius is the _Hopak_, a long piece with admirable picturing of various phases of Russian character. The song is tremendously effective in concert.

Moussorgsky’s three song groups are all of the highest rank. In the Nursery Songs he has done what no other composer has ever done better, and not more than two or three have done so well. He has depicted the events and emotions of a child with the simplicity of spirit of a child. The songs, however, are not simple technically--so much the contrary that, composed in 1868 to 1870, they are prophetic of future musical procedure. This freedom and delicacy of delineation had never been seen in songs before. The four ‘Death Dances’ are tremendous songs of grim tragedy; in ‘Death and the Peasant’ the accompaniment depicts the indifference of nature at the fate of the peasant who is dying in the snow after a debauch. The most amazing product of Moussorgsky’s lyrical genius, however, is his last group of six songs--‘Where No Sun Shines.’ These, written in the later years of his life, under the influence of the deepest pessimism, are perhaps the most intense expression of spiritual despair in all song literature. The extraordinary technical method of these pieces, hardly less than that of the remarkable children’s songs, was Debussy’s chief guiding light in the early years of the development of his style. In absolute musical value these six last songs stand very high and ‘By the Water’ has few parallels in song literature.

The remaining Russian song writers can be summed up briefly. Antony Arensky (born 1861) is the composer of many songs, graceful and pleasing but not highly original in style. Sergius Taneiev (born 1856) inclines to the conservative and classical, but is an able musician and capable song-writer. Alexander Glazounoff (born 1865) has worked with most success in the smaller forms and in his graceful songs has put much that is charming, though little that is genuinely inspiring. His work is marked by its extraordinary suavity and taste. Michael Ippolitoff-Ivanoff (born 1859) has composed some ninety songs, distinguished by a straightforward honesty of method and healthfulness of feeling. Sergei Rachmaninoff (born 1873) is a much greater man than those we have just named and a masterful song-writer. He is not always, however, writing in the strenuous eastern idiom. ‘Before My Garden’ and ‘Lilacs’ are excellent in the conventional way. But he has written at least one truly great song of genuine Russian inspiration. This is ‘Oh, Thou Billowy Harvest Fields,’ which deserves to rank with Borodine’s ‘Song of the Black Forest’ in daring and stark power.

Since the time of Grieg, song writing in Scandinavia has flourished. The chief Norwegian exponent of the art is Christian Sinding (born 1856), a hardworking and sincere artist, with occasional flashes of something near genius. His many songs include settings and adaptations of Norwegian folk-songs, which he has handled with rare taste. He has put something of their directness into his own art, for he is one of the best of the modern song-writers in his power of getting the nub of an emotion in a few notes. His song product is uneven, for much of his work has been hurried and routine in quality. But there are many pieces of superior character and these reveal a quality which is above all things lyrical.

Emil Sjögren (born 1853) is probably the foremost song writer of Sweden. He is not a man of power. His range of expression is limited to the graceful and tender. Much of his work is of the second order. But very often he produces lyrics of quite original beauty. Among these we may mention _Du schaust mich an_, _Jahrlang möcht’ ich_, and _Ich möchte schweben_. The second, in particular, should prove highly effective in concert. Of recent years Sjögren has cultivated the new harmonic style with much industry and acquisitive talent. He has, in fact, changed his style completely. It is doubtful if he can be said to be wholly successful in his metamorphosis. He seems over-concerned with details and fails to attain cogency of form.

Jean Sibelius (born 1865) is the greatest of Finnish composers and is rapidly coming to be recognized as one of the greatest in the world. We must remember that the Finns are dominantly Teutonic, and that culture has been Teutonic in the past and not Russian or Mongolian as is sometimes supposed. But Sibelius has developed a marvellous individuality of expression which is at once expressive of him and of his nation. Some of his songs are epoch-making in their form and method. In the more graceful lyrical mood Sibelius is often charming. We may mention ‘Idle Wishes’ and ‘Oh, Wert Thou Here’ as of this class. In the simple folk-style Sibelius is even more individual. ‘A Little Flower Stood on the Wayside’ is a thing of remarkable tenderness and beauty. But it is when Sibelius strikes his national idiom that he is at his greatest. This idiom is characterized by long, slowly-moving, angular phrases, with frequent repetitions of the same note. The style is admirably presented in the long song ‘To Frigge.’ The accompaniment is scarcely less simple than the voice part, yet it is truly delineative. The song is a model of pure genius creating something quite new and very beautiful out of materials so simple that they have been left by the wayside as useless. _Des Fahrmanns Bräute_ is a very long ballad of great strength. But Sibelius is at his greatest and most original in the ‘Autumn Evening,’ a song which has no fellow anywhere. Sibelius’s method here is unique. The song is almost recitative, but the various irregular phrases of the voice have an incisive quality which makes them rank as descriptive. The accompaniment is little more than a chord support at most points, but now and then rises into great delineative power. The method is one of selection until only the essentials remain. Each unit of expression which Sibelius has here used is ideally fitted for its purpose. Moreover, the song, though free in the extreme, has a close structure which is entirely convincing. The originality of this song should ultimately make a deep impression on current song-writing.

III

In latter-day England song-writing has risen to a dignity and importance which it had not possessed since the time of Purcell. With Arthur Goring-Thomas, whom we have already mentioned, a new note of artistic sincerity entered the art. This was continued by an unusually talented man, Arthur Somervell (born 1863), who has composed some of the best song cycles of recent times. Somervell is by no means a radical in his method. But his lyric sense is keen and his invention fertile. His cycle from Tennyson’s ‘Maud’ attains rare fidelity and tragic intensity. Among his other numerous songs are the two cycles, ‘A Shropshire Lad’ and ‘James Lee’s Wife,’ the latter scored for orchestral accompaniment. These both show his happy invention and his high musicianship. A song-writer who has gained a much more glittering reputation less deservedly is Edward Elgar, whom people regard for some reason as the chief representative of modern English song. As a matter of fact, Elgar’s song output has been slight and has not pretended to show the best he was capable of (as Reger did attempt to show in _his_ songs). There is little of Elgar’s forceful musicianship which comes across to us in these songs. The ‘Sea Pictures’ have made their effect chiefly through the effective orchestration which their composer provided for them. Considered as independent music, they are inferior and somewhat conventional. The best is probably ‘Where Coral Lies.’ ‘The Swimmer’ will serve to suggest Elgar’s descriptive style. The conventional, in fact, hangs over most of Elgar’s songs. The one which notably escapes it is the beautiful lyric, ‘My Love Lives in a Northern Land,’ which is worthy to be signed by a first-class musician. Of the others we may mention ‘Queen Mary’s Song,’ which, with its accompaniment in imitation of a lute, is effective in concert; ‘Through the Long Days,’ The Shepherd’s Song,’ and The Pipes of Pan.’

Granville Bantock (born 1868) may justly be called a radical modern composer, whereas Elgar has much of the classical reserve about him. Bantock’s very great ability and learning sometimes produce rather chaotic results, the more so because his output is unusually great. But frequently it produces results that are altogether admirable. To singers he is known chiefly through his ‘Songs of the East.’ These are published as cycles, as follows: Songs of Egypt, Songs of India, Songs of Persia, Songs of the Seraglio, Five ‘Ghazels of Hafiz,’ lyrics from ‘Ferishtah’s Fancies,’ Songs of China, and Songs of Japan. The exoticism of these many songs is rarely genuine and Bantock’s facile technique extends over them all to make them seem rather too much alike for the good of his reputation. But the _effect_ of exoticism is frequently attained with rare skill and the musical standard is kept far higher than is usual in this class of music. Bantock’s powerful technique, which is obviously influenced by Richard Strauss, is to be studied to advantage in many of these songs, especially the more pretentious ones. From the Songs of Egypt we should mention the majestic ‘Invocation to the Nile,’ the mystical song ‘The Unutterable’; and the poignant ‘Lament of Isis.’ Of the Hindoo songs that of the Nautch girl is ever memorable for its effect of fierce physical motion. The songs from Persia include two of high quality, the ‘Drinking Song’ and the ‘Hymn of the Ghebers.’ Let us further pick out, as among the best, the Persian Love Song from the ‘Songs of the Seraglio’; and the ‘Shah Abbas’ and ‘Mahirab Shah’ from ‘Ferishtah’s Fancies,’ the last remarkable for its expression of physical pain. The songs of China and Japan are in no way unusual. Nor are the six Jester Songs, though they sometimes catch the joy of life in engaging fashion. But Bantock has one very ambitious work, the cycle of fragments from Sappho, which is sufficient to put him in the front rank. It is hard to describe the richness of the technique he has lavished on this work. We should find it difficult to name anything similar to it in its peculiar emotional intensity. The best that Bantock has to show of his art (his instrumentation aside) is all to be found in this remarkable group of songs. Every one of them is admirable, as is also the very long introduction. But one remembers especially the opening number, the ‘Hymn to Aphrodite,’ dramatic and passionate; the painfully beautiful song, ‘The Moon Has Set’; the masterful description of ‘Peer of the Gods’; and the profuse musical richness of ‘In a Dream I Spake.’ Possibly these songs will in later years be judged too pretentious. But while the judgment is still unmade we must regard with the highest respect the musician who has done this thing in the musical conditions that have prevailed in England.

It only remains to speak of the most radical of the young English composers, Cyril Scott (born 1874). He broke away completely from the traditional English style, founded on conventional church music, and embraced the ‘atmospheric’ manner of the modern Frenchmen. In this style he has displayed great energy and no small amount of inventiveness. It remains to be seen whether he can make his influence permanently felt in music. His songs well exemplify the general style of his music. The best are ‘Lovely Kind and Kindly Loving’ and ‘Why so Pale and Wan,’ both from opus 55. Others which should be mentioned are ‘My Captain’ (to Walt Whitman’s words), ‘A Reflection,’ and ‘Afterday.’ The song writing of the modern English school has not yet gathered body. It is only beginning to make itself felt beyond the seas. But it has already shown so much vigor and independence that we may justly look for abundant and fine results from it.

FOOTNOTES:

[33] See Musical examples, Volume XIV.

APPENDIX THE FRENCH-CANADIAN FOLK-SONG

The songs of the French Canadians, which show considerable originality, are in part transplanted from France, modified and localized in the natural course of popular music. But a considerable part are indigenous, with a history dating back, possibly, more than two centuries. They are all, of course, made in imitation of the parent stock, but in many instances they have taken on a new character, befitting the wild and uncouth environment in which they were composed. In some instances they show model characteristics, as in the _Mon Cri Cra, Tir’ la Liretta_, sung by the boatmen on the Red River. This old song shows scarcely any traces of the omnipresent influence of the court of Louis XIV. Other songs bear the marks of the French priests, through whose hands they passed on their way to the Canadian natives, Indians or Frenchmen. Such a song is _Jesos Ahatonhia_, the music of which was evidently an ecclesiastical melody with a strong modal character indicating its great age. But on the whole the refined and graceful influence of French civilization is strongly marked in the Canadian songs, even when these songs originated in the New World. The one department in which they are supreme is that of playful humor--not the humor of the old English songs, which is somewhat bumptious and muscular, but a more delicate humor, into which the singer enters from pure effervescence of human sympathy and childlike playfulness. We must range a long way through folk-song literature before we find a song of this sort to equal ‘The White Duck,’ or ‘I Hear a Mill Go Tick-Tack.’ A provocative playfulness sings in the words of ‘My Faithful Bottle,’ ‘The Lost Chance,’ and the inimitable ‘When Returning from Varennes,’ with its continuous refrain, _Cach’ton joli bas de laine_. The spirit of Gascony, famous home of the practical joke, is in the ‘Song of Lies,’ in which the singer turns the world topsy-turvy and hopes to be hung if a single word he says is true. The sentimental note is not so often struck, but we find it charmingly in such occasional songs as ‘The Traveller’s Return,’ and ‘From Yonder on the Mountains.’

Gagnon’s collection, made in 1865 (the earliest of all), contains a number of gentle and lovely airs, such as _C’est la belle française_. We may also notice in this book a number which have been transported from France and forgotten in the home country while they lived and flourished under their foster mother. Such a song is _Dans les Prisons de Nantes_. _Mon Per’ n’avait fille que moi_ is one of the most interesting examples of the old modal style. The Canadian songs are peculiarly addicted to the use of the refrain. This device, which is always a mark of unsophisticated playfulness, is relied upon to such an extent that one would call it excessive if the high spirits of the music and words did not carry the little game through to complete success. As so often happens, the refrain frequently has nothing whatever to do with the sense of the text. The primitive innocence of the mind is absolutely demanded of any singer who attempts, for instance, ‘The White Duck.’ On the whole, the Canadian songs, though very limited in range, can show a few types of folk-expression managed with such consummate art that they deserve a place in the folk-literature of the world.

LITERATURE FOR VOLUME V

(_In English_)

A. B. BACH: The Principles of Singing (London, 1897).

J. FRANK BOTUME: Modern Singing Methods (London, 1885).

LENNOX BROWNE and EMIL BEHNKER: Voice, Song and Speech (2nd ed., London, 1884).

ANNA CHAPIN: Makers of Song (New York, 1904).

WILLIAM CHAPPELL: Old English Popular Music, 2 vols. (London, 1893).

H. HOLBROOK CURTIS, M. D.: Voice Building and Tone Placing (New York, 1896).

HENRY T. FINCK: Songs and Song Writers (New York, 1910).

FFRANGCON-DAVIES: The Singing of the Future (London, 1904).

Folk-Songs from Somerset, 5 vols. (London, 1904-8).

HARRY PLUNKETT GREENE: Interpretation in Song (New York, 1912).

MAX HEINRICH: Correct Principles of Classical Singing (Boston, 1910).

H. L. F. HELMHOLTZ: The Study of Sensations of Tone (Trans. by A. J. Ellis, 1875).

W. J. HENDERSON: The Art of Singing (New York, 1906).

GORDON HOLMES: A Treatise on Vocal Physiology and Hygiene (1879).

JOHN HOWARD: The Physiology of Artistic Singing (1886).

DORA JONES: Lyric Diction (New York, 1913).

KICKSON AND NEAL: English Folk-song and Dance (Cambridge, Eng., 1905).

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

LOUIS LABLACHE: Complete Method of Singing.

FRANCESCO LAMPERTI: A Treatise on the Art of Singing (Trans. by J. C. Griffiths, 1876).

LILLI LEHMANN: How to Sing (New York, 1912).

EUGENIE LINEVA: Peasant Songs of Great Russia (Engl. and Russian text, Imperial Academy of Science, St. Petersburg).

SIR MORELL MACKENZIE: The Hygiene of the Vocal Organs (London, 1890).

GIOVANNI BATTISTA MANCINI: Practical Reflections on Figured Song (Engl. transl. by Pietro Buzzi, Boston, 1913).

MATILDA MARCHESI: Ten Singing Lessons (London, 1901).

WESLEY MILLS, M. D.: Voice Production in Singing and Speaking (1906).

SIR C. HUBERT H. PARRY: The Evolution of the Art of Music (1899).

C. K. ROGERS: My Voice and I (Chicago, 1910).

E. W. SCRIPTURE: The Elements of Experimental Phonetics (1902).

WILLIAM SHAKESPEARE: The Art of Singing, 3 parts (London, 1898).

W. WARREN SHAW: The Lost Vocal Art (Phila., 1914).

SHAYS: English Folk-Carols (London, 1911).

SHAYS: English Folk-Chanteys (London, 1914).

SHAYS: English Folk-Songs; Some Conclusions (London, 1907).

DAVID C. TAYLOR: The Psychology of Singing (New York, 1908).

PIETRO FRANCESCO TOSI: Observations on the Florid Song (1723). (Reprint by William Reeves, London, 1905.)

GEORGE P. UPTON: The Song (Chicago, 1915).

_In German_

ERK UND BÖHME: Deutscher Liederhort, 3 vols. (Leipzig, 1893).

MAX FRIEDLÄNDER: Das deutsche Lied im 18. Jahrhundert, 2 vols. (Stuttgart and Berlin, 1902).

H. L. F. HELMHOLTZ: Die Lehre der Tonempfindungen.

R. G. KIESEWETTER: Schicksale und Beschaffenheit des weltlichen Gesanges, etc. (1841).

DR. L. MANDL: Die Gesundheitslehre der Stimme (1876).

CARL LUDWIG MERKL: Der Kehlkopf (1873).

_In French_

F. J. FÉTIS: Histoire générale de la musique (1869).

Méthode de chant du Conservatoire de Musique (Paris, 1803).

JULIEN TIERSOT: Histoire de la chanson populaire en France (Paris, 1889).

J. B. WECKERLIN: Chansons populaires du pays de France, 2 vols. (Paris, 1903).

_In Italian_

GIOVANNI BATTISTA MANCINI: Reflessioni pratiche sul canto figurato (1777).

GIULIO CACCINI: Le nouve musiche (Florence, 1600).

INDEX OF VOLUME V

N. B.--_Figures in Italics indicate major references._

_A Highland Lad My Love was Born_ (Scotch folk-song), 113.

Abdominal breathing, 4f.

Abyssinians, 86.

Acoustics (rel. to human voice), 13.

Adam de la Halle, 138.

Adams, Stephen, 327.

Adaptive change, 2.

_Adeste Fideles_, 113.

African folk-songs, 105.

Agricola, Martin, 164.

Airs du cour, 166.

Albéniz, Isaac, 120.

Albert, Heinrich, 162f.

America, (folk-music) 129; (song-writers), 298, 319ff, 322f.

Anatomy of the vocal organs, 1-23.

Ancient methods of vocal culture, 30ff.

_An die ferne Geliebte_ (Beethoven), 154f.

André, Johann, 191f.

‘Annie Laurie,’ 107, 113.

Archilei, Vittoria, 40.

Arensky, Antony, 368.

Aria, (_da capo_ form), 154ff; (development), 172ff; (German), 175.

Arioso, 175.

Aristotle, 55.

Arne, [Dr.] Thomas, 171.

Arnold, Samuel, 172.

Art-ballad (German), 272ff.

Art-song, (compared with folk-song) 72, 89ff; (early rise and decline), 151ff; (in 17th cent.), 162ff; (rise of modern), 186ff.

Articulation, 3, 16ff, 63ff.

Artificial soprano, 44.

Athens, early vocal culture in, 32f.

Assyria, vocal culture in, 30.

_Auld Lang Syne_, 72f, 102, 112f.

Bach, Johann Sebastian, (spiritual songs), 147; (secular songs), 164; (in rel. to German song), 175.

Bach, Carl Philipp Emanuel (_Geistliche Lieder_), 189f.

Balakireff, Mily, 127, 365.

Balfe, Michael, 267.

Ballad form, (compared to lyric form), 202; (Schubert), 225f; (Löwe), 272ff.

Ballad opera, (18th cent.), 170ff; (19th cent.), 267.

Bantock, Granville, 372f.

Baritone voice, 62.

Bass voice, 14.

Bassani, Giovanni Battista, 160.

Beethoven, 96, 177, 184, 187, 193, 196. _An die ferne Geliebte_, 154f. _In questa tomba_, 184. _Busslied_, 184.

‘Beggar’s Opera,’ 170f.

Behnke, 28.

Bel canto, 16, 29, 44, 158f.

Benedict, Julius, 267.

Béranger, 260f.

Bergerette, 166f, 179f, 204.

Berlioz, Hector, 262ff.

Bierbaum, Otto Julius, 331.

Bishop, [Sir] Henry, 105, 172, 267.

Bizet, Georges, 315.

Blondel (minstrel), 137f.

Bohemian folk-songs, 127f.

Bologna (early music school in), 37.

Borodine, Alexander, 128, 365f.

Brahms, Johannes, 125, _276-290_. _Æolian Harp_, 286. _Anklänge_, 285. _As the Clouds_, 285. _Before the Window_, 282. _Consolation of Spring_, 288. _Fidelity_, 284. _Going to My Sweetheart_, 282. _Gold Outweighs Love_, 288. _Gypsy Songs_, 277f, 282f. _Have a Care_, 288. _Hey, Bow and Arrow_, 287. _Hey, Ye Gypsies_, 283. _I Call from the Bank_, 288. _Is it Sorrow_, 287. _Joy Hath Left Me_, 282. _Lament_, 282. _Longing_, 282. _Love and Spring_, 284. [_The_] _Lover’s Oath_, 282. _Magyar Love Song_, 288. [_The_] _Maiden_, 282f. [_The_] _Maiden’s Curse_, 288f. _Minnelied_, 289. _Motionless Air_, 288. [_The_] _Mournful One_, 282. _Nicht mehr zu dir zu gehen_, 286. _Nightingale_, 285. [_The_] _Nut Brown Lad_, 283. _Oh, Come, Holy Summer Night_, 288. _Oh, kühler Wald_, 289. _Oh, Would I Knew the Returning Road_, 288. _On Sunday Morning_, 288. _Red Evening Clouds_, 283. _Remembrance_, 288. _Rest, Sweet Love_, 287. [_The_] _Return_, 285. _Sapphic Ode_, 289. _Serenade_, 282. [_The_] _Smith_, 285. _So steh’n wir, ich and meine Weide_, 287. [_The_] _Song of Herr von Falkenstein_, 287f. _Spanish Song_, 285. _Three Roses in a Row_, 283. _Twilight Falls_, 288. _Vain Serenade_, 289. _Volkslied_, 282. _Wie bist du, meine Königin_, 287. _With, Eternal Love_, 287.

Breath control, 58.

Breathing, 1ff; (faulty methods) 65.

Breathing exercises, 60f.

Browne and Behnke (‘Voice, Song and Speech’), 28.

Bruneau, Alfred, 356f.

[_The_] _Brunette_, 166.

Bungert, August, 312.

Burns, Robert, 91, 95f, 113f.

Burton, Frederick R., 42.

Caccini, Giulio, 47ff, 154. _Amarilla_, 159.

Cadman, Charles Wakefield, 105.

Caffarelli, 44.

Caldara, Antonio, 160.

_Caller Herrin_ (Scotch song), 113.

Cambio, Perrisone, 153.

[_The_] _Campbells are Coming_, 112f.

Canadian folk-songs, 375ff.

Cantus firmus, 148f.

Carey, Henry, 171.

Carissimi, Giacomo, 160.

Catholic Church. See Roman Catholic Church.

Cavalli, Francesco, 159f.

Cavatina, 175.

Chabrier, Emmanuel, 354.

Chaldea (ancient), vocal culture in, 30.

Chaminade, Cécile, 318.

Chanson, 166.

Charlemagne, 131.

_Charlie is My Darling_ (Scotch folk-song), 113.

Charpentier, Gustave, 358.

Chausson, Ernest, 355.

Cherubini, Luigi, 49f.

Chest cavity, 4f.

Chest register, 11f.

Chest resonance, 14f, 62ff.

Chinese scale, 86.

Chivalry (influence of, on song), 136ff.

Choir master, in early Roman church, 33ff.

Choir schools, 33ff.

Chopin, Frédéric, 256.

Chorale, 147.

Church, Roman, (early vocal culture in), 33ff; (early music of), 130f; (use of popular music in), 148. See also Greek Catholic Church; Lutheran Church.

Classic song (The), 151-185.

Coloratura, 39ff, 155ff, 160.

Comic opera (French), 166, 179.

Conservatoire method of singing, 49f.

Consonants, 17f, 64, 66.

Coquard, Arthur, 319.

Cornelius, Peter, 298, 302ff.

Counterpoint, 24, 35ff, 129, 149, 153; (modern), 343, 345.

Courts of Love, 139f.

Cowen, Frederick, 327.

Crescendo (vocal), 15.

Cricoid cartilage, 6ff.

Cui, César, 366.

Curschmann, Karl Friedrich, 256.

Da capo form, 154ff, 172, 175.

Dalayrac, Nicolas, 180.

Dance, (primitive), 83; (popularity of, in Italy), 120.

Danish folk-songs, 123.

Dargomijsky, Alexander, 349, 364f, 365.

Darwin, Charles (theory of origin of song), 87.

David, Félicien, 315.

Davy, John, 172.

Debussy, Claude, 346, 356; (compared with Charpentier), 358; (his songs), 358ff; (compared with M. Ravel), 362; (influenced by Moussorgsky), 367.

Declamation, art of (in ancient Athens), 32; (compared with recitative), 202f.

Dehmel, Richard, 331.

Delivery, in singing, 97.

Denmark, folk-songs of, 123.

Denza, Luigi, 323.

_Der du von dem Himmel bist_ (settings of Liszt and Schubert compared), 294.

Descriptive music, 219f.

Diaphragm, 4f.

Dibdin, Charles, 172.

Dissonance, unprepared, 159, 162.

Doric mode, in Irish folk-song, 114.

Dramatic recitative, influence of, on solo singing, 42.

Drinking, effect of, on singer’s organism, 19.

_Du bist wie eine Blume_ (Schumann), 240; (Liszt), 294; (Rubinstein), 324.

Dufay, Guillaume, 148.

Duparc, Henri, 355.

Durchkomponiertes Lied, 176f.

Dutch folk-song, 108.

Dutrochet, cited, 56.

Dvořák, Anton, 312.

Ear control of voice, 28f, 52f.

Eating, effect of, on singer’s organism, 19.

Ecclesiastical modes. See Modes.

Education, musical, viii-ff.

_Edward_ (settings of Löwe and Brahms), 275.

Egypt, vocal culture in, 30.

_Ein Fichtenbaum steht einsam_ (settings of Schumann and Lassen), 307.

Eleanor of Aquitaine, 140.

Elgar, Edward, 371f.

England, (folk-song), 104, 108ff; (mediæval minstrels), 34, 38, 132; (classic song), 167ff; (songs of early 19th cent.), 266, 267f; (late romantics), 298, 326ff; (modern lyricists), 371ff.

English ballad-opera, 170ff, 267.

English folk-song, 167ff.

Enunciation, 66.

_Erlking_, (Schubert), 193f, 203, 205, 209, 225; (Löwe), 274.

_Es ist bestimmt_ (Mendelssohn), 107.

Ethmoid sinus, 15.

Expiration, in correct breathing, 5.

Expressive style. See Representative style.

Fabricius of Aquapendente, 55f.

Falsetto, 62.

Farinelli, 44.

Fasolo, G. B., 160.

Fauré, Gabriel, 347, 349ff.

Ferrein (anatomist), 56.

Fétis, F. J., cited, 27.

Fielitz, Alexander von, 310f.

Finck, Henry T., cited, 319.

Finland, modern, 370f.

Fiorituri, 41.

_[The] Fisher_ (folk-song), 119; (Schubert), 212.

_[The] Fisher Boy_, (Schubert), 226; (Liszt), 292f.

Florid song. See Coloratura, Ornamentation.

Folk-song, 25, _70-99_, _100ff_, 147f, 150, 308ff, 337; (English), 110f, 167ff; (Scotch), 111ff; (Irish), 113f; (French), 115f, 164f; (Italian), 116ff, 153, 266ff; (Spanish), 119f, 364ff; (German), 120f, 162f, 191f, 229f; (Scandinavian), 121, 299, 301f; (Hungarian), 122ff; (Russian), 125ff; (Norwegian), 121, 369; (Bohemian), 127f; (Polish), 128; (influence on art-song), 152ff; (compared to early church song), 164f; (influence on Schubert), 205. See also Songs in the folk-manner.

‘Forward tone,’ 64f.

Foster, Stephen C., 107, 129, 163f.

France, (mediæval minstrels), 133f; (Troubadours), 136ff; (classic song), 164ff, 178ff; (romantic period), 258ff; (late romantics), 298, 313ff.

Franck, César, 354f.

Franz, Robert, 268ff; (compared with Brahms), 278; (compared with Grieg), 299f; (compared with Hugo Wolf), 334f.

French folk-song, 115ff; (in 16th cent.), 164f.

French-Canadian folk-songs, 375f.

French comic opera, 179.

French influence, (on early German song), 164; (on early English song), 168f.

French lyricism, modern, 346-363.

Frottola, 153.

_Funicula_, (Italian folk-song), 103; (Denza), 323.

Gagnon (collector of French-Canadian songs), 118.

Galen (anatomist), 55.

Galilei, Vincenzo, 154.

García, Manuel, 10, 57f.

Gastoldi, Giacomo, 153.

Geibel, Emmanuel, 330f.

German folk-song, 106f, 119, 120ff; (in rel. to the singspiel), 191f.

German opera, 176, 228.

German vowels, 16.

Germany (attitude of, toward folk-songs, compared with England’s), 109; (mediæval minstrels), 132, 141ff; (Meistersinger), 144ff; (Reformation), 147f, 150; (classical song), 162ff; (song in 18th cent.), 175ff; (time of Schubert), 197, 198ff, 227f; (Schumann), 231ff; (romantics after Schumann), 298, 302ff; (since Franco-Prussian War), 330ff. See also German folk-song.

Gibbons, Orlando, 167.

Glazounoff, Alexander, 368.

Glinka, Michail Ivanovitch, 127, 257.

Glottis, 12f, 21, 55f; (correct management of), 61.

Gluck, Christoph Willibald, 177; influence on Berlioz, 263.

_God Save the King_, 171.

Godard, Benjamin, 317f.

Goethe, 193, 198f; (quoted on the ballad form), 274.

Gordigiani, Luigi, 266.

Goring-Thomas, Arthur, 298, _327f_, 371.

Gossec, François Joseph, 183.

Gounod, Charles François, 278f, 298, _313f_.

Graben-Hoffmann, Gustav, 312.

Graun, Johann Gottlieb, 164.

Great Britain, folk-songs of, 108ff. See also England.

Greece, 167.

Greek Catholic Church, 40f.

Grétry, André Erneste Modeste, 180.

Grieg, Edvard, 299ff. _[The] Swan_, 300.

Guido d’Arezzo, 34.

Guilbert, Yvette, 111.

Gypsies, 123f.

Gypsy songs. See Brahms.

Hahn, Reynaldo, 319.

Handel, George Frederick, 171.

Harmonics, vocal, 15.

Harmony, (in early Italian part-songs), 153f; (in 17th cent. French song), 166; (Wagner), 291f; (Arnold Schönberg), 343; (modern French school), 348ff; (Alfred Bruneau), 356; (Dargomijsky), 364.

Harp, mediæval, 136.

_[The] Harp That Once Through Tara’s Halls_ (Irish folk-song), 114.

Hassler, Hans Leo, 162.

Haydn, Joseph, 177f, 187.

Head cavities, 16f.

Head register, 12.

Health, influence of, on singing, 18.

Hebrews, early vocal culture of, 30ff, 40f.

_Heidenröslein_ (Schubert), 107.

Heine, Heinrich, 224f, 233ff, 248f.

Helmholtz, Hermann Ludwig Ferdinand von (quoted), 16, 58.

Henderson, W. J. (cited), 207f.

Henry VIII, King of England, 110.

Henschel, Georg, 308ff.

Herder, Johann Gottfried, 110.

Heyse, Paul, 331.

Hiller, Johann Adam, 176f, 191, 197.

Himmel, Friedrich Heinrich, 229.

Hippocrates, 55.

Hoffmannsthal, Hugo von, 331.

Holland, folk-songs of, 108.

Holmès, Augusta Mary Anne, 319.

_Home, Sweet Home_, 105.

Hook, James, 172.

Huë, George Adolphe, 319.

Hugo, Victor, 259f.

Humfrey, Pelham, 168f.

Hungarian folk-songs, 122ff.

Hygiene of the voice, 1-23.

Hymns, in Lutheran Church, 147.

_I Hear a Mill Go Tick-Tack_ (French folk-song), 117.

_Ich hab’ im Traum geweinet_ (settings of Schumann and Lassen), 307.

Impressionistic school, 346-363.

Indians (American), folk-songs of, 72f, 105, 129.

[d’]Indy, Vincent, 355f, 358.

Inspiration (physical action), 3ff.

Instruments of mediæval minstrels, 136.

Ionian mode, 167.

Ippolitoff-Ivanoff, Michael, 368.

Ireland, folk-songs of, 108f, 113ff.

_It was a Dream_ (settings of Schumann and Lassen), 307.

Italian folk-songs, 116f, 153, 266.

Italian influence on German music, 164.

Italian method of vocal culture, 24-54, 68f.

Italian opera, (rise of), 151f, 155ff; (influence of, in Germany), 164; (in England), 170f; (and the aria), 172ff.

Italy, (_Trovatori_), 138; (classical song), 151ff; (18th-19th cent.), 265f; (late romantics in), 298, 323. See also Italian folk-songs.

Jadassohn, Salomon, 256.

James II, King of England, 169.

Japan, primitive song of, 86.

Java, primitive music of, 86.

Jensen, Adolf, 303, _305ff_.

Jerusalem (ancient), vocal culture in, 31f, 40f.

_Jesos Ahatonhia_ (old French song), 117.

Joke-songs, Italian, 120.

Jongleurs, (origin of the name), 132; (music of), 132ff.

Jugglers, 132ff.

Kehlkopf. See Larynx.

Keiser, Reinhard, 164.

Kiesewetter, Raphael Georg, 40.

_[The] King of Thule_ (settings of Schubert and Liszt), 226; (Liszt), 293f.

Kittredge, G. L. (cited), 75.

Kjerulf, Halfdan, 311f.

Korbay, Francis Alexander, 126.

Kreutzer, Conrad, 228.

Ladré, 181.

Lamartine, 260.

Laryngeal action, 60f.

Laryngoscope, 10, 12f; (influence of on modern voice culture), 45, 55, 57f.

Larynx, 6ff.

Lassen, Eduard, 307f.

Lawes, Henry, 168.

Lehman, Liza, 328f.

_Leise, leise_ (Weber), 107.

Lekeu, Guillaume, 355.

Léroux, Xavier, 318f.

Lied. See Germany (classic song, etc.).

Lieder-singer, art of the, 93f, 97.

Liliencron, Detlev von, 331.

Lindpainter, Peter Joseph von, 229.

Lineva (Mme.), 125ff.

Lips (in singing), 3.

Liscovius, 56.

Lisle, Rouget de, 182.

Liszt, Franz, (Hungarian Rhapsodies), 123, 125; (_King of Thule_), 226; (songs), 292ff.

_Loch Lomond_, 113.

_[Die] Loreley_, (Silcher), 230; (settings by Liszt and Silcher compared), 293.

Lortzing, Albert, 228.

Love, influence of, on early song, 137, 139f.

Love-songs, primitive, 81.

Loewe, Johann Carl Gottfried, 226, _272ff_.

Ludwig the Pious, 131.

Lungs (in singing), 1, 2ff.

Lute, 136.

Luther, Martin, 147.

Lutheran Church, 122, 147.

Lydian mode, 167.

Lyric form, compared to ballad form, 202.

Lyric impulse, 85ff.

MacDowell, Edward, 298, _319ff_.

Mackenzie, [Sir] Morell, cited, 18.

Madrigal, 149f, 153f, 157; (English), 167.

Mahler, Gustav, 336ff.

Major mode, 148f, 167. See also Scales.

Male soprano, 44.

Mancini, Giovanni Battista, 49.

Mandl, Louis, 58.

Mannstein, Heinrich F., 27, 56f.

Mark, Adolph Bernhard, 56f.

Marot, Clément, 165.

Marschner, Heinrich, 228.

_Marseillaise_, 72, 182f.

Martinengo-Cæsaresco, Countess, 70f, 80.

Marx, Joseph, 345.

Massenet, Jules, 317, 358.

Mastersingers, rise of, 144ff, 150.

Maybrick, M. See Adams, Stephen.

Mazarin, Cardinal, 165.

‘Mazarinades,’ 165.

Méhul, Étienne Nicolas, 49, 183.

Meistersinger (rise of), 144ff, 150.

[_Die_] _Meistersinger_ (Wagner), 142.

Melody (in primitive song), 76, 83f; (in early folk-song), 153f; (modern French school), 348ff, 363.

Mendelssohn-Bartholdy, Felix, 107, 254f.

Mengozzi, Bernardo, 49f.

Mercadante, Giuseppe, 265f.

Merkel, Karl Ludwig, 58.

Methfessel, Albert Gottlieb, 229.

Méthode de Chant du Conservatoire de Musique, 49f.

Methods (vocal), standardization of, 59.

Meyer-Helmund, Eric, 312.

Mezzo-soprano, 62.

Minnesingers, (rise of), 141ff; (nature and value of their songs), 143f.

Minor mode, in Russian folk-song, 127f.

Minstrels, 25, 75, 77, 131ff.

Modern scientific methods, of vocal culture, 55-69.

Modes. See Major mode, Minor mode; Ionian mode; Lydian mode.

Modes, ecclesiastical, 135, 145, 152.

Modulation (Schubert), 208f.

_Mon Cri Cra, Tir’ la Liretta_ (French-Canadian folk-song), 375.

Monodic style, 39, 153ff, 162, 172f.

Monpou, François Louis Hippolyte, 265.

Monsigny, Pierre Alexandre, 116, 180.

Monteverdi, Claudio, 43, 155, 159, 172f.

Moore, [Sir] Thomas, 113f.

Möricke, Eduard, 331.

Moszkowski, Moritz, 326.

Moussorgsky, Modeste, 128, 365, 367f.

Mouth (in singing), 3.

Mouth-pharynx, 14ff; (resonance), 63ff.

Mozart, Wolfgang Amadeus, 178, 187ff, 205. _The Violet_, 178.

Müller, Johannes, 56.

Muset, Colin, jongleur, 134.

Musette, 166.

Musical education, viii-ff.

Musset, Alfred de, 261.

Nägeli, Hans Georg, 229.

Nahua Indians, 86.

Naples, folk-songs of, 119. See also Italian folk-songs.

Napoleon I, 183, 260f.

Nasal resonance, 14ff, 62ff.

Naumann, Karl Ernst, 143.

Neapolitan folk-songs, 119. See also Italian folk-songs.

Nevin, Ethelbert, 322f.

Newman, Ernest (cited), 334.

Norway (folk-songs), 123; (modern song-writers), 369. See also Scandinavia.

Norwegian folk-songs, 369.

Nose (in singing), 3.

_[Le] Nuove Musiche_ (Caccini), 47ff.

_O, Mama mia_ (Italian folk-song), 119.

_O, ma tendre Musette_ (French folk-song), 116.

‘Observations on the Florid Song’ (Tosi), 49.

‘Ode to Joy’ (Schiller), 192.

Odes, German, 175.

Old Italian Method, 24-25, 68f.

Opera (rise of), 151f, 155ff; (in England), 170ff; (German), 176, 228; (Italian), 164, 172ff.

Opéra comique, 166, 179.

Oratorio, 151, 156.

Orient, music of, 42.

Ornamentation, 31f, 39ff, 124f.

Overtones, vocal, 15.

Paesiello, Giovanni, 161f.

Pagan song, 130ff.

Palate (in singing), 15.

Palestrina, Giovanni Pierluigi, 38.

Paris Conservatory, vocal method of, 49f.

Part-song, 149f, 153.

_[Le] Pauvre laboureur_ (French folk-song), 116.

Pentatonic scale, in Scotch folk-songs, 112.

Pergolesi, Giovanni Battista, 161.

‘Persian Songs’ (Rubinstein), 325.

Pharynx, 3.

Philidor, François-André-Danican, 180.

Philip Augustus, King of France, 133.

Pianoforte, 231.

Pianoforte style, 236ff, 240, 295.

Pierné, Gabriel, 318.

Pinsuti, Caro, 266.

_Piper of Dundee_ (Scotch song), 113.

Pitch, determination of (vocal), 11f.

Placing of the voice. See Voice placing.

Plato, 167.

Poetry, ancient, in relation to song, 75ff.

Polish folk-songs, 128f.

Polyphonic style, influence of, on vocal culture, 35ff.

Polyphony, 149, 153, 166; (modern), 362.

Primitive song. See Folk-song.

Protestant Church. See Lutheran Church.

Provençal song. See Troubadours and Trouvères.

Psychological theory of tone production, 28f.

Psychology (in relation to music), 245f.

‘Psychology of Singing’ (Taylor), 28.

Purcell, Henry, 169f.

Rachmaninoff, Sergei, 128, 369.

Raff, Joachim, 312.

Ramis de Pareja, 37.

Range of human voice, 14.

Ravel, Maurice, 358, _362f_.

Realism, in songs of Schubert, 210f.

Recitative, (influence of, on solo singing), 42; (compared with declamation), 202f; (in songs of Schubert), 241.

Recitativo secco, 156.

[_The_] _Red Sarafan_ (Russian folk-song), 127.

Reformation, 147, 150.

Reger, Max, 340ff, 371.

Registers, vocal, 11ff, 61f.

Reichardt, Johann Friedrich, 192f, 195.

Reimann, Heinrich (cited), 125f.

Reinecke, Karl, 255f.

Religion, influence of, on primitive song, 78.

_Remember the Glories of Brian the Brave_ (Irish folk-song), 114.

Renaissance, 150.

Representative style, 162. See also Monodic style.

Resonance, laws of, 58.

Resonance cavities, 1, 2f, 13ff; (control of), 62ff.

Respiratory system, 2ff.

Rimsky-Korsakoff, Nicholas, 365f.

Rhythm, (in primitive song), 83; (in Italian folk-songs), 120; (in Spanish song), 121f; (in Hungarian music), 124f.

Roman church (early vocal culture in), 33ff; (introduction of popular music), 148.

Romance, (French), 166; (in French opera), 179f.

Romantic poetry, 231ff.

Romantic song, 231ff; (in France), 258ff; (after Schumann), 296ff; (in Russia, Scandinavia and England), 364ff.

Romanticism, (Schubert), 186f; (Schumann), 248f.

Ropartz, J. Guy, 318.

Rousseau, Jean Jacques, 179f.

Rubinstein, Anton, 127, _323ff_, 364.

_Rule Britannia_, 171f.

Russia, (Glinka), 257; (late romantics), 298, 323ff; (modern lyricists), 364ff.

Russian folk-songs, 105, _125ff_, 364ff.

Sachs, Hans, 146.

Saint-Saëns, Camille, 315ff.

_Sally in Our Alley_ (Carey), 171.

Savart, Félix, 56.

Scales, 84, 86; (modern), 152f; (major), 165. See also Whole-tone scale.

Scandinavia (modern), 369f.

Scandinavian folk-songs, 123, 299, 301f.

Scarlatti, Alessandro, 156f, 159, 161. _O cessate di piagarmi_, 157.

Scena, 202.

Schiller, 199.

Schönberg, Arnold, 342ff.

Schopenhauer (cited), 87.

Schrecker, Franz, 345.

Schubert, Franz, 89f, 91f, 107, 177, _186-230_, 231; (compared with Schumann), 235f, 238; (compared with Liszt), 293f; (compared with Hugo Wolf), 331f, 334. _[Die] Allmacht_, 208, 214. _Am Meer_, 210, 225. _Aufenthalt_, 210, 225. _Ave Maria_, 206. _Courage_, 221ff. _Dead Flowers_, 219. _Death and the Maiden_, 209, 212. _Death Music_, 204. _Der du von dem Himmel bist_, 294. _[Der] Doppelgänger_, 207, 225. _[The] Erl King_, 193f, 203, 205, 209, 225. _[The] Fisher_, 212. _[The] Fisher Boy_, 226. _Fülle der Liebe_, 204. _[Der] greise Kopf_, 221. _Gretchen am Spinnrad_, 155. _Gretchen’s Prayer_, 214. _Harper’s Song_, 212. _Heather Rose_, 212. _Hermann and Thusnelda_, 226. _Ihr Bild_, 206, 225. _Im Dorfe_, 221. _[The] Inn_, 221, 223. _[The] King of Thule_, 226. _Kolma’s Complaint_, 226. _[Die] liebe Farbe_, 218f. _[Der] Lindenbaum_, 107, 212, 222. _Litany_, 211. _Morning Greeting_, 217. _Müllerlieder_ (song cycle), 209, 212, 215ff. _Nebensonnen_, 223. _[The] Organ Grinder_, 223f. _[The] Post_, 221. _Praise of Tears_, 212. _Rest_, 221. _Schwanengesang_ (song cycle), 215. _Sea Calm_, 213. _Serenade_, 224. _[The] Signpost_, 222. _[The] Singer_, 226. _Suleika’s Second Song_, 210. _Swan Songs_, 224f. _Täuschung_, 221. _[The] Trout_, 210, 212f. _Viola_, 204. _[The] Wanderer_, 202, 205, 213. _Wandering_, 216, 218. _Wanderer’s Evensong_, 214. _[Der] Wegweiser_, 221. _Whither_, 216f, 219f. _Will-o’-the-Wisp_, 220. _Winterreise_ (song cycle), 201, 206, 220ff. _[Das] Wirtshaus._ See _[The] Inn_. _The Young Nun_, 214, 216.

Schola cantorum. See choir schools.

Schulz, Johann, 192.

Schumann, Clara, 254.

Schumann, Robert, 184, _231-257_; (and Robert Franz), 268, 270; (his setting of _Two Grenadiers_ compared with Wagner’s), 290f; (his settings of Heine poems compared with Lassen’s), 307. _A Young Man Loved a Maiden_, 252. _[Die] alten, bösen Lieder_ (_The Old and Evil Songs_), 253. _An den Sonnenschein_, 242f. _An das Trinkglass_, 242. _[Die] beiden Grenadiere_ (_The Two Grenadiers_), 242. _Blondels Lied_, 242. _Das ist ein Flöten und Geigen_, 250. _Dichterliebe_ (cycle), 238, 248ff. _Du bist wie eine Blume_, 240. _Du Ring an meinem Finger_, 245f. _Each Night in Dreams_, 253. _Fair Hedwig_, 254. _Frauenliebe und Leben_ (song cycle), 238, 244ff. _From Out My Tears_, 251. _Frühlingsnacht_ (_Spring Night_), 243. _[The] Glove_, 254. _He, the Noblest of All_, 246. _Helft mir, ihr Schwestern_, 245. _[Der] Hidalgo_, 241. _[The] Highland Cradle Song_, 24Of. _The Highlander’s Farewell_, 240f. _I Wept in My Dreams_, 253. _I cannot grasp it, I cannot believe it_, 245f. _Ich grolle nicht_, 249, 252. _In the Wondrous Lovely Month of May_, 251. _Intermezzo_, 243. _Lass mich ihm am Busen hängen_, 240. _Liederkreis_ (song cycle), 243. _[The] Lion’s Bride_, 241. _[Die] Lotusblume_, 240. _Mondnacht_, 243f. _Mit Myrthen und Rosen_ (cycle), 239. _Myrthen_, 239. _[Der] Nussbaum_, 240. _On the Bright Summer Morning_, 252f. _Poet’s Love_ (cycle), 238, 248ff. Romances and Ballades, 248. _[The] Rose, the Lily, the Dove, the Sun_, 251. _Schöne Wiege meiner Leiden_, 239. _Seit ich ihn gesehen_, 245. _Somebody_, 240f. _Stille Liebe_, 242. _Stille Thränen_, 242. _Stirb, Lieb und Freund_, 242. _Talismane_, 240. _Waldesgespräch_, 243, 306. _Wanderlust_, 242. _Western Divan_, 253. _When I Into the Garden Go_, 253. _When I Look Into Thine Eyes_, 251. _Widmung_, 96f, 239. _Wilhelm Meister_ songs, 253. _Woman’s Life and Love_ (cycle), 238, 244ff.

Scientific methods of vocal culture, 55-69.

Scotch folk-songs, 108f, 111ff; (compared with Irish), 114f.

Scotch songs (Edward MacDowell), 320.

_Scots Wha Hae_, 91, 112f.

Scott, Cyril, 373f.

Scott, [Sir] Walter, 110.

Shakespeare, 149, 168.

Sharp, Cecil, 107, 109ff.

Sibelius, Jean, 370f.

Sicilian folk-song, 119.

Sight-singing, 34ff.

Silcher, Friedrich, 107, 229f, 293.

Sinding, Christian, 369.

Singing, (as physical exercise), 18; (‘style’ in), 97f; (technique of), see Vocal culture, Tone production.

Singspiel, 175f, 190ff.

Sjögren, Emil, 369f.

Slavic folk-songs, 125ff.

‘Slide of the glottis,’ 61.

_Sol-fa_ system, 34.

Solo singing, 24; (florid style), 32; (before 17th cent.), 38ff.

Somervell, Arthur, 371.

Song, value of, vii; (nature and origin of), 70-99; (early development), 130-150. See also Classic song; Folk-song; Romantic song.

Song-cycle, 215, 220.

_Song of Roland_, 135.

Songs in the folk-manner, 106f, 229f; (Brahms), 278, 281ff, 289; (Henschel), 308ff; (Mahler), 337.

Soprano, 14, 62. See also Artificial soprano.

Spain (_Trobadores_), 138.

Spanish folk-songs, 119f.

Spencer, Herbert (theory of origin of song), 88.

Sinuses, 15.

Spohr, Ludwig, 183.

Stile rappresentativo. See Representative style; also Monody.

Stimulants, effect of, on singer’s organism, 19.

Strauss, Richard, 338ff.

Stravinsky, Igor, 362.

‘Stroke of the glottis,’ 61.

Style, in singing, 98f.

Sullivan, [Sir] Arthur, 326f.

_Sumer is icumen in_, 150.

Sweden (modern), 369f.

Swedish folk-songs, 123.

_[The] Sword Shining Brightly_ (Irish folk-song), 114.

Taneieff, Sergius, 368.

Tannhäuser, 142.

Taubert, Karl Gottfried Wilhelm, 256.

Technique. See also Vocal Culture.

Teeth (in singing), 3.

Telemann, Georg Philipp, 164.

Temples (ancient), vocal culture in, 30ff, 40f.

Tenaglia, 156.

Tenor voice, 62.

Thomas, Ambroise, 315.

Thomas, Arthur Goring, 298, 327f, 371.

Throat (ailments), 20ff; (relaxation of), 60f.

Throaty production, 65.

Thyroid cartilage, 6ff.

Tobacco, effect of, on singer’s organism, 19.

Tonality, vagueness of, in modern music, 348ff.

Tone emission, 64ff.

Tone production, (vocal), 11ff; (effect of incorrect methods), 20; (as taught in early music schools), 37f; (old Italian method), 53f; (modern methods), 59ff.

Tongue (in singing), 3, 15.

Tosi, Pietro Francesco, 46, 49.

Tosti, Francesco Paolo, 323.

Trachea, 3, 6.

_Traum durch die Dämmerung_ (Strauss), 340, (Reger), 341.

_Tre giorni_ (Pergolesi), 161.

Tremolo (vocal), 65f.

Trobadores (rise of), 138.

Troubadours, 25, 42, 135; (rise of), 137ff; (nature and value of their songs), 143f.

Trouvères, (rise of), 138f; (influence in Germany), 141. See also Troubadours.

Trovatori (rise of), 138.

Tschaikowsky, Peter Ilyitch, 298, _323ff_, 364.

_[The] Two Grenadiers_ (Schumann), 242; (settings of Wagner and Schumann), 290f.

United States, folk-music of, 129.

Unprepared dissonance, 159, 162.

Vacaresco, Helen, 81.

Vaudeville (French song form), 166.

Venice, folk-songs of, 118f.

Vidal, Paul, 357f.

Villanette, 153.

Villette, 153.

_[The] Violet_ (Mozart), 178.

Vocal cords, 2, 9ff, 60f.

Vocal culture (old Italian method), 24-54; (modern scientific methods of), 55-69.

Vocal hygiene, 1-23.

Vocal methods, standardization of, 59.

Vocal organs, structure and hygiene of, 1-23; (scientific investigation of), 55ff.

Vowel sounds (how formed), 16.

Vowels, use of, in exercises, 64f.

Voice placing, 59ff.

Volkmann, Robert, 256.

_Volkstümliches Lied_, 163, 176; (Silcher), 229f; (Henschel), 308ff; (Mahler), 337. See also Songs in the folk-manner.

Wagner, Richard, 142, 172, 285, _290ff_, 348; (and Peter Cornelius), 303; (and Hugo Wolf), 332f.

_Waldesgespräch_ (settings by Schumann and Jensen), 306.

Wallace, William Vincent, 267.

Walther von der Vogelweide, 44, 142.

Weber, Carl Maria von, 107, 227f.

Webern, Anton von, 345.

Weckerlin, Jean Baptiste, 107.

_When in Death_ (Irish folk-song), 114.

_[The] White Duck_ (French-Canadian folk-song), 376.

Whole-tone scale, 348ff, 364.

_Widmung_ (Schumann), 96f, 239; (Franz), 270, 272.

William de Longchamps, Bishop of Ely, 134.

_William of Nassau_ (Dutch folk-song), 108.

_Will Ye Gang Over the Lea?_ (Scotch folk-song), 113.

Windpipe, 6.

Wolf, Hugo, 331ff.

Wolfram von Eschenbach, 142.

Wyman, Loraine, 111.

Zelter, Karl Friedrich, 191, 193, 195.

Zumsteeg, Johann Rudolph, 192f, 197.