INDEX

A

Act of Supremacy, 325, 328, 329.

Agathon, pope, 110.

Agnus Dei, 90.

Ahle, 266.

Ainsworth, psalm-book of, 376.

Altenburg, 266.

Ambrose, St., 58;

introduces psalm singing into Milan, 66.

Anerios, the, 133, 168.

Anthem, Anglican, 346;

its different forms, 348;

periods and styles, 353.

Aria, Italian, origin of, 190;

its supremacy in the seventeenth and eighteenth centuries, 191;

its introduction into church music in Italy, 193, 269;

influence upon German church music, 267, 269, 318;

adoption into the cantata, 273;

into the Passion music, 276, 280.

Art, Catholic conception of religious, 70, 174;

Calvinist and Puritan hostility to art in connection with worship, 363, 369, 372.

Asor, 23.

Assyrians, religious music among the, 12.

Attwood, 354.

Augustine, missionary to England, 117.

Augustine, St., quoted, 51, 67;

traditional author, with St. Ambrose, of the Te Deum, 58;

effect of music upon, 372.

B

Bach, Johann Sebastian, his relation to German church music, 282, 287, 289;

the Bach family, 284;

Bach’s birth, education, and official positions, 286;

condition of German music in his early days, 287;

his organ music, 290, 292;

fugues, 292;

choral preludes, 295;

cantatas, 300;

style of his arias, 304;

of his choruses, 305;

Passion according to St. Matthew, 307;

compared with Händel’s “Messiah,” 307;

its formal arrangement and style, 308;

performance by Mendelssohn, 312;

the Mass in B minor, 204, 211, 312;

national and individual character of Bach’s genius, 314;

its universality, 316;

decline of his influence after his death, 317.

Bach Society, New, 322.

Bardi, 188.

Barnby, 355, 383.

Battishill, 354.

Beethoven, his Mass in D, 119, 200, 204, 210.

Behem, 229.

Benedictus, 88.

Bennett, 355.

Berlioz, his Requiem, 199, 200, 204.

Beza, 360.

Bisse, quoted, 338.

Boleyn, Anne, 326.

Bonar, 381.

Boniface, 118.

Bourgeois, 360.

Boyce, 354.

Brethren of the Common Life, 234.

Bridge, 355.

Buxtehude, 292.

Byrd, 350.

C

Caccini, 188, 189, 190.

Calvin, his hostility to forms in worship, 358, 363;

adopts the psalms of Marot and Beza, 360.

Canon of the Mass, 89.

Cantata, German church, 270, 272;

origin and development, 273.

See also Bach.

Cartwright, his attack upon the established Church, 367.

Cary sisters, 381.

Cassell, quoted, 45.

Catherine, wife of Henry VIII., 326.

Celestine I., pope, 110.

Chalil, 22.

Chant, nature of, 40, 97;

the form of song in antiquity, 40;

its origin in the early Church, 51;

its systematic culture in the Roman Church, sixth century, 67.

Chant, Anglican, 336, 340;

Gregorian movement in the Church of England, 342;

first harmonized chants, 345.

Chant, Catholic ritual, epoch of, 93;

liturgic importance, 94, 99, 405;

general character, 95, 104;

different classes, 103;

rhythm, 105;

rules of performance, 105;

origin and development, 99, 109;

key system, 113;

mediaeval embellishment, 115;

extension over Europe, 117;

legends connected with, 122;

later neglect and revived modern study, 126;

use in the early Lutheran Church, 260;

“Gregorians” in the Church of England, 337, 341.

Charlemagne, his service to the Roman liturgy and chant, 118.

Charles II., king of England, his patronage of church music, 352.

Cherubini, mass music of, 204, 213.

Choral, German, sources of, 260;

at first not harmonized, 262;

later rhythmic alterations, 263;

its occasional adoption by Catholic churches, 264;

its condition in the seventeenth century, 265;

decline in the eighteenth century, 266;

choral tunes in the cantata, 274, 302;

in the Passion music, 280;

as an element in organ music, 290, 294;

use in Bach’s St. Matthew Passion, 308, 309, 311.

Choral, or Cathedral mode of performing the Anglican service, 333.

Clement of Alexandria, quoted, 54;

his song to the Logos, 56.

Clement VII., pope, 326.

Colet, 327.

Common Prayer, Book of, 328, 330;

musical setting by Marbecke, 337, 369.

Communion, 90.

Congregational singing, its decline in the early Church, 48;

vital place in Protestant worship, 223;

in Germany before the Reformation, 228 et seq.;

not encouraged in the Catholic Church, 240;

in the Church of Luther, 242;

among the Puritans, 376.

Constantine, edicts of, 62.

Constitutions of the Apostles, 47.

Cosmas, St., 60.

Counterpoint, mediaeval, growth of, 140, 148.

Counter-Reformation, 156, 264.

Cowper, 381, 387.

Coxe, 381.

Cranmer, 328, 329, 331, 337.

Credo, 88.

Croce, 168.

Cromwell, 369, 371, 372.

Crotch, 354.

Crüger, 266.

Curwen, quoted, 343.

Cymbals, 24, 26.

D

Dance, religious, its prominence in primitive worship, 3;

twofold purpose, 5;

among the Egyptians, 6;

among the Greeks, 6;

in early Christian worship, 8.

David, his contribution to the Hebrew ritual, 24.

Day’s psalter, 345.

Deutsche Messe, Luther’s, 245, 247.

Dies Irae, 60.

Discant, first form of mediaeval part writing, 138.

Dubois, 217.

Durante, 213.

Dvořák, his Requiem, 204, 219;

Stabat Mater, 219.

Dykes, 383.

E

Eccard, 271.

Eckart, 229, 231.

Edward VI., king of England, 327, 328.

Egyptians, religious music among the, 12.

“Ein’ feste Burg,” 251, 252, 253, 259, 264, 302.

Ekkehard V., quoted, 121.

Elizabeth, queen of England, 327, 329, 332, 358.

Ellerton, 381.

Ephraem, 57.

Erasmus, 327.

Eybler, 207.

F

Faber, 381.

Faunce, quoted, 403.

Female voice not employed in ancient Hebrew worship, 29;

similar instances of exclusion in the modern Church, 30.

Festivals, primitive, 4;

in the early Church, 65.

Flagellants, 231.

Folk-song, as possible origin of some of the ancient psalm melodies, 31;

German religious, before the Reformation, 228 et seq.;

German secular, transformed into religious, 232;

folk-tunes as sources of the Lutheran choral, 261.

Formula Missae, Luther’s, 245.

Franc, 360.

Franck, 218.

Frank, 266.

Frauenlob, 229.

Frescobaldi, 292.

Froberger, 292.

Fuller, quoted, 375.

G

Gabrieli, Giovanni, 170.

Gabrielis, the, 93, 133, 170.

Galilei, 188.

Garrett, 355.

Gerhardt, 266, 311.

Gevaert, works on the origins of the Gregorian chant, quoted, 109.

Gibbons, 350, 352.

Gibbons, Cardinal, quoted, 75, 84.

Gigout, 217.

Gloria in excelsis, 58, 87.

Glossolalia, 44.

Goss, 355.

Gottfried von Strassburg, 229.

Goudimel, 154, 360.

Gounod, mass music of, 199, 200, 213, 216.

Gradual, 88.

Greeks, religious music among the, 14, 19;

Greek influence upon early Christian worship, 42, 63, 65;

relation of Greek music to Christian, 52.

Green, quoted, 117.

Greene, 354.

Gregorian Chant, see Chant, Catholic ritual.

Gregory I., pope, his traditional services to the ritual chant, 107;

objections to this tradition, 108.

Gregory II., pope, 113.

Gregory III., pope, 113.

Grell, 212, 321.

Guilmant, 217.

H

Händel, 279, 297, 306, 319, 323, 354;

the “Messiah,” 307.

Hammerschmidt, 266.

Harmony, virtually unknown in ancient music, 18;

beginnings in modern music, 130;

change from mediaeval to modern, 201.

Hartmann von Aue, 229.

Hasler, 271.

Hauptmann, 321.

Havert, 212.

Haydn, mass music of, 205, 208;

“The Creation” stimulates formation of choral societies in Germany, 319.

Haves, 354.

Hazozerah, 22.

Heber, 381.

Hebrews, did not assign a superhuman source to music, 14;

their employment of music, 20;

nature and uses of instruments, 21;

ritualistic developments under David and Solomon, 24;

psalms and the method of singing them, 27.

Henry VIII., king of England,

declares himself head of the English Church, 325;

not the originator of the Reformation in England, 316;

changes in policy, 328.

Hervé, 122.

Hezekiah, restoration of the temple worship by, 25.

Holmes, 381.

Hooker, author of The Laws of Ecclesiastical Polity,

his defence of the music and art of the established Church, 367, 404.

Hooper, 329.

Hopkins, 355, 383.

Horder, author of The Hymn Lover, 381 n.

Hucbald, 136.

Hus, founder of Bohemian hymnody, 233.

Hymn-books, early Bohemian, 233;

first Lutheran, 249;

Catholic German, 264;

recent American, 385.

See also Psalmody.

Hymns, their first appearance in Christian literature and worship, 42, 46;

Greek hymns in the early Christian Church, 56.

Hymns, Bohemian, 233.

Hymns, English and American, 379 et seq.;

“uninspired” hymns not permitted by Calvin and the Puritans, 361, 373;

hymns of Watts and the Wesleys, 379;

beauty and range of the later English and American hymnody, 380.

Hymns, Latin, 60, 235.

Hymns, Lutheran, historic importance of, 225, 303;

introduction into the liturgy, 247;

first hymn-books, 249.

See also Luther.

Hymns, pre-Reformation German, their history and character, 228;

not liturgic, 240.

Hymns, Syrian, 57.

Hymn-tunes, English, 382.

Hymn-tunes, German, see Choral.

I

Ignatius, St., traditional introduction of chanting into the Church by, 48.

Ildefonso, St, 118.

Instruments, how first used in worship, 3, 10;

their use in Egyptian ceremonies, 12;

among the Greeks, 14;

among the Hebrews, 21, 32;

not used in the early Church, 54.

J

Jakob, quoted, 77, 175.

James, St., liturgy of, 49.

Jean de Muris, quoted, 146.

Jebb, quoted, 333, 335, 339.

Jews, see Hebrews.

John Damascene, St., 60.

John the Deacon, author of a life of Gregory I., 108.

Jomelli, 213.

Joaquin des Prés, 133, 154.

K

Kahle, 376, 381.

Kiel, 212, 321.

Kinnor, 21.

Kretzschmar, quoted, 306.

Kunrad der Marner, 229.

Kyrie eleison, 57, 87;

popular use in Germany, 229.

L

Lanciani, quoted, 63.

Lang, Andrew, quoted, 7.

Laodicea, injunction in regard to singing by council of, 50, 51.

Lassus, 93, 133, 154, 167, 172.

Latimer, 329.

Lemaire, quoted, 116.

Leo I., pope, 110.

Lesueur, 214.

“Lining out,” 370.

Liszt, criticisms upon Paris church music, 206;

imagines a new style of religious music, 214.

Liturgy, Anglican, 329;

modes of rendering, 333 et seq.;

intoning of prayers, 337.

Liturgy, Catholic, origin of, 81, 83;

language of, 82;

outline and components of, 87;

a musical liturgy, 92.

Liturgy, Luther’s, see Formula Missae, and Deutsche Messe.

Liturgy of St. James, 49, 50;

of St. Mark, 49.

Longfellow, translation of “O gladsome light,” 58.

Lotti, 133.

Louis IX., king of France, 148.

Luther, his service to German hymnody, 226, 243, 248;

his reform of the liturgy, 244;

his theory of worship, 245;

origin of his hymns, 250;

their spirit and literary style, 251;

nature of his work for congregational music, 258;

Luther not a composer of tunes, 259;

quoted, 260.

Lyric poetry, two forms of, 27.

Lyte, 381.

M

Mackenzie, 355.

Marbecke, his musical setting of the English Prayer Book, 337.

Marot, psalm translations of, 359.

Martin, 355.

Mary, queen of England, reaction under, 329, 332.

Mass, theory of, 83, 91, 240;

different kinds of, 85;

in England, 328, 332.

See also Liturgy, Catholic.

Milman, 381.

Milton, 365.

Mixed mode of performing the Anglican service, 335.

Monk, 355, 383.

Montgomery, 381.

N

Naninis, the, 168.

Neale, quoted on the Greek hymns, 59.

Nebel, 22.

Netherlanders, age of the, 149.

Neukomm, 207.

Newman, 381.

Newton, 381, 387.

Nicholas I., pope, 122.

Notker Balbulus, reputed founder of the Sequence, 121.

O

Oblation of the Host, 88.

Offertory, 88.

Opera, invention of, 186, 188;

ideal and form of early Italian, 190;

opera and church, 193.

Oratorio, its rise in Germany and effect on church music, 319.

Organ music, its beginnings in Venice, 169, 171;

in the German Protestant Church, 269, 270, 290;

Bach’s organ works, see Bach.

Organs, Puritan hatred of, 365, 370;

destroyed by the Puritans, 371.

Organum, 136.

Osmund, bishop of Salisbury, 331.

P

Pachelbel, 292.

Palestrina, 93, 133, 151;

the Mass of Pope Marcellus, 152, 154;

myth of the rescue of church music by Palestrina, 152;

compared with Lassus, 173.

“Palestrina style,” 158;

tonality, 158;

construction, 159;

tone color, how produced, 166;

aesthetic and religious effect, 173, 177;

limits of characterization, 178.

Palmer, 381.

Parallelism in Hebrew poetry, 28.

Parochial mode of performing the Anglican service, 335.

Passion music, German, 270, 272;

origin and early development, 274;

from Schütz to Bach, Hamburg Passions, 280.

Passion play, 274.

Pater, quoted, 400.

Paul, St., his injunction in regard to song, 42;

allusion to the glossolalia, 44.

Pergolesi, 213.

Philo, 48.

Pietism, its effect on church music, 266, 319.

Plain Song, see Chant, Catholic ritual; also Chant, Anglican.

Plato, his opinion of the purpose of music, 14.

Pliny, his report to Trajan concerning Christian singing, 47.

Plutarch on the function of music, 15.

“Pointing,” 341.

Post-Communion, 90.

Prayer Book, see Common Prayer, Book of.

Preface, 88.

Psalmody, Puritan, 369, 373;

methods of singing, 377, 405.

Psalms, how sung in the ancient Hebrew worship, 27;

adopted by the Christians, 41;

antiphonal psalmody in Milan in the fourth century, 66;

in Rome in the fifth century, 67;

in the Church of England, see Chant, Anglican;

metrical psalm versions, see Psalmody.

Psalter, Geneva, origin of, 359.

Psaltery, 23.

Purcell, 347, 352.

Puritanism, 324, 327, 358, 364 et seq.

Puritans, their hostility to artistic music, 365 et seq.;

their attacks upon episcopacy and ritualism, 366, 369;

their ravages in the churches, 371;

their tenets and usages maintained after the Restoration, 372;

Puritan music in America, 390.

R

Recitative, 188.

Reformation in England, its nature, causes, and progress, 325 et seq.

Reinken, 295.

Reinmar der Zweter, 229.

Renaissance, its influence upon musical development, 185, 187, 272;

parallel between Renaissance religious painting and Catholic Church music, 194.

Requiem Mass, 85.

Rheinberger, 212.

Richter, 321.

Ridley, 329.

Robert, king of France, 147.

Romanus, 119.

Rossini, religious music of, 207, 213.

S

Sachs, 229.

St. Cecilia Society, 180, 212.

St. Gall, convent of, as a musical centre, 118.

Saint-Säens, 217.

Sanctus, 88.

Savages, religious sentiment among, 2;

methods of religious expression, 3.

Schaff, quoted, 44.

Scheidt, 292.

Schleiermacher, 321.

Schola Cantorum, 181, 288 n.

Schop, 266.

Schubert, masses of, 199, 200, 211.

Schubiger, quoted, 119.

Schütz, greatest German composer before Bach and Händel, 277;

his education and musical methods, 277;

Symphoniae sacrae, 278;

dramatic religious works, 278;

Passion settings, 278;

his isolated musical position, 279.

Sechter, 207.

Seminaries, theological, and church music, 406.

Senfl, 264.

Sequence, 88;

origin and early character, 121.

“Service,” Anglican, 345.

Shairp, quoted, 398.

Shophar, 22.

Sistrum, 23.

Six Articles, 328.

Smart, 355, 383.

Spencer, Herbert, quoted, 5, 15.

Speratus, 249.

Spitta, quoted, 322.

Stainer, 355;

quoted, 342.

Stanford, 355.

Sternhold and Hopkins, psalm version of, 375, 377.

Stile famigliare, 151, 158, 159.

Sullivan, 355, 383.

Swelinck, 292.

Symbolism, in ancient music, 11, 14.

Synagogue, worship in the ancient, 33;

modified by the Christians, 41.

Synesius, 57.

T

Tallis, 168, 345, 350.

Tate and Brady, psalm version of, 376.

Tauler, 229, 231, 238.

Taylor, Bayard, quoted, 254.

Te Deum, 58.

Therapeutae, 48.

Thirty Years’ War, 264, 265, 285.

Thomas à Kempis, 224.

Tones, Gregorian, 100.

Tones, psalm, see Tones, Gregorian.

Toph, 22.

Tours, 355.

Tractus, 88.

U

Ugab, 22.

V

Van Laun, quoted, 359.

Vehe, 264.

Venice, church music in, 168.

Verdi, his Requiem, 199, 200, 213, 218.

Vittoria, 133, 168.

W

Wackernagel’s collection of German pre-Reformation hymns, 228.

Wagner, P., quoted, 104.

Walther, Johann, 249, 259, 260, 264.

Walther von der Vogelweide, 229.

Watts, psalm version of, 376;

hymns, 379, 380, 387.

Wesley, Charles, 379, 381.

Wesley, John, 379.

Wesleyan movement, revival of hymn singing in the, 379.

Whittier, 381.

Wiclif, 327.

Willaert, 133, 168, 169.

Winterfeld, quoted, 170.

Wiseman, quoted, 76.

Witt, founder of St. Cecilia Society, 180.

Wrangham, 376.