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X 466 SINGING SINGING the more open 'oo' sound in 'good,' 'would,' etc., whioh is on I - between U (oo) and Qi (oh). Besides these thirteen simple sounds in English there are several compounds which require a movement from one position to another while the breath continues. -—
' SINGING SINGING 467 been confused by the assumption that the different tones of voice were produced by different actions of the vocal reed. The terms ' head register ' and ' chest register ' have, no doubt, been intended to mean conditions in which the singer has felt the sound in the head and in the chest. The former signifies the absence, and the latter the presence, of expansion in the neck. The chest itself is occupied with the airpressure and cannot be regai-ded as a resonator, since it is practically closed, except for the minute slit through which the pressui-e issues. The head register ' ' has been further confounded with the compression of the membranes which also occurs in the upper notes of many voices. Certain descriptions of the vocal membranes in explanation of the different ' registers ' have been given, and named lower ' ' thick, ' upper thick,' 'middle,' 'lower thin,' 'upper thin,' etc. (Lennox Browne), but they have not been confirmed by further observation. As at present known the membranes behave in the same way throughout the entire compass, and their compression in the high notes must be regarded as a departure from the natural process. The true high note requires a development of breath power and control, and it would be better for their instrument if singers would refrain from singing by compression, and be satisfied with the compass that their breath power can give them. High notes might become rarer, but their sound would be of better quality. Other forms of ' register ' diie to alternative resonation are used as the singer wishes to express different tone-colour. But by insisting upon the maintenance of the double character of the Resonator with all articulation in the front of the mouth, and resonant control in the neck, there are no sudden changes which could produce an obligatory ' register.' Variety of colour due to control of the resonation of the neck may occur in all parts of the voice.' "When, however, the base of the tongue is pressed down so as to produce a heavy resonation in the mouth, at the expense of that in the neck, as well as to the detriment of good diction which requires the tongue to be free, it may readily occur that a sudden change has to be made near the middle of the voice, on passing from one note to the next. Phonology is as much opposed to fictitious tone as to fictitious notes, and prefers to sacrifice the heavy tone of a voice if it is not natural to it, that is, if it is not obtained by the natural actions which are known to govern the sounds of the voice, in this case by expansion of the neck. Therefore the so-called ' Registers ' cannot be accepted as natural. That they are often acquired is beyond doubt, but it is astonishing how they disappear when singers are relieved of the necessity of thinking about them. Phonology does not acknowledge some of the common methods of singing teachers, but it is able to support, on rational grounds, some of the best traditions of the great masters, which are the foundation of the following picture of the use of the singing voice. The singer stands erectwith a broadly expanded chest. He takes a deep breath by expanding both chest and abdomen at the level of the 6th- 7th rib. He opens his mouth and throat to the position suitable for the pronunciation of A (ah), and at the same time he thinks of the note he is about to sing. "Without allowing the ribs to yield he strikes the note by breathing out with decision, by a contraction at the upper part of the abdomen and a simultaneous approximation of the vocal membranes. If the note is in the middle of his compass, he will sing a succession of notes up to an octave higher and down to an octave lower, and back again, without any movement of his mouth or ribs ; being conscious only of the breath force, which produces the notes he hears in his mind. The notes are lifted up and let down upon the breath pressure, controlled by the muscular action felt in the region of the lower ribs. By changing the position of the Resonator other vowel qualities can be given to the whole process, but under all circumstances the production of the notes remains the samer By movements of the resonator before and after the open vowel positions the effects of consonants can be introduced for the formation of words. By expanding the neck from below, a fuU resonant tone can be given, or withheld according to the ' colour ' required. The throat is always free, that is, relaxed, open, and unconscious. This is a brief picture of what singing is in the individual, illustrating the action of the two instruments which combine to produce the sound of the voice. The one instrument expresses in music the emotions of the soul, while the other expresses in words the poetic thoughts of the mind. It is the oflBce of the musical composer to bring these two together into the form of song. Just as it is essential to the writer of vocal music to understand thoroughly the ' technique of the living instrument for which he writes, so is it also a necessary part of singing to be acquainted with the manner in which the dual expression is conceived in the song. Phonology has supplied the singer with an absolutely material estimate of work to be done by the voice, in the ' song diagrams ' already referred to, but in order to show how the vocal instruments are to be used in the service of Art its analysis of song must be carried farther. As presented' upon the page, a song consists of a line of music written upon a stave, and a line of words below it, in ordinary character. It is evident therefore from the first that the vocal reed or instrument of music has to
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MiDlllilllilhllllHIinilllilllltlill
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Cornell University Library ML 100.G
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Tflaaanoa asTai swajtt
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GROVE'S DICTIONAEY OF MUSIC AND MUS
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LIST OF CONTEIBUTOES The names of d
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S. J. Spobling, Esq. . LIST OF CONT
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' ' DICTIONARY OF MUSIC AND MUSICIA
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; QUARENGHI QUAETET any other combi
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; Stanford's quartets from Tennyson
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— QUAVEE QUEISSER Comique, Paris,
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' — as — ' QUINTET QUINTUPLE TI
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— ' AAFF, Anton, one of the most
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JOSEPH JOACHIM KAFF
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— ; ; 14 RAFF EAFF gelitten, gest
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. Einer . Suite , Suite . 8th , 2nd
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— :; ; 18 EAMANN BAMEAU so that b
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j ; I ZaTa, 1 ' ' 1 Pygmalion, ' Le
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—; EAMEAU to attaining truth of d
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; porticos. 24 RANDHAETINGER RANELA
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' 26 EANTZAU EAPPOLDI hit with Neuk
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EASELIUS EASOUMOWSKY 27 ' Professor
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; , EAVENSCROFT Fischer, Cervetto,
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EEADING REBEC 31 series of letters
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' RSBSK EECITATIVE 33 seems to have
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— RECITATIVE RECITATIVE 35 the pu
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— EECOEDER RECORDER 37 Tonus Pere
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' RECORDER RECORDER 39 always tell
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EEDEKER REDOUTE 41 that of the well
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' Beggarmy ' Our — — ' ' ' Happ
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— : KEEL EEEVE 45 of the trumpet
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' ' REFORMATION SYMPHONY, THE EEGAL
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' — — — ; EEGGIO BEGNAET 49 .
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EEHEAESAL EEICHA 51 praises from th
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— ; 54 REICHER-KINDERMANN EEICHMA
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CAKL HEINKICH OAKSTEN REIXECKE
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EEINKEN EEISSIGER 59 St. George the
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' EELATrON RELATION 61 third and mi
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EEMBT REMOTE 63 Rellstab's novels a
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' — EENCONTRE IMPREVUE REPETITION
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— ' ; REQUIEM RESOLUTION 67 chara
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— — — — RESOLUTION RESOLUTI
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— ' — —— . RESPONSE RESPONS
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— — EESPONSOEIAL PSALMODY EESPO
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In — — ' EESPONSORIUMJ REST 75
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. RESULTANT TONES EESZKE 77 to trea
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;' EfiVE, LE KEY 79 1697 to 1703. I
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ERNEST REYER
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'' EHAMES RHAPSODY nations. The ope
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— ' — 84 RHEINBERGER EHEINBEEGE
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; often —; —: ' 86 RHEINGOLD, D
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— — — ; 88 RHYTHM ill such qu
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' 90 BICCIO EICH published two volu
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and ' EICHAEDSON BICHTER on its vis
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— ' RICHTER RICHTER 93 has passed
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a: ' as RIDOTTO RIEMANN 95 and frie
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; '; RIES RIES 97 a great deal of p
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— RIETZ EIETZ 99 library at Winte
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' RIGHINI EIMBAULT 101 and Galatea.
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NICHOLAS AXDREIE\"ICH EIM.SKY-KORSA
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— ' •104. EIMSKY-KOESAKOV RIMSK
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' : 106 RINALDO DI CAPUA EINCK prea
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' 108 KIPIENO RITORNELLO became ver
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no rittbb! RIZZIO on the Viola Alta
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, ' 112 ROBERTS ROBINSON of 'Callio
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— : 114 ROBINSON ROCHLITZ which w
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116 BOCKSTRO EODE return to England
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' ' 118 EOECKEL KONTGEN repertory o
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' Roland, ' 120 EOGERS ROGEKS himse
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122 ROI DES VIOLONS KOKITANSKY pupi
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many —' 124 ROLLI ROMANTIC of whi
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; , , 126 ROMANTIC ROMANTIC strings
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feelings stirred in them by externa
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' 130 ROMBERG ROME to hit the taste
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132 ROME EOME and instrumental musi
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134 EOMER KONCONI performed at the
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— 136 RONDO EOOKE of the third su
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• tonic 138 ROOT ROOT eleventh an
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' ; ; 140 ROSA ROSA in pronunciatio
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— 142 ROSALIA EOSAMUNDE may be se
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' — 144 KOSEINGRAVE EOSEINGKAVE C
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; 146 EOSENHAIN ROSENMULLER harmony
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" 18th ' 148 ROSINA ROSSI rough ros
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; 150 ROSSI ROSSINI 'Leoeadia' (183
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;' EOSSINI ROSSINI 151 side, and ha
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, ' ; EOSSINI ROSSINI 153 and Rossi
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ROSSINI KOSSINI 155 ment, but 'Enni
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— ROSSINI ROSSINI 157 the end of
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' ' ROSSINI ROSSINI 159 head of the
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! by EOSSINI ROSSINI 161 ' ' pianos
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; ROSSINI ROSSINI 163 have degraded
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eturned — ' ; ROUGET DE LISLE ROU
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' ROUSSEAU ROUSSEAU 167 theatres, E
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ROW OF KEYS ROYAL ACADEMY OF MUSIC
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' ROYAL ACADEMY OF MUSIC ROYAL ACAD
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; EOYAL COLLEGE OF MUSIC EOYAL COLL
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EOZE EOZE 175 bassoon and double-ba
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GIOVANNI BA'iTI8TA EUBINI
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178 RUBINSTEIN RUBINSTEIN through H
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— — ; I RUBINSTEIN RUBINSTEIN 1
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— :' ' RUCKERS RUCKERS 181 Rucker
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RUCKEES RUCKEES 183 became clavecin
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' , ; RUCKEES RUCKERS 185 Christoph
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•; EUCKERS 187 and 50 51 Bent 8ld
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RUDDYGORE RUDOLPH, ARCHDUKE 189 V.
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; .' — RUDOEFF EUBEZAHL 191 ments
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. RULE, BRITANNIA! RUMMEL 193 ofMrs
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are RUSSELL BUST 195 on the art of
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— ' Hd — QABBATINI, Galeazzo, o
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SACCHINI SACCHINI 199 an intermezzo
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; and had was ;' SACRED HARMONIC SO
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— SADLER'S "WELLS SAINT ANNE'S TU
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' ' - ' SAINT CECILIA SAINT HUBEETY
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CHARLES CAMILLE SAINT-SAEXS
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. 208 SAINT-SAENS SAINT-SAENS prize
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210 SAITEN SALAMAN and after leavin
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— SALAMMB6 SALIERI 211 from dream
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SALIMBENE SALMON 213 pupil. ' 1 As
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; SALO SALO 215 Brescia.' The lengt
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SALTANDO SALVAYRE 217 horse caused
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—' — SAMMARTINI SANCTUS 219 sui
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SANDONI 1799 ' ; Sir Francis Drake,
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SAPPHO SARABAND 223 Santley's singi
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PABLO MARTIX MELITON DE SARASATE Y
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; 226 SARTI SARTI Conservatorio of
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; ; SAUTILL^ the principal violin p
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' when 230 SAVONAROLA SAX included
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232 SAXHORN SAXHORN detailed in F^t
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234 saxophon:^ SCALA, LA ' tubas, n
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' — octave ' — — 236 SCALE SC
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— ; 238 SCANDELLO SCANDELLO $ ^^
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; 240 SCAEIA SCARLATTI Miuikalische
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' ' SCARLATTI SCARLATTI 241 able th
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— —' SCARLATTI SCARLATTI 243 of
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SCARLATTI SCARLATTI 245 with Beetho
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SCAELATTI SCBNA 247 Asturias, whose
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. SCHARWENKA SCHAEWENKA 249 elude a
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' SCHEIBLEE SCHEIDEMANN 251 was suc
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— ' SCHEIDT SCHEIDT 2&3 large num
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— ' SCHEIDT SCHEIN 255 there is s
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— : SCHELLER SCHBNK 257 sion ; an
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SCHERZO SCHERZO 259 humour or fancy
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— SCHETKY SCHIEDMAYER 261 any mor
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' ' — — SCHILLING SCHINDELMEISS
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' posed for the Paris Op6ra-Comique
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. SCHLICK SCHLOESSER 267 organists,
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— SCHNEIDER SCHNEIDEE 269 now Mme
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SCHOELCHER SCH(ELCHER 271 brilliant
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' SCHOLZ SCHOTT 273 de propagande '
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' ; SCHRIDER SCHRODEE-DEVRIENT 275
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WILHELMIXE SCHEOUER-DEVRIENT
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' 278 SOHROTER SCHROETER post of Ka
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' ; 280 1797— SCHUBERT -1807 'Thi
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; ' 282 1811— SCHUBEET -1812 for
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! ; ; 284 1814— SCHUBERT — 1815
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— 286 1816 SCHUBERT 1816 a marvel
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288 1816 SOHUBEBT 1816 the same. To
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''; 290 18 IT- SCHUBEBT -1818 '—
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i "We — —' 292 1819 SCHUBERT 18
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' 294. 1820 SCHUBERT 1820 mentality
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—; 296 1821 SCHUBEET 1821 manuscr
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298 1822 SCHUBERT 1822 of his visit
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— ; ' 300 1823 SCHUBERT 1823 desi
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— 1824 SCHUBEET 1824 aa already m
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304 1825 SCHUBERT 1825 String Quart
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306 1826 SCHUBERT 1826 anthor, ' IV
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' 308 1826— SCHUBERT -1827 of pri
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—' ' 310 1827 SCHUBERT 1827 and '
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312 1828 SCHUBEET 1828 Sohindler to
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' ' ' lisher, he wrote a, four-hand
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' 316 1828 SCHUBERT '1828 He discus
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— 318 1828 SCHUBERT 1828 Seidl, S
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;' — 320 SCHUBERT been a zealous
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— ; 322 SCHUBERT PF. pieces were
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— ; 324 SCHUBERT then the theatre
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; 326 SCHUBERT the astonishing forc
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' ' 328 SCHUBERT only, as in the Eo
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^' . 1
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' ; 330 SCHUBERT changes so grand,
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; ; set to no simple Volkslieder, b
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— ; 334 SCHUBERT made by von Erei
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336 SCHUCH SOHtJTZ was appointed so
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338 SOHUTZ SCHUTZ waa commissioned
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340 SCHUTZ SCHUTZ three alto voices
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— ; 342 SCHULTZ SCHULZE counterpo
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; 344 SCHUMANN England, playing at
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— extending from Scarlatti and Ba
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1828- SCHUMANN —1829 347 dutifull
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dreams ' 1830— SCHUMANN —1832 3
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— 1834- SCHUMANN —1835 351 doma
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— ' 1835 SCHUMANN -1839 353 preta
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1835- SCHUMANN —1839 355 him as t
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— ; 1839- SCHUMANN -1840 357 At t
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1843— SCHUMANN —1846 359 of the
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' 1848- SCHUMANN —1850 361 the wa
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;' 1850 SCHUMANN 1850 363 accepted
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1851— SCHUMANN —1853 365 custom
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—; 1854- SCHUMANN —1856 367 wor
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KOBERT ALEXANDER SCHUMANN From a da
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' 370 SCHUMANN years, in early life
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' — '; 372 SCHUMANN and depth of
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374 SCHUMANN out, and which are—a
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' 376 SCHUMANN distracted from the
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' 378 SCHUMANN very highly of this
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380 SCHUMANN fact which Schumann th
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; 382 SCHUMANN quoted above. As a P
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384 SCHUNKE SCHUPPANZIGH ' Ero e Le
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' 386 SCHWINDL SCOEDATURA when he l
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' 388 SCOEE SCORE glance. The Engli
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' — ' 390 SCOTCH SYMPHONY, THE SC
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— ;• ' — 392 SCOTTISH MUSIC S
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; —; 394 SCOTTISH MUSIC SCOTTISH
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— 396 SCOTTISH MUSIC SCOTTISH MUS
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' 398 SCOTTISH MUSIC SCOTTISH MUSIC
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y 400 SCOTTISH MUSIC SCOTTISH MUSIC
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402 SCOTTISH MUSIC SCEIABIN (This I
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— ' De dlscantu/ ' De ' ' ' ' ' ;
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; 406 SECOND SEEGR variations on an
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: : ' . 408 SEGUIN SEIFPERT and in
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' SEISS SEMBEICH 409 SEISS, IsiDOR
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#'# -'i»* m .'^ a,p!irigH I'll .1^
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; ' ' ; , 412 SEMIEAMIDE SENAILL1&
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'; 414 SENPF SEPTET perfect. Purity
Page 472 and 473: ! 1 , J , J . — 416 SEQUENCE SEQU
Page 474 and 475: — 418 SERAPHINE SEEENATA of grace
Page 476 and 477: ' ': 420 SEEMISY SERMISY in 1532 wh
Page 478 and 479: ' ; 422 SEROV SERPENT features of '
Page 480 and 481: ' 424 SEREANO SERVICE Ambroise Thom
Page 482 and 483: ' ;' 426 SERVICE SESQUIALTEEA been
Page 484 and 485: 428 sevCIk SEVEN LAST WORDS, THE hi
Page 486 and 487: 430 SEVERN SEYFEIED the key that so
Page 488 and 489: 432 SGAMBATI SQAMBATI op. 4), an ov
Page 490 and 491: — — — 434 SHAKE SHAKE The sig
Page 492 and 493: — 436 SHAKE SHAKE principal note
Page 494 and 495: 438 SHAKE SHALIAPIN The above arran
Page 496 and 497: — 440 SHAWM SHEPHERD and appeared
Page 498 and 499: ; 442 SHIELD SHIFT siderable succes
Page 500 and 501: ' 444 SHIEKEPFS SHORT OCTAVE favour
Page 502 and 503: ' 446 SHUDI SI that Plenina about 1
Page 504 and 505: ; ; 448 SIBELIUS SIBONI himself say
Page 506 and 507: —' 450 SIGNA SIGNATURE According
Page 508 and 509: — ; 452 SIGURD SILBERMANN an Engl
Page 510 and 511: 454 SILVA SIMON in St. Petersburg,
Page 512 and 513: 456 SIMPSON SIMPSON ' Introduction
Page 514 and 515: 458 BINDING SINGAKADEMIE great popu
Page 516 and 517: — 460 SINGING SINGING voice can b
Page 518 and 519: 462 SINGING SINGING Besides the ten
Page 520 and 521: — ' 464 SINGING SINGING 2. Conson
Page 524 and 525: 468 SINGING SINGSPIEL perform a mus
Page 526 and 527: ; 470 SINIGAGLIA SIR BOGER DE COVEE
Page 528 and 529: 472 SIRilNE, LA SIEMEN main axis, w
Page 530 and 531: ' 474 SISTINE CHOIR SISTINE CHOIR T
Page 532 and 533: ; ' 476 SISTINE CHOIR SIVORI ti-ebl
Page 534 and 535: — ; ' 478 SIXTH SIXTH London, and
Page 536 and 537: 480 SKENE MANUSCRIPT SKETCH that it
Page 538 and 539: 482 SLIDE SLIDE called Tirade or Ti
Page 540 and 541: ; 484 SMALL OCTAVE SMAET in a lette
Page 542 and 543: :' ' ' . 486 SMETANA SMITH ^1874),
Page 545 and 546: ' ; SMITH SMITH 487 ' always clear
Page 547 and 548: SMITH SMITH 489 quary. In 1773 he w
Page 549 and 550: ; SNAEES SOCIEDADE DE QUAETETOS 491
Page 551 and 552: SOCIETY OF BRITISH MUSICIANS SODEEM
Page 553 and 554: ' ' SOLESMES SOLESMES 495 Under Gu^
Page 555 and 556: — — ' SOL-FA SOLFEGGIO 497 nota
Page 557 and 558: ' SOLFEGGIO SOLMISATION 499 is ther
Page 559 and 560: — — SOLMISATION SOLMISATION 501
Page 561 and 562: —; ' SOLO STOP SOMERVELL 503 of t
Page 563 and 564: SONATA 505 to make tlie most elemen
Page 565 and 566: SONATA 507 being taken as part of t
Page 567 and 568: ; not only does the mind take time
Page 569 and 570: SONATA 511 next thing to complete m
Page 571 and 572: — —' SONATA 513 home to the hea
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— SONATA 515 position, but this i
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— . — Cromatica, and parts of s
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The virtue of tliis process is that
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though ably written, has too much o
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SONATA 523 before Beethoven's time
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— SONATA &25 build at once upon t
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; SONATA 527 •hoven probably stoo
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; SONATA 529 fairly appropriate to
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SONATA 531 but is not so fascinatin
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SONATA 533 two Imudred years ; and
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' ; SONATA SONATINA 535 slow moveme
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I SONG 537 principles as other kind
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; - SONG 539 Another example of the
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I et I 1 '«^ I ' ta SONG 541 centu
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' 1 A celebrated collection, with a
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' SONG 546 Eomantio School, and his
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— and pathos can only be fully fe
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' lla —: — to various districts
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'• 'i SONG 551 Ex. 10. Los Pkbgon
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, Ex. — SONG 553 but the words ar
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; SONG 555 songs had their populari
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. I SONG 557 {Escl. con misura pi'i
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SONG 559 hynm- tunes, known as 'Lau
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SONG 561 With few exceptions Italia
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— — SONG 563 B1BLIOGKA.FHV Tobl
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— SONG 565 The rpayoiSta rov x^P^
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— — ' SONG 567 Ex. 3. 1st Voice
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: SONG 569 Rosniiinovaky. Le chant
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— — — SONG 571 in the cathedr
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— of the earliest and most famous
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— ^ ' of the Slovaks who inhabit
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^ — SONG 577 Ex. 7. served to res
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— songs of Western Europe, some o
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Ii — — SONG 681 diiferent count
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SONG 583 present century. The music
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;' humour, and pathos, but it is li
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aim ' SONG 587 Berggreen, A. r. 'Fo
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I — SONG 589 woe-ste Zee, Ala doo
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; the short allegorical, mythologic
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and : by SONG 593 abundance of popu
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' SONG 595 Ex. 3. My LitUe Pretty O
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^ SONG 597 Many songs of their emph
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' , thoroughly ; ballad-form, and a
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- mouJded and finished with care, w
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fi ' — SONG 603 and Ulm. In slior
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— — ! SONG 605 with one phrase
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— SONG 607 Jungfrau, ilir seid wo
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— I I ; belonged to the second ha
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' faTonrite ' Ich mochte wohl der K
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' that they are too pretentious and
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SONG 615 ality of conception in the
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' SONG-SCHOOL SONG-SCHOOL 617 Bilch
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a' ; SONNLEITHNER SONS OF THE CLEEG
Page 679:
IIENKIETTE SUMAU, COUMESS RO.SSI
Page 682 and 683:
SORCERER, THE SORDINO Robinson, Mar
Page 684 and 685:
624 SORIANO-FUERTES SOSTINENTE PIAN
Page 686 and 687:
— — 626 SOUND-HOLES SOUND-HOLES
Page 688 and 689:
— 628 SOUND-POST SPAGNOLETTI of a
Page 690 and 691:
630 SPEAKER-KEYS SPECIMENS Bennett,
Page 692 and 693:
—— : — 632 SPINET SPINET Spin
Page 694 and 695:
C^ — 634 SPINET SPINET tuned an
Page 696 and 697:
— — 636 SPINET SPINET fourths b
Page 698 and 699:
638 SPITZFLOTE SPOHR was CO -editor
Page 701 and 702:
SPOHR SPOHR 639 longed stays at Ham
Page 703 and 704:
—' SPOHB SPOHR 641 setting a libr
Page 705 and 706:
' — SPOHR SPOHR 643 his famous cr
Page 707 and 708:
; ' I - ' ' ' op. SPOHR SPONDEE 645
Page 709:
GASPARO LUIGI PACIFICO SPONTINI
Page 712 and 713:
work, Cenno gtarico tuUa Scuota mus
Page 714 and 715:
650 SPONTINI the first act the seco
Page 716 and 717:
652 SPONTINI problem Spontini eithe
Page 718 and 719:
' — ' 654 SPONTINI and Armida ' '
Page 720 and 721:
656 SPONTINI more suited to Lieder
Page 722 and 723:
— ' 658 SPONTINI Spontini'a choic
Page 724 and 725:
; cries ;! « 660 SPONTINI Such ste
Page 726 and 727:
' ' SPONTINI SQUAECIALUPI him. The
Page 728 and 729:
— 664 STABILINI STACCATO is enoug
Page 730 and 731:
666 STADLEE STADLMAYR an instrument
Page 732 and 733:
; 668 STAINER STAINEE or Nicholas A
Page 734 and 735:
, of —' 670 STAINER STAINEE tion
Page 736 and 737:
' ; 672 STANFOED STANFORD p. 785).
Page 738 and 739:
' 674 STANLEY STAR SPANGLED BANNER,
Page 740 and 741:
. composers. 676 STATUE, LA STAVE c
Page 742 and 743:
' — 678 STEFFAiTI STEFFANI the yo
Page 744 and 745:
i fine — 680 STEFFANI STEFFAKI qu
Page 746 and 747:
: 682 STEFFKINS STEIBELT of an arti
Page 748 and 749:
! Such ' 684 STEIBELT STEIBELT tlie
Page 750 and 751:
' 686 STEIBELT STEIBELT not unfrequ
Page 752 and 753:
I Grand I ' and 'Eondo, 3 I ' Sargi
Page 754 and 755:
' 690 STEIN STEIN A. W. Thayer' une
Page 756 and 757:
; ' 692 STEINWEG STEPHENS corporati
Page 758 and 759:
694 STERN STERN 13, 1873, she took
Page 760 and 761:
— 696 STIASTNY STICKER ' appointe
Page 762 and 763:
698 STOCK STOCK EXCHANGE Cantor at
Page 764 and 765:
700 STOCKHORN STODAET founded by St
Page 766 and 767:
' ' 702 STONARD in the collections
Page 768 and 769:
704 STORAGE STORAGE the Prince of W
Page 770 and 771:
; 706 STRADELLA STRADELLA Strada mu
Page 772 and 773:
' 708 STRADIVARI STRADIVARI a plagu
Page 774 and 775:
'; ' 710 STRADIVARI STRADIVARI The
Page 776 and 777:
' Geheimniss ; 712 STRADIVARI STRAD
Page 778 and 779:
714 STEATHSPEY STRAUSS already noti
Page 780 and 781:
716 STRAUSS STEAUSS to which he suc
Page 782 and 783:
' ; 718 STEAUSS STEAUSS period have
Page 785 and 786:
' — ' ' STRAUSS STEAUSS 719 combi
Page 787 and 788:
— STRICT COUNTERPOINT STRICT COUN
Page 789 and 790:
STRICT COUNTERPOINT STRICT COUNTERP
Page 791 and 792:
• — STEICT COUNTERPOINT STRIGGI
Page 793 and 794:
STRING STRING 727 melody she is exe
Page 795 and 796:
Wiesbaden, ' ; ' STROUD STEUNGK 72
Page 797 and 798:
SUBJECT SUBJECT 731 hymnologists, t
Page 799 and 800:
'' SUBJECT SUBJECT 733 slowly, to g
Page 801 and 802:
' — — I SUBJECT SUBSIDIARY 735
Page 803 and 804:
'; SUSSMAYER SUITE 737 at a concert
Page 805 and 806:
' ' . SUITE SUITE V39 by the suite
Page 807 and 808:
— SUITE SUITE '-74I antithesis to
Page 809 and 810:
' B SUITE SULLIVAN 743 there is no
Page 811 and 812:
' ' STJLLIVAN SULLIVAN 745 company
Page 813 and 814:
' ; SUL PONTICELLO SUMER IS ICUMEN
Page 815 and 816:
— SUMER IS ICUMEN IN 749 of the C
Page 817 and 818:
I J f SUMER IS ICUMEN IN 751 t Uil
Page 819 and 820:
— both may be found in the autoty
Page 821 and 822:
and '; SUPER SUPPt 755 Sacred Harmo
Page 823 and 824:
SUSPENSION SUSPENSION 757 to the po
Page 825 and 826:
— , ' SVENDSEN SWEELINCK 759 esta
Page 827 and 828:
' SWELL-ORGAN SWIETEN 761 be as gra
Page 829 and 830:
; SYMPHONIC POEMS SYMPHONY 763 as a
Page 831 and 832:
' SYMPHONY 765 former used crudely
Page 833 and 834:
' mentions ' his influence. Even be
Page 835 and 836:
— SYMPHONY 769 and octave passage
Page 837 and 838:
' of the Mannheim orchestra for dea
Page 839 and 840:
SYMPHONY V73 the typical characteri
Page 841 and 842:
SYMPHONY 775 been very efficient or
Page 843 and 844:
SYMPHONY Adagio, an Allegro of abou
Page 845 and 846:
; SYMPHONY V79 metheus music a3 tha
Page 847 and 848:
— ratio between its various eleme
Page 849 and 850:
. — is one of the very first Germ
Page 851 and 852:
SYMPHONY 785 The Minuet is exti-aor
Page 853 and 854:
SYMPHONY 787 as possible after one
Page 855 and 856:
; SYMPHONY 789 In one or other of t
Page 857 and 858:
SYMPHONY 791 to the work in those r
Page 859 and 860:
:' ' upon the hearer ; while his vi
Page 861 and 862:
movements. There was originally the
Page 863 and 864:
SYMPHONY CONCERTS SYMPHONY CONCERTS
Page 865 and 866:
, SYMPHONY CONCERTS SYMPHONY CONCER
Page 867 and 868:
SYMPHONY CONCERTS IN U.S. SYMPHONY
Page 869 and 870:
SYMPHONY CONCERTS IN U.S. SYMPHONY
Page 871 and 872:
' SYMPHONY CONCEKTS IN U.S. SYMPHON
Page 873 and 874:
— ; : SYMPSON SYEEN 807 in the re
Page 875 and 876:
' ' ' ' ADDENDA ET COEEIGENDA FOE V
Page 877:
ADDENDA ET COEEIGENDA FOR VOL. Ill
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