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558 SONG Ex. 4. Madrigcde a voce sola. G, F. Cafello, p^'^^^^^^^^ ^gp-^ Pal - 11 • det • to mio so • • le a tuoi Eg dol
SONG 559 hynm- tunes, known as 'Laudi Spirituali.' These, in the Middle Ages, were introduced in the oratorios in order to popularise such performances ; and the connection between these Laudi with popular dance-songs is obvious. (See Laudi Spirituali.) But although we iind within recent years that the study of the folk-lore of Italy has received serious attention, materials for a satisfactory treatment of the canii popolari do not exist. Much has been written about the words of traditional songs, and innumerable collections of popular poetry have been published,^ but no attempt has been made towards a scientific and systematic work on the melodies, tracing their origin and development and various forms. In the many volumes of the Archivio per lo Stvdio delle tradizioni popolari, edited by Giuseppe Ktre and S. Salomone-Marino, and in G. Pitri's excellent work, Bibliografia delle tradizioni popolari d'ltalia (Clausen, Turin, 1894), mention is made of the various collections of canti popolari ; and in the former volumes there are occasional short articles which refer to the tunes, and give a few musical examples. During the latter half of the last century Kicordi and other publishers have issued large quantities of modern canti popolari in volumes entitled 'Canzonette Veneziane,' 'Stornelli Toscani,' 'Canti Lombardi,' 'Napolitani,' 'Siciliani,' etc., purporting to be local songs belonging to the several provinces of Italy. But whether these songs can be accepted as the genuine productions they profess to be, or whether they are new compositions, or at any rate new arrangements of old popular tunes, and whether they are really sung by the peasants in the form in which they are here given, is very doubtful. ^ There are exceptions, such as the ' Canti Lombardi,' the melodies at least of which are genuine ; also the ' Canti Siciliani,' edited by Frontini, and the Canti Abruzzesi, ' ' collected by P. Tosti and G. Finamore. The latter, in an interesting article ' on the harvest-songs of this district, draws attention to the solemn, religious character of the melodies, in contrast to the words, which are merry love-songs. This peculiarity Finamore attributes to the great antiquity of the melodies,* which have remained unchanged for centuries, though the words have 1 See, for instance, G. Pltrfe's jSiudfidijwcfii'apopo^are (Palermo, 18721 : Rnbieri's Storia deOa poena popolarB italiana (Florence, 1877) : A. D" Ancona'8 La poetia popolm-e iealiana {Leghorn, 1878). See also Carduccl's CoTttilime e Ballate, Strambntti e Madrigali nei aec. XIII. e XIV. (Pisa, 1871) and an interesting but unfinished ; work entitled C(ntz(mi antiche dal popolo italiano, riprodoUe neemulo le vetxhie gta/mfie a Clt/ra di Mario ilefnghini, Rome. 2 Speaking of Tuscan songs. Miss Busk shows how in these days of cheap printing and half-educated editing 'the liteiary songs {I.e. art-songs) have got mixed up with the folk-songs.' As instances, she quotes' Stella Confidente,"Non mi amara," Ritoma! chet'amo' which were sungin London drawing-rooms as much aa on the waysides and in the slums of Italy. Such songs also as Tosti's Vorrei ' ' morire are constantly heard in the streets. The Foik-tongi of Italy, p.^Slet aeq. 3 MeHodie popota/ri A&nazeri; ica-nti delta Mietitnra, 6. Finamore; see ToL 13 of the Archivio per lo audio delle tradixioni popolari, 1894. * 'Ohaque acts de la vie de I'agricultore etalt accompagnd de sacrifice, et on ex^utait lea travaux en r(!citant deshymnessacrds.' De Coulanges, La Cit6 Antique, p. 184. altered. The following Canti delta Mietitura (harvest) are amongst the commonest ; the tonality of both is curious, the first being pure Lydian and the second of more or less Phrygian character. ' Ex. 6. Largo assai. Given by G.. Fikamoee. - tron - a m'a da - d& la flj je. Aria della notfe.^ g^^"^JfS^gS^^ Some of the songs from the Abruzzi collected by Tosti are of extreme beauty in form, melody, and words. Many of the Sicilian and Neapolitan songs begin with a long-drawn high note ; they are sung very fast and strongly accented. The wealth of canti popolari is prodigious, and although (as mentioned above) they vary greatly in the different districts, their general characteristics are the same. The harmonic and formal structure is simple. The accompaniment, which is usually intended for the guitar, consistsmerely of the tonic and dominant chords, and rarely modulates into anything except the nearest related keys.'' Few modal canti popolari are extant, although the flattened supertonic which is characteristic of the Sicilian and Keapolitan folk-songs recalls the Phrygian mode. 8 The time is more frequently triple than duple, and this especially applies to the dance-songs. The largest proportion of folksongs consists of eight-lined verses of eleven syllables, and are vari'ously called strambotti, rispetti,^ dispetti, siciliani, or ottavi. The threelined verses are called rUornelli, stornelli, jiori OT fiorette. But it should be added that the terms canli, canzoni, canzonette, stornelli are 5 From the Vasto district, noted hy L. Anelli. It should be accompanied by the cornemnse. s From the Guardiagrelle district, noted by M. Brunl. Finamore adds that they are sung in turn hy one voice at a time, accompanied by the chitarra battente, a sort of colaacione. The verses are of interminable length. 7 A weak and very modem colouring is imparted to the harmony of the published folk-songs by an excessive use of the chord of the seventh. 8 It has been remarked that the fiat supertonic may he found In the canznnette from the comic operaa by Vinci and Leo ; and that an air from A. Scarlatti's cantata Andate ' o miei sospiri,' marked alia Siciliana, has the same characteristic, showing that Scarlatti realised it aa eaaential to the native quality of the melody. (See E. J. Dent's A. Searlaui, Hit Life a/7ut Works, 1905.) 9 Itisperti are always simg, and as eight lines is the normal number, the popular mode of speaking either of inventing or singing them is, dar I'ottava. R. Busk, The Folk-songs of Italy, p. 20.
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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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— ' AAFF, Anton, one of the most
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JOSEPH JOACHIM KAFF
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; porticos. 24 RANDHAETINGER RANELA
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EASELIUS EASOUMOWSKY 27 ' Professor
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ERNEST REYER
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'' EHAMES RHAPSODY nations. The ope
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no rittbb! RIZZIO on the Viola Alta
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122 ROI DES VIOLONS KOKITANSKY pupi
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; , , 126 ROMANTIC ROMANTIC strings
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feelings stirred in them by externa
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134 EOMER KONCONI performed at the
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• tonic 138 ROOT ROOT eleventh an
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eturned — ' ; ROUGET DE LISLE ROU
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ROW OF KEYS ROYAL ACADEMY OF MUSIC
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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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•; EUCKERS 187 and 50 51 Bent 8ld
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RUDDYGORE RUDOLPH, ARCHDUKE 189 V.
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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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SACCHINI SACCHINI 199 an intermezzo
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; and had was ;' SACRED HARMONIC SO
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CHARLES CAMILLE SAINT-SAEXS
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232 SAXHORN SAXHORN detailed in F^t
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' posed for the Paris Op6ra-Comique
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WILHELMIXE SCHEOUER-DEVRIENT
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288 1816 SOHUBEBT 1816 the same. To
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i "We — —' 292 1819 SCHUBERT 18
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^' . 1
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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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— extending from Scarlatti and Ba
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dreams ' 1830— SCHUMANN —1832 3
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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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#'# -'i»* m .'^ a,p!irigH I'll .1^
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; ' ' ; , 412 SEMIEAMIDE SENAILL1&
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'; 414 SENPF SEPTET perfect. Purity
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! 1 , J , J . — 416 SEQUENCE SEQU
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— 418 SERAPHINE SEEENATA of grace
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' ': 420 SEEMISY SERMISY in 1532 wh
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' ;' 426 SERVICE SESQUIALTEEA been
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428 sevCIk SEVEN LAST WORDS, THE hi
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430 SEVERN SEYFEIED the key that so
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432 SGAMBATI SQAMBATI op. 4), an ov
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— — — 434 SHAKE SHAKE The sig
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— 436 SHAKE SHAKE principal note
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438 SHAKE SHALIAPIN The above arran
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— 440 SHAWM SHEPHERD and appeared
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; 442 SHIELD SHIFT siderable succes
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' 444 SHIEKEPFS SHORT OCTAVE favour
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' 446 SHUDI SI that Plenina about 1
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; ; 448 SIBELIUS SIBONI himself say
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—' 450 SIGNA SIGNATURE According
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— ; 452 SIGURD SILBERMANN an Engl
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454 SILVA SIMON in St. Petersburg,
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456 SIMPSON SIMPSON ' Introduction
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458 BINDING SINGAKADEMIE great popu
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— 460 SINGING SINGING voice can b
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462 SINGING SINGING Besides the ten
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— ' 464 SINGING SINGING 2. Conson
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X 466 SINGING SINGING the more open
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468 SINGING SINGSPIEL perform a mus
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; 470 SINIGAGLIA SIR BOGER DE COVEE
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472 SIRilNE, LA SIEMEN main axis, w
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' 474 SISTINE CHOIR SISTINE CHOIR T
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; ' 476 SISTINE CHOIR SIVORI ti-ebl
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— ; ' 478 SIXTH SIXTH London, and
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480 SKENE MANUSCRIPT SKETCH that it
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482 SLIDE SLIDE called Tirade or Ti
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; 484 SMALL OCTAVE SMAET in a lette
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:' ' ' . 486 SMETANA SMITH ^1874),
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' ; SMITH SMITH 487 ' always clear
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SMITH SMITH 489 quary. In 1773 he w
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; SNAEES SOCIEDADE DE QUAETETOS 491
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SOCIETY OF BRITISH MUSICIANS SODEEM
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' ' SOLESMES SOLESMES 495 Under Gu^
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— — ' SOL-FA SOLFEGGIO 497 nota
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' SOLFEGGIO SOLMISATION 499 is ther
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— — SOLMISATION SOLMISATION 501
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—; ' SOLO STOP SOMERVELL 503 of t
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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
Page 573 and 574: — SONATA 515 position, but this i
Page 575 and 576: — . — Cromatica, and parts of s
Page 577 and 578: The virtue of tliis process is that
Page 579 and 580: though ably written, has too much o
Page 581 and 582: SONATA 523 before Beethoven's time
Page 583 and 584: — SONATA &25 build at once upon t
Page 585 and 586: ; SONATA 527 •hoven probably stoo
Page 587 and 588: ; SONATA 529 fairly appropriate to
Page 589 and 590: SONATA 531 but is not so fascinatin
Page 591 and 592: SONATA 533 two Imudred years ; and
Page 593 and 594: ' ; SONATA SONATINA 535 slow moveme
Page 595 and 596: I SONG 537 principles as other kind
Page 597 and 598: ; - SONG 539 Another example of the
Page 599 and 600: I et I 1 '«^ I ' ta SONG 541 centu
Page 601 and 602: ' 1 A celebrated collection, with a
Page 603 and 604: ' SONG 546 Eomantio School, and his
Page 605 and 606: — and pathos can only be fully fe
Page 607 and 608: ' lla —: — to various districts
Page 609 and 610: '• 'i SONG 551 Ex. 10. Los Pkbgon
Page 611 and 612: , Ex. — SONG 553 but the words ar
Page 613 and 614: ; SONG 555 songs had their populari
Page 615: . I SONG 557 {Escl. con misura pi'i
Page 619 and 620: SONG 561 With few exceptions Italia
Page 621 and 622: — — SONG 563 B1BLIOGKA.FHV Tobl
Page 623 and 624: — SONG 565 The rpayoiSta rov x^P^
Page 625 and 626: — — ' SONG 567 Ex. 3. 1st Voice
Page 627 and 628: : SONG 569 Rosniiinovaky. Le chant
Page 629 and 630: — — — SONG 571 in the cathedr
Page 631 and 632: — of the earliest and most famous
Page 633 and 634: — ^ ' of the Slovaks who inhabit
Page 635 and 636: ^ — SONG 577 Ex. 7. served to res
Page 637 and 638: — songs of Western Europe, some o
Page 639 and 640: Ii — — SONG 681 diiferent count
Page 641 and 642: SONG 583 present century. The music
Page 643 and 644: ;' humour, and pathos, but it is li
Page 645 and 646: aim ' SONG 587 Berggreen, A. r. 'Fo
Page 647 and 648: I — SONG 589 woe-ste Zee, Ala doo
Page 649 and 650: ; the short allegorical, mythologic
Page 651 and 652: and : by SONG 593 abundance of popu
Page 653 and 654: ' SONG 595 Ex. 3. My LitUe Pretty O
Page 655 and 656: ^ SONG 597 Many songs of their emph
Page 657 and 658: ' , thoroughly ; ballad-form, and a
Page 659 and 660: - mouJded and finished with care, w
Page 661 and 662: fi ' — SONG 603 and Ulm. In slior
Page 663 and 664: — — ! SONG 605 with one phrase
Page 665 and 666: — SONG 607 Jungfrau, ilir seid wo
Page 667 and 668:
— I I ; belonged to the second ha
Page 669 and 670:
' faTonrite ' Ich mochte wohl der K
Page 671 and 672:
' that they are too pretentious and
Page 673 and 674:
SONG 615 ality of conception in the
Page 675 and 676:
' SONG-SCHOOL SONG-SCHOOL 617 Bilch
Page 677 and 678:
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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