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Music in the Home
Susic .
in the

Some
An aid to parents and teachers
in the cause of better listening
bu
Anne Shaw Faulkner henne
Author of
"What We Hear in Music"

NUT
I
wa Ralph Fletcher Seymour sca
Chicago
Copyrighted 1917
Anne Shaw Faulkner
by
Many of the chapters in this book are based on articles,
which have appeared in the educational numbers of the New
York Musical Courier and in a series which were published by
the Chicago Sunday Herald during the past year.
Muzie Letrang
Milele
'
FOREWORD
1
In my long and varied experience as lecturer
on musical subjects before clubs and schools, I
have frequently been told by members of my audi-
ence: "You know I am not musical, but I love
music.” It seems to be a very well defined theory
that unless one can claim some technical accom-
plishment in music, one has no right to acknowl-
edge even a love for the art, or to claim the right
of being "musical.” It has always seemed to me
that one who loves music is really often more truly
musical than are some artists, whom God has given
a pretty talent for reproduction, but who have not
the true understanding of the music which they
are trying to interpret.
We have had in America for so many years the
wrong idea as to music, that it is hard for us to
realize even today that it is not an art to be
approached with sighs and tears any more than it is
something we must technically analyze, before we
listen to its message. When it is realized that
music has been in the past a most important factor
in the history of the world's civilization and that
it may be correlated with all our knowledge of the
other arts, we are then ready to listen as the truly
musical should.
e
Many mothers and teachers ask me: "At what
age should a child begin to study music?” I
always reply: "When your child has learned to
listen to music in the home and has learned to
love good music, he will want to learn to play or
sing good music.”
It has always seemed to me such a pity that we
have made our eyes do so much more work than
our ears. Is this perhaps the reason for the
increasing need of glasses among our children? Is
it responsible for the lack of attention in the fam-
ily circle as well as at school? Have we sacrificed
one sense that the other may be over-developed?
In these days, when the spoken drama is being
so largely superseded by the moving picture, it is
self evident that the ears of our children will
require more careful training than ever before.
How is this easier than by teaching them to listen
to good music in the home? But there are many
parents who do not play or sing. Yes, but how
few of them realize that the player-piano and the
phonograph were not invented solely for the pur-
pose of amusement, or to serve as accompaniments
for the dance. It is quite possible through the
medium of these so-called “Mechanical” instru-
ments to bring all of the greatest musical literature,
interpreted by all the world's greatest artists right
into our homę circle.
I
1
It is the purpose of this book to serve as a guide
to those parents and teachers, who desire to make
the home study of music a vital part in the general
education of their children. It will be possible to
obtain practically all of the illustrations which are
suggested, in the form either of rolls or records,
should the actual performance of the music be too
difficult for any member of the family.
It is my great pleasure to dedicate this book to
the humble parent, who loves music and is there-
fore musical!
CONTENTS
.
PAGE
AP. I ..
P.
The Home Education of the Listener, CHAP. I.. 11
The Language of Music, CHAP. II ............. 17
What Music Tells Us, CHAP. III ............... 25
The Architecture or Form of Music, CHAP. IV ...
The Importance of Nationality in Music, CHAP. V
The Characteristics of Folk Music, CHAP. VI ....
The Message That Music Brings, CHAP. VII.....
The Stories That Music Tells, CHAP. VIII. ......
The Correlation of Music in the Home with the
Studies of School, CHAP, IX ............... 83
Music in its Relation to Geography, CHAP. X ...
Music and the History of the World, CHAP. XI...
The Literary Sources of Music, CHAP. XII ......
Music Every Home Should Know (Lists,) CHAP.
XIII ......................
:
General Index .............
:
:
Index of Composers.......................
Index of Musical Selections ....
I selections ................. 149
Chapter 1
THE HOME EDUCATION OF THE MUSIC
LISTENER

PC KUSIC is no longer considered as a li
Alako luxury in our homes. It has become a
necessity, which is recognized by rich
GREY and poor alike as one of the most
important impulses for better living.
At the present time there are more musical
instruments in the homes of America than in those
of any other country in the world. This is espe-
cially true regarding the so-called "mechanical
instruments," such as the player-piano and the
phonograph, which have made good music avail-
able in every home in our land. Yet the majority
of these instruments are used merely as play-
things of the moment, instead of in their proper
capacity as the medium for a wider and better
knowledge of the true beauties of musical liter-
ature. Few parents seem to realize that by a
judicious use of these instruments in the home cir-
cle a broader intellectual horizon will be opened
to their children, not only in music, but in a truer
appreciation of all that is beautiful in art.
12
Music In The Home
In the majority of our homes, music is consid-
ered as apart from general education, instead of
as a part of the knowledge of every well educated
man or woman.
The average American has a very unfortunate
attitude toward music: in that he considers it is
impossible to learn to listen to the art, unless he
can technically reproduce the compositions for
himself. This has erected a barrier, which has
kept many good listeners and true music lovers
fancying that they can only enjoy the so-called
"popular” music. Now this is an entirely unnec-
cessary and absurd condition, for it really should
be no more unnatural for us to use our ears than
it is to use our eyes.
A technical training is not necessary to insure
an appreciation of the great works of art, although
we are all willing to concede that it will aid great-
ly toward a better understanding. Yet how few of
the many real lovers of architecture, sculpture,
painting and literature would ever be able to
create these masterpieces themselves! They have
the power to appreciate the work without the tech-
nical skill necessary to reproduce it. Why then
should we feel that we cannot enjoy good music
unless we can play or sing ourselves? It is partly
because we have never realized the importance of
training our ears to listen; and also because we
have had a serious handicap in not being able to
ask questions regarding the music that we have
heard. If we learn to listen to good musical com-
positions in our homes we will soon find that their
The Home Education of the Music Listener
13
Y
true message may be understood and appreciated
even if our fingers or our voices are not technically
equipped to perform the music.
One of the most interesting phases of psychology
is the pleasure which anticipation brings. If one
becomes familiar with a musical composition how
quickly, each tone is anticipated before it is actu-
ally produced. And, if our first model has been a
good one how quickly we instinctively know
whether the repeated hearings are well done.
One of the first instincts of a child is to imitate,
and it is the duty of the parents to see that the
example before the youthful mind is worthy of
imitation. Therefore, when the child begins to
realize the true importance of music, he will desire
to overcome the technical difficulties, that he may
be able to reproduce the musical message for
himself.
To any child, music can be made the most fas-
cinating of all arts or it can become the most diffi-
cult and tedious. Let us remove the purely tech-
nical difficulties by teaching the children, first
how to listen to music, and by bringing to them all
the fascinating stories of imagination and fancy
which music can so easily portray.
Not only can there be developed a sense of
rhythm, balance and form by the proper listening
to music, but story and legend will become newly
alive. Not only will the beauty of tone be recog-
nized, but the hearer's growing ability to catch
variations of sound will result in better spelling
14
Music In The Home
lessons and far better English, Latin, French and
German lessons than ever before.
The first thing that a listener must remember is,
that when music speaks all other voices must cease.
It is not alone for future concert-goers that this
principle is good, it is an excellent maxim for the
home circle. The child, who really learns to listen,
learns to pay attention, has more respect for what
he hears, whether it be conversation or music.
There are no school studies, that can be made
more fascinating than geography and history, yet
few parents seem to realize how much music can
aid in making these subjects vital and real. At
school, children are no longer taxed to remember
long tables of exports and imports, but by means
of story and picture, the stereopticon and often the
moving picture, facts and dates become clearly
defined to the childish comprehension. Yet the
home influence of music can help to carry these
messages even farther. The national music of each
land should be known just as well as its boundaries
and cities. In after life, is it a knowledge of the
population of the principal cities of Norway that
is to give the greatest pleasure, or the mystic charm
of the Norse legends, as they have been reflected in
the music of her folk, and by her great composers,
Grieg and Sinding?
The history of civilization is absolutely reflected
in music. The days of Israel, of Greece, of Rome,
the Crusades, the Renaissance, Elizabeth's golden
reign are only a few of the many chapters of his-
tory, which may become again alive through the
The Home Education of the Music Listener
15
V
7
listening to music. The compositions which
belong to these periods can easily be given to the
youthful student at home, at the time he is study-
ing the topic in the school room, yet much of it
can be taught him even before school days begin.
Many well-meaning parents begin a child's
musical education, by taking him to concerts and
recitals. Unfortunately few parents realize that
the questions, sure to arise in childish minds, must
be answered before the concert is heard. There is
no greater torture for a child, than to be forced
to curb the torrent of questions, which arise from
seeing or hearing something new. In an art gal-
lery, a child may be able to vent his enthusiasm
and his questions can be answered, but in the con-
cert room he is forced to be quiet and to stifle all
the intelligent interest which has become awakened
within him. Music becomes an evasive enigma,
which in most cases is never really understood.
It is now possible for the youthful concert-goer
to learn to know what he is to hear in advance, and
to listen to the music in his own home where he
may ask all the questions he desires and may learn
to know the real meaning of the music. He may
also become acquainted with the personality of the
artist that he is to hear. In fact it is possible for
him to become so familiar with the greatest artists
of the day that he can compare their own individual
styles, and the meeting with them in the con-
cert room becomes a non-forgetable event. What
dreams will arise in the childish imagination!
What longings to imitate the great models before
Music In The Home
f the world We should mular music
him. The child, who learns to listen to good
music will desire to learn to play or sing good
music and much of the drudgery of practicing
torture will be eliminated..
Theodore Thomas once said: "Popular music
is only familiar music.” We should make all the
great music of the world so familiar to us in our
homes that we may bring to all the American con-
cert halls from all American homes a true appre-
ciation for the really worthy "popular" music.
A child should be interested in good music in
the home just as soon as his consciousness is awak-
ened and his sense of correlation established. He
must of necessity begin to study the language of
music in the simple language which he, himself,
understands; but let him always feel, even in the
first simple lessons that music is as tangible as
sculpture or painting. As you surround him in
the home with the best in art, so should the music
that he hears be really good music. Let him learn
to know the meaning of the truest and the best in
musical literature.
Lord Lytton told us : "the Nine Muses are one
family,” but we have long regarded music in the
light of the unpopular step-child, because we have
never been taught to use our ears in the same man-
ner as we have our eyes. If we but try, how easily
we may bring music into its proper place as the
greatest pleasure of the home as well as the great-
est aid to the proper realization of all that is
beautiful in every art.
Chapter II
THE LANGUAGE OF MUSIC

HE most natural impulse in the human
race is imitation, and the child's lan-
guage and habits are early formed by
imitating what his parents and teachers
are saying and doing. So, the first
impressions of music are obtained by a child
through the power of imitation, the stories that
music can tell, or the pictures that music can paint.
We speak of music as a "universal language"
but we rarely realize how this language is con-
structed, or what its true message can be. We are
so apt to be over technical and analytical, that often
in trying to listen too much, we lose the real mes-
sage that music should bring to us.
Let us first consider the simple elements of
music's language and then see how music's message
can be conveyed through them.
Of the three elemental parts of which music is
constructed,-rhythm, melody and harmony,—the
first to make a direct appeal to youthful minds is
rhythm. Even a baby is attracted by the recur-
rence of sound, while the actual feeling for rhyth-
Y
18
Music In The Home
.
mic motion has ever been recognized as an influ-
ence in the quieting of youthful nerves. The older
child is attracted to rhythm in a more aggressive
way, the beating on a drum making a direct appeal
to the simple barbaric impulse of childhood, but
this phase of rhythmic expression becomes but
noise, unless it be linked with true beauty of mel-
ody and harmony and a child can quickly learn to
differentiate between them.
As all compositions must have all three of these
elements, it will be well to have a clear idea as to
their exact meaning before attempting to distin-
guish them, as we listen with our children.
Rhythm is the systematic grouping of sounds in
time units; in one sense the rhythm is the metre of
music and bears the same relation to time, that
metre in poetry, does to quantity. No matter how
originally the time units might be divided, rhythm
would be exceedingly tiresome if the same tone.
were to be constantly reiterated, therefore it is nec-
essary for a succession of musical tones to be heard,
although they are governed by rhythm. Such a
succession of tones is what we know as melody.
Melody is heard in only one voice but when sev-
eral voices are heard simultaneously, we have what
is called, harmony. Harmony is the term applied
to the science of arranging these several tones that
are sounded together, so that they make a combina-
tion that is pleasing to the ear. It will therefore
be easily understood why it is practically impos-
sible for rhythm, melody and harmony to be dis-
sociated, although it is often noticeable when we
The Language of Music
19
listen to music, that one element overshadows the
other two.
One of the first lessons in listening should at once
make apparent the difference in the three elements
and give a child a definite feeling for rhythm, mel-
ody and harmony. You can make this clear, even
to children of kindergarten age by the use of three
by the caged nightingale has proved to be most sat-
isfactory), follow this by a whistling record, which
although a bird imitation, is in the definite rhythm
of a waltz; last comes a record about a bird, either
the aria from “Perle de Brazil" or "Sweet Bird”
from Handel's "Il Pensieroso.” Explain to the
children that first we will hear the actual bird, it
is like having before us a real living bird; then we
are to have a picture of the bird and then a story
about a bird. What is the difference between
them? The children instantly see that when the
first simple song of the bird is imitated in music
another element is added, and, having chosen a
record in which the rhythm is clearly defined,
there is little difficulty in hearing the difference
between the two. In the last record the chord
harmony makes a distinct impression, and the chil-
dren are also intensely interested in the imitation
of the bird by the flute, and by the voice and flute
as they imitate each other. It is something definite
to listen for and a step has been made toward the
possibilities of music as a universal language.
out this point clearly; we will listen to four more
Music In The Home
records, this time, all of American music. First
the "Gambler's Song” of the Blackfeet Indians, in
which the simple rhythmic reiterance becomes
almost monotonous; next, a group of Navajo
Indian songs in which different rhythms, peculiar
to the American Indian can be distinctly noticed;
then the beautiful song by Charles Wakefield Cad-
man "From the Land of the Sky Blue Water." In
this song the composer, who is one of the best
authorities on the music of the Indians, has used
an Indian theme, and has shown us how exquisitely
beautiful Indian melody can become in modern
usage. For the last record we will choose one of
the Negro Spirituals sung by the Tuskogee Insti-
tute boys. The remarkable use of the high close
harmonies to be heard in "Live a Humble" or "I
Want to Be Like Jesus” will certainly give a clear
idea to children of the true meaning of harmony.
Just as genre paintings always make the strong-
est appeal to youthful minds, so the music that tells
a story is always the first to make a definite impres-
sion on young listeners. For the kindergarten or
primary group, there are numberless songs and
short instrumental compositions, which tell us a
story, or imitate in music some animate or inani-
mate thing—but how? What is it in the music
that tells of a mother rocking her baby? What is
it that makes us feel that we are in a boat? Or a
swing? Which element depicts the busy whir of
the spinning wheel? The gallop of the horse?
The Auttering of butterflies? Rhythm, always
ever present, is the most natural force which we
TY 1
The Language of Music
have in music and is therefore the easiest for the
childish mind to comprehend. It can be brought
to his consciousness by means of listening to rec-
ords and player rolls, or by mother's simple songs
and pieces on the piano, but just as soon as it is
possible he should be encouraged to reproduce it
for himself, with his own little hands.
But there is a difference in lullabies, there is a
difference in boat songs. Let us listen to three
cradle songs, "Wiegenlied” by Brahms; "Bohem-
ian Cradle Song" by Smetana; and “Cossack Lul-
laby," an old Russian folk song. The rhythm of
the rock-a-bye is present in all three, then what is
the difference between them? Are the mothers of
the three countries alike in their mother-love and
the way that they hold their babies? Yes. But do
they speak the same language? Do they and their
babies wear the same style of clothes? No. An-
other element has entered, to become, with the
rhythm, an equal force, and this element is melody
and the melodic difference to be noted in the music
of different lands.
The same idea can be worked out with boat
songs. “Santa Lucia" the Neapolitan folk song
may be contrasted with the charming song of
Grieg's “In the Boat" or the tragic sorrow of the
Russian "Song of the Volga Boatmen.” Then
there are the songs telling of the pirate chiefs, and
yet, as an underlying element in them all is the
ever present rhythmic feeling of the rocking of the
boat on the waves.
22
Music In The Home
Butterflies, bees and birds can all be visualized
for the child in music by means of the simplest
rhythmic development, but when mood pictures
are to be painted the elements of melody and har-
mony must be taken into serious consideration, for
they will frequently, overshadow the rhythm.
What is the difference between a “Spring Song"
and an “Autumn Day”? Possibly the rhythm may
be almost identical in two compositions of this
character; what, then gives us the joyful, happy
feelings of the spring, and what the melancholy of
"the saddest days of the year”? It is the melodic
and harmonic construction of these works that
plays the important part. It is interesting to see
how easily a child will recognize this and how
naively he will describe it.
A well known and justly popular instrumental
composition, “The Peer Gynt Suite No. 1” by
Grieg, will serve as an excellent illustration of the
elements of music. This work is composed of four
short numbers, entitled: "Morning"; "Aase's
Death"; "Anitra's Dance"; "In the Halls of the
Mountain King.” In "Morning" melody is the
most apparent and the repetition of the simple
melodic phrase, gives an excellent picture in tone
of the first rays of pink morning light, as they
spread through the entire horizon and the sun
lights up the world. In "Aase's Death" Grieg
portrays the tragedy of the death of the good old
mother, and it is natural that the harmony is the
most apparent element used in the composition.
"Anitra's Dance" is obviously a rhythmic expres-
The Language of Music
sion and one can almost see the graceful dancer of
the desert, as she circles about the infatuated Peer
Gynt. “In the Halls of the Mountain King"
describes the uncomfortable hours that Peer Gynt
spent pursued by the imps and the elves in the
abode of the king of the Dovre Mountains. It is
a most remarkable example of rhythmic reitera-
tion, the short phrase being repeated with ever
growing intensity.
The child likes best either music that is very
gay or music that is very sad, in this he but reflects
the taste of the grown-up, but he should learn from
his earliest experiences in listening that the char-
acter of a musical composition is established by the
accentuation of one of music's elements.
In musical history we will find that the evolu-
tion of musical instruments began with the beating
on drums and tom-toms, by the barbaric races;
then men began to try and imitate the voices of
nature, with the means that nature had herself pro-
vided, the horns of beasts which were duplicated
in metal, and the softer voices of nature's reeds;
last, we reach the culmination of development, in
the vibrating of attuned strings, the greatest and
truest of musical instruments. So, in musical lis-
tening we pass through much the same develop-
ment; first, attracted by rhythm, then by melody,
we learn to appreciate the true beauties of har-
mony, and to know that each one of the three ele-
ments of music is of equal importance in the build-
ing of a musical composition.
SCACOLCF MUSIC
UNIVERSITY OF MICHIGAN
WA
Chapter III
WHAT MUSIC TELLS US

10107 E have found that the three most impor-
tant elements of the language of music
are rhythm, melody and harmony. Let
us now see if we can discover how these
are used in the message that music
brings to us. When we listen to music we find
that it speaks in many ways and that often our own
mood is reflected in the music that we hear. But
after all there are certain differences that are
clearly apparent to every one and therefore there
must be some definite principles on which music
is constructed, which we must learn to differen-
tiate.
When we listened to the three lullabies, we
found that no two were alike in melodic contour.
What was the reason for this? Do you remember
that we spoke of the difference in the dress, cus-
toms and language of these three mothers? Each
one came from a different land. So we shall
find that the music of each nation has its own par-
ticular language, and that rhythm, melody and
harmony are in each musical speech, just as nouns,
26
Music In The Home
verbs, prepositions and adverbs are to be found as
the basic elements of all language. But there is
a difference in the music of the various peoples of
the world, just as there is a difference in their
speech. This difference is called Nationality, and
we designate as national all those peculiar rhyth-
mic and melodic changes, which are to be noted
in the music which comes from certain localities
and peoples. For example, the music of Scotland
is easily recognizable because of a peculiar rhyth-
mic effect, known as the "Scotch Snap," and also
because many melodies are restricted to the use
of a five or six tone scale; both of these peculiari-
ties being due to the influence of the bagpipe,
which was for so many years the national instru-
ment of Scotland.
All language has form and each sentence has a
subject and a predicate. We also know that in
poetry each line must balance and that certain
words must rhyme. When we write a composi-
tion in school, we know that we must follow a
definite formal outline. In fact all the other arts
must have form and balance. We do not care to
hear music that does not sound finished or com-
plete. So, it is quite apparent that Form is a prin-
ciple, which is absolutely essential to music.
Form in music is the definite pattern on which all
musical composition is built. All dances such as
jigs, waltzes, minuets, gavottes, etc., marches,
songs, and the larger forms of instrumental music:
overtures, sonatas, quartettes, concertos and sym-
phonies are examples of form in music.
What Music Tells Us
27
All musical compositions must have form,
although in some the musical message overshad-
ows the formal pattern. As an illustration of this
let us first note the accent and rhythmic feeling of
the march by listening to the stirring “Stars and
Stripes Forever" by our American “March King,"
John Philip Sousa. A march is a pretty definite
form; yet when we hear the five following marches
by Richard Wagner; each tells its own definite
story.
1. A wedding procession.
2. A band of pilgrims marching to Rome.
3. A procession of knights and their ladies
entering the hall of a castle.
4. A group of happy townspeople led by the
pompous burghers of the town.
5. Procession of the Knights of the Grail who
come into their castle carrying the Holy relic.
Now play the marches from "Lohengrin”; the
two from“Tannhauser”; “Die Meistersinger," and
"Parsifal.” It is not necessary to play them in the
order that they have been described, for you will
find that a child will be able to tell at once which
music fits each march.
We therefore have found that music is also able
to give us a pretty definite description. This style
of music is classified as Expression, and it exists
in two different types; the music that is poetic in
conception, which is designated as Poetic Expres-
sion, and the music which imitates or describes,
which is called Program music or Descriptive
Expression. In Poetic Expression pure melodic
11
28
Music In The Home
thought is the chief consideration of the composer.
Sometimes a work of this style has a title, but the
real meaning of the composer is left largely to the
fancy of the hearer. (See Chapter 7, page 62.)
Descriptive music is the name given to compo-
sitions that paint a definite picture or tell a story
in tone, through the medium of musical imitation
of some animate or inanimate object. The com-
poser designates the meaning of his composition
by giving it a definite title. Naturally, most of
the song literature is classified as descriptive music;
but instrumental music of this kind is designated
as Program music. (See Chapter 8, page 77.)
Now let us listen to several instrumental selec-
tions and see if we can tell which principle is illus-
trated in each. For the example of Nationality, we
will hear the "Second Hungarian Rhapsody” by
Franz Liszt, the great Hungarian pianist, who was
so desirous that the world should know the beau-
ties of his native land that he wrote fifteen of these
Hungarian Rhapsodies. They were originally
written for the piano, but owing to their great
popularity, they have been arranged for many dif-
ferent combinations of instruments. In these
Rhapsodies Liszt makes use of the peculiar
rhythms and characteristic melodies of the Hun-
garian Gypsies. There are two distinct types of
dance in Hungary; the slow, majestic "Lassen" of
the Magyar nobility, and the more animated
"Friska" which is taken from the "Czardas,” the
national dance of the folk. Liszt begins his Rhap-
sodies with a “Lassen" and follows it by a "Friska,"
What Music Tells Us
29
alternating between the two. The Second Rhap-
sody is the most popular of the series; it follows
Liszt's customary pattern, the theme of the first
"Lassen" is taken from one of the best known Hun-
garian songs, which is entitled, “Hungary My
Treasure."
. Let us now hear an example of Nationality in
a song. There are a great many selections to
choose from, but we will listen first to one in which
the rhythm is distinctive. The "Tarantella" is the
most popular dance song of Southern Italy and
takes its name from the city of Tarante in the old
province of Apulia. There is a curious old tradi-
tion regarding this dance song, that anyone bitten
by a tarantula spider could be cured, if they would
dance the "Tarantella" until they were overcome
by fatigue. The "Tarantella" is still sung by the
dancers, who accompany themselves with the casta-
nets and tambourines. The tempo constantly
increases until the dancers are exhausted. The
best example of the "Tarantella" is that arranged
by Rossini, and there have been several excellent
records made of it by well known singers. Another
type of Nationality in song is the ever popular
"Loch Lomond," an example of the Scotch folk
song, which dates back to the days of the Jacobites
(early eighteenth century). This song is a typical
Scotch air, being built on the old six tone scale,
the seventh tone of our regular scale being entirely
absent from the melody. Lomond Lake is the
largest in Scotland and is known as “The Queen
of Scottish lakes.” Ben Lomond, the highest of
30
Music In The Home
i city liginally neve!
the Scottish Highlands, towers at the head of the
lake. There have been many explanations as to
the meaning of the words of this song. It is pop-
ular tradition that it was the song of a proscribed
fugitive and the lines "I'll take the low road" seem
to indicate that he must travel by hidden roads
back to the meeting place, “On the bonnie, bonnie
banks of Loch Lomond."
As a popular example of Form in music we will
hear first the famous Strauss waltz "On the Beau-
tiful Blue Danube.” It seems hard to realize, as
we listen to the infectious gaiety of this dance, that
it was written in 1866, soon after the Battle of
Koenigsberg, when the entire city of Vienna was
saddened and depressed. Strauss originally wrote
this composition for a male chorus, but it never
became popular until the "Waltz King" played it
with his own orchestra. America heard it first in
1867, when the great Theodore Thomas gave it
for his American audiences. Since that day it has
been acknowledged as the most popular waltz of
the entire world.
For the vocal illustration of Form we will also
hear a Waltz; the charming "Waltz Song," from
Gounod's opera “Romeo and Juliet.” This song
is sung by Juliet in the first act of the opera, the
scene of which takes place in the ballroom of the
Capulet palace. After she has been presented to
her guests by her father, Juliet sings this waltz
song in which she voices her delight at thus meet-
ing her friends,
What Music Tells Us
TN
Poetic Expression is to be found in so many
examples of both the instrumental and vocal
schools that it is hard to make a definite selection.
Mendelssohn was one of the first composers to
realize the importance of pure beauty of tone,
therefore, it is not surprising to find the principle
of Poetic Expression in almost all his composi-
tions. His "Songs Without Words” are a number
of short pieces for the piano, which, although they
bear titles, such as "Spring Song," "Sorrow,
"Consolation, etc., are not Program music,
because they do not tell definite stories in tone, but
suggest the poetic quality of tone. Possibly the
most popular of this series is the beautiful "Spring
Song,” which serves as a well nigh perfect example
of the principle of Poetic Expression.
There are also very many songs that illustrate
this principle of Poetic Expression. Let us, how-
ever, hear something we already know; so we will
choose the Brahms "Lullaby" as our example of
poetic thought in vocal music. As we listen to
this beautiful melody a picture arises in our fancy
of a mother rocking her child. No more simple
and exquisite use of the cradle song is to be found
in all song literature.
We have already discovered that when Descrip-
tive music is written for instruments the term
"Program music” is given to the composition,
This type of musical writing has been very pop-
ular in the modern school. Most of the modern
composers have called their works of this char-
acter "Symphonic Poems.” As an example of
32
Music In The Home
Program music a symphonic poem entitled “Danse
Macabre” by the French composer Camille Saint-
Saens, is excellent. This music was inspired by a
poem by Henri Cazalis, who has modified the old
legend of the “Dance of Death.” As the compo-
sition begins, the bell strikes the hour of midnight;
Death then begins to tune up his violin; from their
tombs the skeletons appear; the rattling of their
bones is heard as they begin their uncanny dance;
the waltz becomes more and more animated; a
musical caricature of the famous Latin Hymn for
the dead, “Dies Irae,” is played; the cock crow
announces the coming of dawn; the grewsome
revelers disappear.
As we have already remarked, in a certain sense
all songs tell us a story; but some songs are so
definite in their powers of description that they
are at once classified as examples of Descriptive
music. Such a song is Schubert's "Erl King."
Schubert was the greatest of song writers, and in
this song he has chosen for his story a poem by
Goethe, one of the greatest of dramatic poets. It
is therefore not surprising that the “Erl King"
should be regarded as one of the best illustrations
of the Descriptive ballad, or song. The story tells
of a father who is riding on his horse with his
child before him, through the storm on a dark,
windy night. The boy cries that the "Erl King"
is following after them. The father tries to calm
his fears; he tells him that he sees naught but a
cloud. The child insists that a soft voice is sing-
ing to him of the joys to be found in the Erl King's
What Music Tells Us
33
domains and begging him to come and play with
the beautiful maidens there. His father assures
him that it is only the voice of the wind that he
hears. As the child becomes more and more ter-
=
But alas! when he reaches his home, he finds that
he is holding in his arms the dead body of his
child. Liszt has made a wonderful transcription
of this song for the piano. If you listen carefully
you will find that you will be able to distinguish
in the music the voices of the father, the child, and
the Erl King.
Sometimes two or more of the principles are of
equal importance in a composition. Of course
Form is always present, but two good examples
inence are: “Swedish Wedding March" by Soder-
mann, and "Habanera” from "Carmen" by Bizet.
In the first the Form of the march is distinct and
definite, but the Nationality of the composer is
also stamped on the music. All of Bizet's opera
of “Carmen” is typically national in character.
The "Habanera” (see page 97) is, however, one
of the most important of the Spanish national
dances, therefore, when Carmen sings this famous
dance in the aria in the second act of the opera,
one naturally thinks of the Form as well as the
Nationality of the composition.
It is but natural that many of the folk songs
should reflect the principle of Poetic Expression
as well as Nationality; two excellent examples are:
the old Welsh love song "All Thro’ the Night,"
34
Music In The Home
and the beautiful Hawaiian melody "Alohe oe,"
which latter is at the present time holding an
important place in popular favor. .
It is also easily to be understood that national
music can be Descriptive. In fact one of the most
popular conceptions of the modern national com-
poser is that he can best describe the legends or
history of his native land by the use of the folk
song or folk dance. An excellent example of this
is to be found in the song by Schumann, “The Two
Grenadiers;" this song is a setting of Heine's poem
which tells of two French grenadiers, who are left
in Russia at the time of Napoleon's retreat from
Moscow, and of their attempts to return to their
own land. The use of the "Marseillaise" gives
a remarkable idea of the love and patriotism of
these soldiers for their native France. This is an
example of national composition which is the work
of a composer of another land, for although Heine
and Schumann were both Germans, they have
caught the real national feeling of French patri-
otism. Another illustration of Description and
Nationality is to be found in the overture "Fin-
landia" by the Finnish composer Jean Sibelius.,
In this work the composer has pictured the beauty
of Finland's scenery, and the passionate heartaches
and struggles of her people, who have been for so
long the vassals of autocratic Russia.
Sometimes the Form becomes of equal impor-
tance with the Nationality and the Poetic or
Descriptive principles. An example of Form,
Nationality and Poetic thought is the “Bohemian
What Music Tells Us
35
Cradle Song" by Smetana, the first great composer
of the modern Bohemian School. An illustration
of Form, Nationality and Program music is
Tschaikowsky's great Overture 1812, which tells
of the fatal attempt of Napoleon to reach Mos-
cow. The dread and fear in the hearts of the Rus-
sian people is described at the beginning of the
overture by the use of the old Hymn “God Pre-
serve Thy People,” this is given out by the basses;
then the "Marseillaise" Hymn as depicting the
varying fortunes of the French is heard ; the Rus-
sian national Hymn "God Save the Czar" is then
sounded by the brasses, and the battle is described
by the conflict between the two national hymns.
To depict the retreat of the French, "God Save
the Czar” is played as a hymn of triumph at the
close of the overture and a clever imitation of the
bells of the Kremlin, pealing forth the victory of
Russia.
It is certainly a very simple matter to apply
these four principles and their combinations to all
the music that you are hearing, and you will find
that every composition reflects at least one of these
principles and that after you have learned to listen
for them, it makes the hearing of music much more
interesting
Chapter IV
THE ARCHITECTURE OR FORM OF MUSIC

p ro 7 E have found that of the four principles
1620 of music, Form is always pre
s always present, even
JAWA if it is sometimes overshadowed by the
other principles. All compositions
must, however, conform to some defin-
ite pattern, just as every other great art work must
do and it is naturally very important that we learn
to distinguish some of these simple forms or pat-
terns, because by so doing we will find that the
listening to music becomes a much simpler matter.
Music has frequently been compared to archi-
tecture. One writer has called architecture
"frozen music." Possibly the chief similarity
between the two arts lies in the fact that Form
must be the basis of both, no matter how elabor-
ately it may be afterward embellished.
We all know that the simple form of the plain
square developed in architecture into the marvel-
ous Gothic Cathedral, with its multiplicity of
details, all worked out to form one perfect whole;
so in music, the simple folk song develops into the
most elaborate of instrumental forms, the fugue.
38
Music In The Home
When one reads of the development of music,
one finds that music and architecture have much
more in common than the mere ground plan or
pattern. But in speaking of the architecture of
music we mean the importance of the Form, and
we must learn to listen for the Form of the com-
position as well as the message which the music
is to bring.
We have already compared music to language
and have found that music has a speech of its own
that is constructed on the same principles as every
other language. In studying grammar one often
wonders if its rules are made simply that they may
be broken. So, in the following through the dif-
ferent patterns of music, we will find that Form
seems only to exist that it may be changed or
adjusted to suit the needs of the composer.
Just as the smallest child will recognize jingle
and rhyme, so in music, he feels the need of bal-
ance. As in our childhood we loved best the tales
in which reiteration plays an important part, so
in our musical development we like best the music
where the theme is given frequent repetition.
The orderly arrangement of the three elements
of music-Rhythm, Melody and Harmony-gives
the definite Form or pattern for music, for the
repetition of certain short melodies gives to music
the same balance that rhyme does to poetry. Music
must have its phrases so arranged that they form
the sense of a question and answer, in the same
way that the subject and predicate do in a gram-
matical sentence.
The Architecture or Form of Music
39
Let us take the familiar old Welsh song “All
Thro' the Night” and see how the three elements
are worked out to build a definite pattern. It will
be helpful to look at the actual printed music as
one listens to this song, for it will make it even
clearer if one can see the form as well as hear it.
We give here the Walter Maynard translation of
the words:
A. (Love, fear not if sad thy dreaming,
(All thro' the night;
A. (Though o'er cast, bright stars are gleaming
(All thro' the night.
(Joy will come to thee at morning,
(Life with sunny hope adorning,
A. (Though sad dreams may give dark warning,
(All thro' the night.
Let us consider first simply the words alone;
the first two couplets and the last one have prac-
tically the same meaning; we will call them A.;
the third couplet brings a new idea; we will call
it B. The last line of each of the A. couplets is
the same, in fact, the second A. couplet is prac-
tically a repetition of the first. In the B. couplet
the two lines rhyme.
Now let us listen to the music. The first phrase
fitting the words "love, fear not if sad thy dream-
ing" is answered by the phrase, “All thro' the
night,” which bring a complete ending; the second
couplet A. is an exact repetition of the first, but
the music for the B. couplet is different; the two
phrases here are so similar that they preserve the
balance, but we do not have the feeling of com-
1
40
Music In The Home
pleteness and finality and we feel the need of
another musical phrase to complete the sense, so
A. is again repeated, bringing a complete ending.
In music the terms "Complete" or "Full Cadence"
are used to designate this feeling of tonality, which
is felt at the end of the A. couplets, and the unfin-
ished feeling is called an “Incomplete" or "Unfin-
ished Cadence." It is the harmonic relationship
of tones, which produces this feeling in the
cadences. There is much the same idea in the
construction of a sentence in grammer. Take this
sentence as an example: “The man is planning
to buy a piano." "The man is planning” is the
first phrase and it is incomplete; if it were music
it would be called a half-cadence; the sense of the
sentence must be made complete by an answering
phrase "to buy a piano,” which brings a complete
ending, and in music is the same as a "full
cadence." Now let us note the Welsh song again.
The first phrase A. "Love, fear not if sad thy
dreaming," is incomplete, but the phrase "All
thro' the night" completes it and brings a full
cadence. The same idea is repeated in the second
A. couplet; in the B. couplet both phrases are
incomplete and are brought to their complete end-
ing by a repetition of the A. couplet. This makes
the simple pattern of this folk song A. A. B. A.
This is one of the most popular of the folk song
forms; other well known folk songs that follow
this same model being: “Comin' Thro' the Rye,”
“Drink to Me Only With Thine Eyes," "Loch
Lomond” and “The Minstrel Boy."
The Architecture or Form of Music
41
Some of the old folk songs are balanced by the
repetition of A. and of B., the second B. being
brought to a full cadence. The pattern then
becomes A. A. B. B. The Neapolitan boat song
“Santa Lucia” is a good example of this form;
here each of the A. phrases ends on a half-cadence,
but the B. phrases which follow end on a full
cadence, and the B. is simply repeated, that the
balance of the parts shall be maintained.
A number of the oldest folk songs were in the
form of A. B. A., though this is the pattern which
is found more often in old dances. When the folk
danced, one group danced first, then an alternat-
ing group, then both groups together; usually the
first group were accompanied by two instruments,
the second group by three, hence the name “Trio"
was given to the second or alternating dance. That
is the form which is still found in minuets, waltzes
and marches today. Some of the very early folk
dances followed the song patterns, A. A. B. A. or
A. A. B. B., this being especially true of the Court
dances of the seventeenth and eighteenth centuries.
In many of the composed dances, such as those in
the works of Bach, the Minuets by Haydn,
Mozart, Boccherini and Beethoven, the general
plan of Dance-Trio-Dance (A. B. A.) is used; it
is preceded by a short introduction and ends with
a short coda. Each of these parts will, however,
be built on its own pattern; the Trio usually being
a slight variation in form from the first dance,
while the return of the first dance is usually an
exact repetition of the first.
Music In The Home
One of the most interesting of the early patterns
of the dance also had its origin in the song. This
is the form known as “Rondo” which originated in
the old custom of singing Rounds, the first voice
beginning with a new musical theme as the second
voice began the first melody. When this was
duplicated in a form for the dance it existed in
several different patterns, the most popular being
A. B. A. C. A. The first melody A. is followed
by a contrasting melody B., then A. is repeated,
a new melody C. enters and then A. is again
brought back for a complete ending. This form
is a very popular one in verse. We quote a little
poem by H. C. Bunner to illustrate a perfect min-
iature Rondo, in verse form:
A. (A pitcher of mignonette
(In the tenement's highest casement:
B. (Queer sort of a flower pot, and yet
1. (That pitcher of mignonette
C. (Is a garden in Heaven set,
(To the little sick child in the basement,
A. (That pitcher of mignonette
(In the tenement's highest casement.
The Rondo was a very popular form among the
early musical composers, and there are several
that should be known in every home. One of the
earliest to be found in use among the folk is “Sel-
linger's Round," which the present-day English
composer, Cecil Sharp, has arranged in a remark-
able manner. One of the most popular of the
early Rondos is “Amaryllis” by Ghys, this is an
excellent example of the A. B. A. C. A. pattern.
The Architecture or Form of Music 43
Then there is the lovely Rondo by Couperin
entitled “The Carillon of Cythera;" in this com-
position the composer imitates the bells of Cythera,
and we have not only the Form, but the principle
of Program music to hold our attention as we
listen.
We have considered only the most essentially
simple of the patterns of music, the larger forms
we must learn to distinguish at some later time.
There is, however, one precaution, which we must
remember every time that we listen for Form in
music. DO NOT BECOME OVER ANALY-
TICAL. Any great art work, be it literature,
architecture, sculpture, painting or music can be
hopelessly ruined by being dissected and never
being reconstructed. This is particularly true of
music. After listening for the formal pattern of
a musical composition never leave it without again
hearing the work in its entirety. Never feel that
each division of the composition must come as a
distinct shock to your consciousness; that you must
be able to tell instantly which is A. or B. or C. It
is far better never to notice any pattern, than to
spend your time, while listening to great music,
trying to decide as to the divisions of a composi-
tion. But if you will take a few simple patterns
and listen to them carefully, you will find that the
sense of balance and form enters your mind almost
sub-consciously and that it will aid you greatly in
listening to all music.
Chapter V
THE IMPORTANCE OF NATIONALITY
IN MUSIC

ZE have already discovered that one of
the most important of the fundamental
principles of music is Nationality, and
that it is possible to express each one
of the other three principles in the
domain of National music. As all the larger
forms of music have been developed from the sim-
ple folk dances and folk songs, we will therefore
listen to folk music first, because it is in some
respects, the most important phase of our listening
development.
There are several different types of national
music, which we must learn to recognize; the
Dance Song; the Folk Dance; the Legendary Folk
Song; the Composed Folk Song; the Patriotic
Song, and National Composition.
The first form to claim our consideration is the
“Dance Song,” which was sung by the dancers as
an accompaniment to their dances and later played
by the instruments, becoming the "Folk Dance,"
from which the early instrumental forms were
46
Music In The Home
-
evolved. Good examples of the Dance Song are:
"St. Patrick's Day" and "Wearing of the Green,"
the Irish dance songs still in use today; "Taran-
tella,” Italian; "On the Bridge at Avignon,"
French; "Dixie Land,” American.
The earliest dances came originally from the
daily life of the folk, they naturally express all
the customs and occupations, as well as the festiv-
ities of the people. Many of the old dance songs
were descriptive of the work of every day. Such
dances as “Gathering Peascods," English; “Reap
the Flax” and “Weaving Dance," Swedish; “Shoe-
maker's Dance" and "Tinker's Dance, Danish,
are excellent examples of this. The festivities and
customs of the people are reflected in such dances
as these: “Carrousal” (Merry-go-round), Swed-
ish; the "Sword Dances” of Scotland and the
“May Pole Dance" and "Morris Dances" of Eng-
land. Then there are the dances which are typical
of certain lands and peoples, such as the “Czar-
das,” Hungary; "Mazurkas" and "Polonaises” of
Poland; the "Schottiches" from Scotland; the
“Horn Pipes" of England, etc.
The next department of national music is the
"Legendary Folk Song”; these songs are usually
the work of an unknown composer, although occas-
ionally his name has been remembered. This type
of folk song generally follows the patterns which
we have just considered—A. B. A. A. A. B. A. or
A. A. B. B. It will be a good plan to see if we can
recognize these simple patterns in the following
illustrations of the legendary song. "The Last
The Importance of Nationality in Music,
47
Rose of Summer," Irish; “The Ash Grove,"
Welsh; "When I was Seventeen,” Swedish; “How
Can I Leave Thee,” German.
The “Composed Folk Song may generally be
traced no earlier than the eighteenth century
and the composer's name is usually known. These
composed songs frequently describe some phase
of folk tradition and custom, but often are only
a reflection of some Poetic Expression. Good
examples of the Composed Folk Song are: "Annie
Laurie,” Lady Scott (Scotch); “Killarney,” Balfe
(Irish); “The Lorely,” Silcher (German); “La
Mandolinata,” Paladilhe (Italian); “Śwanee
River,” Foster (American).
The "Patriotic Song” is expressive of the love
for home and country and the desire to serve her.
Many of the compositions of this type are of
unknown origin and therefore belong to the group
of legendary songs, but the majority of them
belong to the composed song division and reflect
the style and period of their composer. The best
example of the legendary patriotic song is "Men
of Harlech," the national hymn of Wales. Other
good examples of this type are: "The Minstrel
Boy," Irish; "The Campbells Are Coming,"
Scotch. In the division of composed folk song
is found the greatest of all patriotic songs “The
Marseillaise” by Rouget de Lisle; in this great
hymn to freedom the true spirit of patriotism still
resounds. Almost all of the other examples of the
composed song group reflect the manner of their
composer to the detriment of their patriotic feel-
48
Music In The Home
ing. “Rule Brittannia,” Dr. Arne (English);
"Austrian Hymn,” Haydn (German); “Garibaldi
Hymn," Olivieri (Italian), and "The Star-Span-
gled Banner," which was an eighteenth century
English drinking song, “To Anacreon in Heaven,
which Francis Scott Key used as a setting for his
immortal verses.
The last division of national music is termed
"National Composition;" by this we mean the
works of composers who have taken their themes
from the folk music of the people. National com-
position must be distinguished from the folk dance
or the folk song, for, although it always reflects
the national characteristics to be found in the sim-
ple airs, it has been developed by the great modern
masters, who have established the national schools
of the present day. Many of these composers have
written Descriptive music and have told in musical
story the legends of their native land or historical
events. Some composers have written their indi-
vidual conception of the music of other lands than
their own. Bizet's opera “Carmen” is a most
remarkable example of this type of national com-
position; belonging to that class also is Schum-
man's song "The Two Grenadiers,” and “The
Hungarian Dances” by Brahms.
Although this movement has been chiefly iden-
tified with the modern school, the use of national
music as the basis of composition is not a new idea.
Beethoven used Scotch and Irish melodies in the
settings of several of his works; his charming song,
"Faithfu' Johnnie," is so essentially a Scotch folk
The Importance of Nationality in Music
49
song that it is hard to believe that it was written
by the immortal Beethoven. Mendelssohn, in two
of his symphonies, employed the national idiom,
the "Scotch” and the "Italian" symphonies both
being based on folk melodies, while the move-
ments are descriptive of the scenes, legends and
historical events of Scotland and Italy. But
national composition in its strictest sense, came
into being with the Polonaises and Mazurkas of
Chopin and the Hungarian Rhapsodies of Liszt.
Since the middle of the nineteenth century Nation-
ality has been considered as one of the most impor-
tant phases in all musical composition. · The great
modern schools of Russia (Rubinstein, Cui, Mous-
sorgsky, Rimsky-Korsakow, Tschaikowsky, Glaz-
ounow, Rachmaninow); Bohemia (Smetana,
Dvorak and Suk); Norway (Gade, Ole Bull,
Grieg and Sinding); Sweden (Sodermann, Sjog-
ren), and Finland (Sibelius) have all achieved
their important place as among the greatest schools
of music of today, because of the use of their own
individual music. It is but natural that this move-
ment should be an influence on the older schools
of music and the composers of the present time
in Italy, Germany, France, England and America
are all turning to the music of their respective
folk, for their inspiration.
There are so many illustrations to choose from
that it is almost impossible to make a selection.
Let us first consider those compositions which we
have already heard, that should be grouped under
this heading. "From the Land of the Sky Blue
50
Music In The Home
Water" is a song by the American composer
Charles Wakefield Cadman, who here uses an
Indian theme as the melodic basis of his song.
Smetana, the first of the great Bohemian com-
posers wrote the “Bohemian Cradle Song,” which
we have already learned to love. The “Peer Gynt
Suite No. 1” by Grieg is one of the most essen-
tially Norwegian compositions in all musical liter-
ature, for Grieg has not only made use of Nor-
wegian folk tunes but he has also immortalized
in music that strange and fanciful creation of
Ibsen's, "Peer Gynt,” the embodiment of the Nor-
wegian national temperament. We have already
discussed at length the “Hungarian Rhapsody No.
2" by Liszt; the "Swedish Wedding March” by
Sodermann; the "Finlandia" by Sibelius and the
“Overture 1812” by Tschaikowsky. These are all
excellent examples of National Composition.
Other popular illustrations are: "Slavonic
Dances” and “Songs My Mother Taught Me" by
Dvorak; “Orientale” by Cui; "Chanson Indoue"
from the opera “Sadko” by Rimsky-Korsakow;
"Marche Slav” by Tschaikowsky and the "Nor-
wegian Wedding March” by Grieg. These are
from the modern national schools.
As illustrations for the national music from the
older schools, the lovely Intermezzo No. 2 from
"Jewels of the Madonna" by Wolf-Ferrari is a
remarkable example of Italian national music.
The overture “L'Arlessienne" by Bizet makes use
of some very old French folk songs. Goldmark's
overture "Sakuntala" tells an Oriental legend with
The Importance of Nationality in Music
51
the Oriental strain in the music as a recognizable
feature. By setting four old Morris airs together
Percy Grainger has given us a charming example
of English national composition in “Shepherd's
Hey."
Chapter VI
THE CHARACTERISTICS OF FOLK MUSIC

Q
TO E have already discovered, that,
Balthough music is called the "universal
l anguage” there are many different dia-
SVV lects to be noted in its speech. Just as
the English, Scotch, Welsh, Irish and
Americans speak the English language in different
ways, each with their own distinguishing char-
acteristics, so in the music of different countries
individual traits are also noticeable.
When we are studying the folk music of the dif-
ferent lands, we will often find that the music of
one country is very similar in character to that of
another. The same thing may be noted in the
language, and it is especially true of the folk tales.
It should not be forgotten that many of the peoples
of Europe came originally from the same race,
and that, although climatic and political condi-
tions have affected their language, customs and
habits, as well as their arts, it is but logical that
certain fundamental characteristics will not be
entirely obliterated. For example, in all the
branches of the Latin people, a love for gaiety and
54
Music In The Home
pleasure is found, so it is but natural that the
rhythmic element is a pronounced feature in the
music of the Italians, Spanish and French. The
Teutons on the other hand, are much more stolid
and, while less temperamental than the Latins,
they have a deeply sentimental vein, which is
noticeable in the folk music of the Germans, the
Norwegians and the Swedes. All the Slavic coun-
tries reflect in their music the bold and free spirit,
which has ever been a synonym of their race. Yet
there are great differences in the music of all these
Slavic peoples. We find that the Russian art in
all its forms, symbolizes the traditions and customs
of the Orient, therefore, it is much more bizarre
and barbaric than that of the Bohemians, Hun-
garians and Poles, who have met with other con-
ditions.
The geographical position of certain lands has
affected the arts as well as the customs, to a remark-
able degree, and climatic conditions cause the
music of the seacoast to be more varied and of an
entirely different character to that found in the
mountains or heard on the plains. The influence
of the neighboring countries is as apparent in the
music, as in the speech, customs and literature.
Political conditions also play a very important
part in the development of all art. A very good
illustration of this is to be noticed in the story that
is commonly called the "Faust Legend." This
folk tale of a man who has sold his future life to
the Devil, but who is redeemed by the pure love
of a woman, is a popular legend among all peo-
The Characteristics of Folk Music
55
S
ples. In the South lands the story becomes that
of “Don Juan”; in the mountains, "Manfred”; on
the sea, "The Flying Dutchman”; in the country
towns of Germany, “The Free Shooter”; in the
scholastic towns, "Dr. Faustus.”
There are certain characteristics, which are dis-
tinctive to national music and which we must
learn to distinguish.
First: The individual instruments* which are
used by certain peoples.
The rhythmic instruments:
The tom-tom-although belonging to all prim-
itive people, is now associated with the North
American Indian. Example: “Gambler's Song"
of the Glacier Park Indians. The tom-tom has
developed into the drum of today.
The tambourine and castanets—are found in the
folk music of Spain although also noticeable in
certain parts of Italy and France. Example:
"Linda Mia,” a folk song of the Pyrenees, in
which the clicking of the castanets provides the
rhythmic accompaniment.
The melodic instruments:
The harp-although used in many lands the
harp is now associated chiefly with the folk music
of Ireland. Example: “The Harp That Once
Thro Tara's Halls"; even if this old Irish song
is not recorded by the harp, it is sure to make an
impression on youthful listeners, because it glor-
*It will be possible to hear the distinctive tone qualities of these instru-
ments in your own home, by listening to records made by the actual instru-
ments.
Music In The Home
ifies in song the annual contests of the harpers at
Tara Castle in Ireland.
The bagpipe--A popular instrument of all the
British Isles, but now regarded as the national
instrument of Scotland. The origin of the bag-
pipes has never been definitely traced. Instru-
ments of this type are found in Asia, Africa and
Europe. They were very popular in Europe dur-
ing the sixteenth and seventeenth centuries, and
were used at court as well as among the common
people. The bagpipe undoubtedly reached its
perfection in Scotland, where it has had a direct
influence on all the folk music of that land. Exam-
ple; there are a great many excellent records
made by the bagpipe, but the best to reflect the
true spirit of the Scotch people is "Will Ye No
Come Back Again,” which is recorded with the
“Battle of Killiecrankie.”
The lute-an instrument of the Latin countries
of Medieval days, which curiously enough has
been retained by the folk in certain parts of Scan-
dinavia. An excellent record, in which the songs
are accompanied by the lute is the song from
"Fredman's Epistle" by Bellman.
The guitar-This instrument has superseded
the lute in many Latin countries of today. It is
exceedingly popular in Spain and Portugal as well
as Southern Italy. "Guitarrico" a Spanish imita-
tive song by Soriano is a good example of the
accompaniment as played on the guitar.
The mandolin-This instrument is like the
guitar, an outgrowth of the lute type of instru-
The Characteristics of Folk Music
57
4
ment, and is found in all Latin countries. "Man-
dolinata” by Paladilhe and "Mandoline" by
Debussy are both splendid illustrations in imita-
tive music, of the effect of this instrument. "Clave-
citos" ("Carnations”) a Spanish song by Valverde
has been recorded with Mandolin accompaniment
as has "Comme se canta a Napule" ("As They
Sung in Naples”), a Neapolitan folk song.
The banjo-the popular instrument of the
American negro, doubtless brought by him in a
simple form originally from Africa, where a
primitive type of lute has been observed. A splen-
did illustration of the tone and rhythmic qualities
of the banjo will be found in a recording of “Med-
ley of Southern Melodies.” An imitative song
reflecting the banjo's characteristics is “A Banjo
Song” by Sidney Homer.
The balalaika-one of the earliest instruments
of the Russian folk was regarded as obsolete until
recent years. Example; the two Russian folk
songs "Molodka" and "Sun in the Sky Stop Shin-
ing” are the most characteristic records of the tone
quality of the balalaika. "Let Joy Abide" is a
Russian folk song, sung with balalaika accom-
paniment.
The ukelele-the guitar-like instrument of the
South seas which the native Hawaiians have made
popular in America. Example; a very good
ukelele record is the “Aloha-oe,” which is recorded
with the native plantation air, “Kuu-Home."
Second: The effect which the use of these and
other instruments have made on the music of dif-
ferent lands.
58
Music In The Home
We have already noted the rhythmic effect of
the tom-toms and the tambourines and castenets,
but we will find that certain races have also used
distinct rhythms for so long that they have made
them practically their own.
The "Scotch Snap" is one of these distinctive
rhythms, it is said to have been developed through
the use of the bagpipe and drum. This rhythmic
peculiarity is easily recognized, as the first tone
has but half the duration of the second. In early
days the "Scotch Snap” was rarely used except in
folk dances, but as many of the Scotch poets have
used old dance tunes as the settings for their bal-
lads, it is therefore to be noticed in such songs as
“Scots Wha Hae Wi' Wallace Bled” and “The
Campbells Are Coming."
One of the favorite rhythms of ancient Greece
was 5/4 and it is interesting to note that this pecu-
liar rhythm is now used by the Russian folk, who
have doubtless become familiar with it through
the influence of the Greek Church in Russia. An
excellent example of this rhythm is found in the
second movement of Tschaikowsky's symphony
"Pathetic."
Hungarian music shows in its rhythm, the influ-
ence of the dulcimer, an instrument made of metal
strings, which are struck with a padded hammer.
Almost all Hungarian airs begin on the down beat
and are in dual time, in contrast with the triple
time, which is found in many of the other Slavic
countries. The Hungarian gypsies never use
notes, the leader of the orchestra plays the violin,
The Characteristics of Folk Music
59
and with the true gypsy love for meaningless dec-
orations, he embellishes all his melodies with
improvised trills and cadenzas. A characteristic
of Hungarian music is the accented grace note,
which is particularly effective on the violin. The
Hungarian language also heavily accents its first
syllables, so it is quite natural that this peculiarity
should be a feature of the music of the people,
This is noticeable in any of Liszt's "Hungarian
Rhapsodies," the "Hungarian Dances” by Brahms,
and in several records that have been made by
native Hungarian orchestras.
Third: The use of different scales and modes
than ours.
When we come to study the history of music
we will find that the ancient Greek scale was based
on the position of the half tone in a scale, which
consisted of but four notes, and that different
scales (or modes) were native to the various local-
ities of Greece. These scales were used by the
Early Church composers and during the Medieval
period they were frequently used in the songs of
the people also. In Russia today several of these
old "modal-scales" are still found in the folk
music; this being unquestionably due to the influ-
ence of the Greek Church.
The Hungarians in their folk music frequently
use a peculiar minor scale, which has a flatted
sixth tone and a raised seventh.
Fourth:
The constant mingling of the major and minor
with a decided preference for the minor. This
60
Music In The Home
is a striking characteristic of all Russian music
and we frequently find in one folk song that the
music expresses the deepest gloom, the tenderest
sentiment, and the fiercest exhilaration.
These characteristics are the real basis of all
national music. However, it is but natural that
they are more easily recognizable in the music
of those countries where the schools of musical
composition have not been a definite part of the
actual development of music history. The indi-
vidual national traits of Italy, France, Germany
and England were long ago assimilated by their
great schools of music. On the other hand Russia,
Poland, Bohemia, Hungary and Scandinavia have
retained many of the primitive musical expres-
sions in the music of their folk.
Chapter VII
THE MESSAGE THAT MUSIC BRINGS

T O E have found that the four principles
of music-Form, Nationality, Poetic
thought, and Descriptive music-afford
VVS a most adequate medium for the expres-
a sion of man's deepest feelings.
We have discovered that all music follows a
definite formal pattern, and we have learned to
distinguish between some of the simplest of these
forms.
Through our listening to the music of the dif-
ferent countries, we have found that each nation
expresses its musical thoughts in its own individual
way; and we have seen that the characteristics of
the people are all reflected in their folk music.
When we come to consider Descriptive music,
we shall find that it includes all music which imi-
tates animate or inanimate things, or which
describes, or tells a definite story in music.
We are now ready to try to analyze the thoughts
that music brings to the listener through the
medium of poetic expression. These thoughts are
almost too subtle to be defined; for they are apt
Music In The Home
to vary too greatly with the listener's own mental
attitude, because they are often associated in our
minds, with thoughts that are purely personal in
character. It is, however, in the province of this
department of music, that grief, joy, love (either
the love of nature, of home, of parents, children,
or of sweetheart), and religion are most adequately
expressed.
The uninitiated in music likes best those com-
positions that are either very sad or very gay;
because the most natural impulse of the human
heart is to either laugh or cry, and it therefore fol-
lows that whenever grief or joy is expressed in
art, especially if it be the drama or music, that
one is sure to respond to it at once.
We have already seen that Poetic thought is
often expressed in national music as being of equal
importance with the national feeling. But there
are certain things which overstep the bounds of
Nationality and become universal in character.
Grief, joy, love, patriotism and religion are all
universal, and become larger than the confines of
any one land.
The tragedy of grief is universal. One does not
stop to analyze the Nationality of the death
march; it is too much a part of the experiences of
every life. Let us listen to five great funeral
marches and see if it is not the poignant sorrow
that speaks to us the most emphatically: "Dead
March" from "Saul," by Handel; "Funeral
March" from the "Eroica” symphony, by Beet-
hoven; “Funeral March” from "Sonata B Minor,"
The Message That Music Brings 63
Chopin; “Aase's Death” from "Peer Gynt Suite,"
by Grieg; Siegfried's “Death March” from “Die
Goetterdammerung,” by Wagner.
Joy is another characteristic of all nations, and
these songs of happiness are unmistakable: "Let
Joy Abide," Russian; “Voices of the Spring,"
Strauss; "Brindisi” from "Lucretia Borgia," by
Donizetti; “Villanelle,” by Del Acqua.
We will now listen to a group of love songs and
see if it is the sentiment expressed or the National-
ity that makes its first appeal. Of course we will
naturally think of the national expression the sec-
ond time we hear these compositions, but it is the
expression of love in the music which makes the
first appeal. The songs we have chosen, rank as
the most famous love songs of all time: “Kathleen
Mavourneen," Irish; " Sole Mio," Italian;
“Drink to Me Only with Thine Eyes,” English;
“Annie Laurie," Scotch; “All Thro' the Night,"
Welsh; "Du, du liegst mir im Herzen,” German.
We have already found that in listening to a num-
ber of lullabies that the Poetic thought was appar-
ent first, although the difference in Nationality
was also to be noted.
Although patriotism is naturally a very impor-
tant part of national expression, it is also a univer-
sal sentiment. We all recognize this and we know
that music is a necessary part of all military life.
It is in fact one of the most important influences
in the camp and on the battleground, because of
the feelings of valor and courage, which the hear-
ing of martial music always arouses. We must try
64
Music In The Home
to dissociate the words from the music, and think
of simply the character of the tune when we listen
to patriotic music. If we do so, we will find that
all music of this type inspires the same feeling in
our breasts, whether it be our own national hymn,
or that of some foreign nation. This is the reason
why the most universal of patriotic hymns is now
the French “Marseillaise," which has become the
battle cry of freedom for the whole world, and
has been universally adopted by all the Allied
armies. The Russians discarded their "God Save
the Czar" because of the words, but the music is
stirring and virile and well deserves to be retained.
In the patriotic songs of our own land, were it
not for the association of the words, the two most
inspiring examples of patriotic music are "March-
ing Through Georgia” and “Dixie Land.” In
fact these two airs, judging them for their musi-
cal worth alone, are far more patriotic in char-
acter than "America" or "The Star Spangled Ban-
ner," which evoke our patriotism only because of
'the association of the words. We have already
spoken of the difference to be noted in the tradi-
tional patriotic song and the composed patriotic
song (see page 47).
Religious feeling as expressed in music is
respected by all, regardless of race or creed. It
makes its appeal without consideration for any
of the other principles save that of Poetic thought.
There is always a chance for a discussion as to
just what it is that makes any art religious. Many
paintings of religious subjects are in reality mere
1
The Message That Music Brings
65
reproductions of textures or faces revealing the
art of the painter, but not in any deep sense relig-
ious. The same thing is true of much of our relig-
ious music, the words are the only part that have
any religious significance. Possibly the best defin-
ition we can give of religious music is that it is
the music which lifts one above oneself and
inspires in one a love for self effacement. Many
of the hymns in the Church hymnals do not in
any sense reflect the true spirit of the words. In
the Protestant Hymnals some of the songs are a
result of Luther's campaign to make music a part
of the Church service. It is, therefore, naturally,
a shock for the staid church member of today, to
discover that many of his favorite hymns were
originally German popular songs, which, when
they are deprived of the religious association of
the words, and sung in the original tempi, are
in fact, excellent examples of the student drinking
song still sung today.
There are, however, a number of our hymns that
are religious in true musical feeling as well as the
sentiment of the words. A few which are espe-
cially worthy of our consideration are: "Adeste
Fideles" ("O Come All Ye Faithful"), the old
Latin hymn of Christmas; "Crusader's Hymn"
("Fairest Lord Jesus”), old French; "Ein Feste
Burg" ("A Mighty Fortress Is Our God”), Ger-
man Chorale by Luther; and “Onward Christian
Soldiers" by Sullivan of our own day. Songs of
this type are truly religious in both music and text.
66
Music In The Home
There is always a controversy as to whether
opera can ever be religious in character, or if
operatic airs should ever be heard in church.
While the association of ideas says “No” the mus-
ical feeling expressed by many of the great com-
posers is far more religious in character than are
many of the airs from oratorio. Take as an exam-
ple the music of Handel; surely every one will
agree that the "Largo” is a religious expression in
music, yet in its original version this beautiful air
is from the opera “Xerxes” and is sung by the tenor
hero, who enters a garden and enraptured with
delight by the sight of a plane tree sings this
famous and ever popular aria. There is much in
Handel's oratorio "The Messiah,” which is exactly
the same in character, as that which is used in his
operas, and in most instances the religious feeling
was of far less importance than the composer's
desire to give the singers an opportunity to show
their remarkable vocal attainments. This is
equally true of most of the opera composers, who
have written oratorios or have made settings for
the Mass. Rossini in his "Stabat Mater” has
chosen the most sacred of all the texts of the
Church for a composition of music, which is no
more religious in its character than is the music
from any of Rossini's operas. Of all the great
opera composers Wagner seems best able to com-
bine religious feeling in his music. As examples,
listen to Elizabeth's imploring "O Blessed Virgin
Hear My Prayer" and the chanting of the "Pil-
grim's Chorus” in “Tannhauser"; "The Prayer of
L
Y
The Message That Music Brings
67
the King” in Lohengrin”; and the “Good Friday
Spell," "Amfortas' Prayer" and "March of the
Grail Knights" from "Parsifal.”.
To determine the true religious feeling of music
one should begin at the beginning of music's his-
tory and study the old Hebrew chants; the old .
Greek Church choruses and the Gregorian chants,
and when one has steeped oneself in these, see how
the same ideas have been expressed by the great
composers. To the owner of a phonograph the
hearing of these old religious airs is a very simple
matter, for a number of the Orthodox Jewish can-
tors have made records of the psalms and the pray-
ers of the Hebrew service. The best example of
what pure religious expression in music can be, is
the arrangement that Max Bruch made of the "Kol
Nidre" (see page 100). There are a number of the
Gregorian chants, which have been recorded for
the phonograph. It is hard to realize the true
significance of these early Christian hymns, unless
they are heard in their own particular environ-
ment, in the great old cathedrals. Yet it is inter-
esting to compare the Greek and Roman Church
music of the Medieval days and it is quite possible
to do so by the means of records. The “Kyrie
Kekraxa" of the Greek Church presents an excel-
lent opportunity to note the deep bass voices, that
are a striking characteristic of the Greek Choirs,
and it will be interesting to contrast this form of
the Kyrie with the "Kyrie Eleison" of the Gregor-
ian service. Several later examples of religious
expression in music are; "Filiae Jerusalem" by
68
Music In The Home
Gabrielli (1510-1586), "Joseph Mine” (Old Ger-
man Christmas Song) by Calvisius (1556-1615);
"Lo, How a Rose E'er Blooming” and “To Us Is
Born Immanuel" by Praetorius (1576-1621); and
the “Gloria Patri” and “Popule Meus” by Pales-
trina (1514-1594).
With the beginning of opera, 1600, there came
a change in the simple direct beauty of religious
expression and with but a few exceptions the early
opera and oratorio composers wrote their composi-
tions for vocal display rather than for the dramatic
or religious expression. In some of the choruses
from one of the early German Oratorios, the work
of Heinrich Schutz (1585-1672), entitled “The
Seven Last Words of Christ,” there is a wonderful
simplicity and a true religious feeling. This is
also true of the religious compositions by Johann
Sebastian Bach (1685-1750), for all the works
which Bach wrote for Church service, bear the
inscription “To the glory of God, Alone.” Much
of the music in Handel's oratorios is, as we have
already stated, exactly the same type of music that
he wrote for his operas. There are of course sev-
eral notable exceptions; every child will feel the
strength of the "Hallelujah Chorus" from the
“Messiah"; and such arias as “He Shall Feed His
Flock" and "I Know That My Redeemer Liv-
eth," both also from the “Messiah" should be in
the listening library of every home. There is
another Handel aria which is not so well known,
which should however be heard in the home circle
frequently, this is “Total Eclipse-No Sun--No
The Message That Music Brings
Moon” from Handel's "Samson"; and is the air
· sung by Samson, when he realizes that he has
become entirely blind."
There are two songs of a later date that are most
remarkable examples of true religious expression
in music: “The Love of God in Nature" by Beet-
hoven and “The Almighty" by Schubert. Two
arias from Mendelssohn's "Elijah," "If With All
Your Hearts" and "Oh Rest in the Lord," and the
famous aria from Mendelssohn's “St. Paul”_"But
the Lord Is Mindful of His Own” should also be
known in every home as examples of religious
expression.
Chapter VIII
THE STORIES THAT MUSIC TELLS

N OTE have found that the power of Descrip-
RHEMD tion in music is one of the fundamental
I D principles, which music may express.
SVG It is always a popular principle, for
a story telling in any branch of art is sure
to make a strong appeal. To the layman, genre
painting, simple dramatic situations in literature,
and the Descriptive in music make the first impres-
sion; later he will come to a realization of the true
value of Form, Nationality and Poetic thought, as
they are expressed in all the other arts.
Instrumental music that reflects the Descriptive
element is designated as “Program music," in con-
tra-distinction to "Absolute music," which is the
name given to all the forms that do not tell a defi-
nite story or paint a distinct picture in tone.
In a certain sense all songs tell us stories, and
yet you can easily divide the songs, with which you
are familiar, into the two divisions of "Absolute
music" and "Program music.” Compare for
example the most popular songs by Schubert;
“Serenade” and “Erl King." In one, we have the
Music In The Home
Poetic thought of love, and although a picture of
a serenader before his lady's window may arise in
our fancy, it is not inherent in the music itself,
while the story of "Erl King” is definitely por-
trayed in the music. Or we can take two Ameri-
can songs, which are both setting of Kipling's
poems; there is a great difference in the character
of the words, as well as the music, of "On the Road
to Mandalay” from that of "Danny Deever."
The same idea can be traced through the divi-
sion of national music; we have already found in
the folk songs that we have considered, that there
is a constant desire to tell stories in music. This is
especially true of the Latin race, yet there are
"Dialogue Songs" to be found in Scandinavia,
Russia and Germany as well as in France and
Italy. Two excellent illustrations of the dialogue
song are:“Au Claire de la Lune” (“By the Moon's
Pale Light”), French; and "Astri, My Astri,” Nor-
wegian. Let us consider a few well known exam-
ples of folk songs which reflect the same poetic and
dramatic qualities, which we have just classified in
instrumental music, as "Absolute" and "Program"
music.
Irish “Kathleen Mavourneen”. (Absolute)
"The Minstrel Boy” (Program)
Scotch "Annie Laurie"
(Absolute)
"Jock O'Hazeldean". (Program)
German "The Soldier's Farewell” (Absolute)
“The Loreley"
(Program)
The Stories That Music Tells
73
I
French "Bergere Legere"
(Absolute)
“Au Claire de la Lune” (Program)
Because the trend of modern times has made
demands on the dramatic instincts of all creative
art, many music lovers have the false idea that
Program music was unknown before the nine-
teenth century, and that it was a result of the break-
ing away from the formal restrictions that came
into being with the creation of the modern school.
It is true that the tendencies of modern music show
a marked preference for the dramatic qualities,
which are apparent in all Program music, but the
fact remains that story telling in tone was
attempted in very early days. It is but natural,
however, that, during the period of music's hiş-
tory, which is designated as “Classical” (late sev-
enteenth and eighteenth centuries) when all soci-
ety was bound by the conventions of Court eti-
quette, that the development of Form should have
been considered of more importance than any of
the other principles of music. Therefore, when
these early instrumental composers wrote composi-
tions which they wanted to have tell a story, they
still clung to the old formal traditions of the past,
and their compositions, when viewed by the music
lover of today, seem far removed from what he has
come to recognize as Program music.
Program music, first of all must have a title,
which gives it at once a definite character. True,
titles are sometimes given to compositions which
are rather a poetic reflection than an actual story
74
Music In The Home
told in tone, yet the music is more a mood picture
than an actual imitative description in music.
Sometimes the barrier line is not very distinctly
defined and we find that there is much difference
of opinion as to what music is really an example
of poetic description, and what is truly dramatic
description. If one compares the musical compo-
sitions to actual paintings it is easier to recognize
the true distinction. Take for example a compo-
sition with a title like the “Spring Song" by Men-
delssohn, and compare it with the same composer's
overture, “A Midsummer Night's Dream.” In
one the same idea is presented that a painter would
portray in a beautiful landscape, and there arises
in our minds an image of a spring scene, which
might have been conceived by a Corot. In the
overture, however, Mendelssohn has given in tone
a real description of the story of Shakespeare's
great comedy, which brings up a picture of fairy-
land as distinct and definite as any genre artist
could paint.
The early composers used the imitative idea in
their Descriptive music, and it was therefore quite
possible for them to remain within the precincts
of formal construction at the same time.
Even before the days of instrumental musical
composition, when men were writing music only
for the voices, there was an attempt to imitate in
music the songs of birds and the cries of other ani-
mals. Clement Jannequin, who lived in the early
part of the sixteenth century and of whose music
little has come down to us, was one of the first com-
The Stories That Music Tells
75
posers to give his vocal compositions names and
also to try to imitate various sounds in his music.
There are a number of such works as these listed in
Jannequin's compositions: "War," "The Chase,"
"The Song of the Birds," "The Siege of Metz,!'
"The Cries of Paris." In the last named composi-
tion the voice sings, "Listen to the cries of Paris,"
after which all the street cries are introduced and
made to form a harmonious whole, the voices
advertising such delicacies as “hot pies, delicious
tarts, fresh herrings, fine mustard, new vegetables”
and then beginning with "old shoes, old clothes,"
etc. Some of the early vocal composers of this
time also imitated the cries of the animals; there
is one composition of an Italian, Adriano Ban-
chieri, who put in the form of a vocal madrigal,
an imitation of a dog, a cat, a cuckoo, and an owl.
With the beginning of instrumental music this
idea grew apace and we find a number of composi-
tions of the early seventeenth century with titles
which were really attempts at Program music,
although it is highly improbable that from hear-
ing the work, alone, without the titles, one could
tell what was being described. In the English
school at this period there lived one, John Mun-
day, whose titles for a composition called "Fan-
tasia” read like a weather map; "Fair Weather,
Lightning, Thunder, Calm Weather, Lightning,
Thunder, Fair Weather, Lightning, Thunder, A
Clear Day." Without these titles it would be hard
for the hearer of today to imagine all these sudden
changes of temperature that the composer so evi-
Music In The Home
dently gloried in. During this period, the French
instrumental composers reveled in imitative com-
positions although they also gave titles to composi-
tions, which were purely poetic in character.
Couperin, who was called “The Grand,” because
he was the most famous master of the clavecin (the
French procursor of the piano) wrote almost all
his compositions in this manner. “The Hen,"
“The Butterflies," "The Little Wind Mills," "The
Carillon of Cythera” are some of the many tone
pictures to be found in the classification of the
Couperin compositions. You will easily see that
the element, which is of the greatest importance in
all these works, is the rhythm. “The Carillon of
Cythera" has been already suggested as an excel-
lent example of the Rondo form, but as you listen
to this dainty composition you can also hear the
chiming of the bells.
Of all the composers of music, Bach is consid-
ered as the greatest master of Form of the Class-
ical School, and one thinks of the Bach composi-
tions as being practically synonomous with the term
"Absolute music"; yet Bach left one work which
is a clever piece of Program music. It is entitled
“Capriccio, On the Departure of a Brother"; and
throughout the composition Bach designates by
titles, the meaning of his story; "His Friends Try
to Dissuade Him From Making the Journey,
“The Different Accidents, Which Might Befall
Him," "The Laments," "Farewells," "The Post
Horn," "The Journey” (A fugue based on the
post-horn call).
The Stories That Music Tells
But the real appreciation of the power of music,
in the province of story telling came with Beetho-
ven (1770-1827), who, with his sixth symphony
"Pastoral" opened the gates to the domain of mod.
ern Program music. Beethoven tells us that in
hearing this work "the hearer should make out the
situations for himself," but he gives us definite
titles for each movement and he also adds an extra
movement to the regular form of the symphony,
which consists of but four. These movements are
called "Cheerful Impressions on Arriving in the
Country," "Scene By the Brook," "Peasant's
Dance," "Storm" and "Shepherd's Hymn of
Thanksgiving After the Storm.” In all his over-
tures Beethoven gives a musical description of the
real content of the work itself, so that as these com-
positions are heard in our concert rooms today,
they have become practically Program music.
"Egmont," "Leonora No. 3” and “Coriolanus" are
all excellent illustrations of this type of overture.
Beethoven's two greatest contemporaries, Von
Weber and Schubert, were both imbued with this
spirit of writing Descriptive music. Von Weber's
opera overtures are of the same type as Beethoven's,
in that the story of the entire work is told in the
prelude, although this always retains the form of
the Classical overture. The two best works by
Von Weber of this type are: “Der Frieschutz"
and "Oberon."
Schubert gave his genius in this direction an out-
let by writing songs, which are designated as “Art
Ballads” and in which the accompaniment becomes
Music In The Home
I
a most important factor in the telling of the story.
"The Erl King," which we have already discussed,
is the best known work of Schubert's, which would
qualify under this designation,” but “The Wan-
derer” and “Gretchen at the Spinning Wheel” are
also good examples. Schubert's follower in the
development of the Art Ballad was Carl Loewe,
two of his great songs should be heard in this con-
nection: "The Watch” and “Edward."
With the development of that artistic impulse
of the middle nineteenth century, which began with
Beethoven, and which is known as the Romantic
School, Program music became the most important
of the principles of music to be developed by all
composers. The Art Ballad was the most popular
type of song, while in the instrumental school form
was adapted to suit the needs of the composer. To
this period belong Schumann and Mendelssohn of
the German school, and Berlioz, Chopin and Liszt
of the French school. The German school of this
period did not go to such extremes as did the mas-
ters of the French Romanticism, but it must not be
forgotten that the French public had been so sati-
ated with horror and tragedy, as a result of the
Revolution, that it was but natural that in all
forms of art, the public should demand the sensa-
tional and bizarre. When we come to study instru-
mental forms we will find that to suit the needs of
the Romantic composer of Program music two new
forms came into being, the “Concert Overture” and
the "Symphonic Poem.” During this period, the
composers began to make a great feature of the
The Stories That Music Tells
79
importance of Nationality, and that division of
Nationality, which we have already designated as
"National Composition,” dates from the Romantic
School. New effects in the use of instruments
were also attempted, in order that the story might
be better told in music and many of the modern
instrumental uses began at this time. The Schu-
mann song "Two Grenadiers” is an excellent exam-
aple of the use of the Art Ballad in combination
with the principle of national expression. “Geno-
veva" overture, also by Schumann, is a good illus-
tration of his story telling in instrumental music.
Mendelssohn's overture "A Midsummer Night's
Dream" belongs to the type of compositions which
tell the story of the work that they prelude, but
"Fair Melusina” and “The Hebrides” are both
excellent examples of the Concert Overture form.
In the French school the idea of Program music
was carried to a greater extreme. Berlioz, who
was called by Schumann "the uncompromising
champion of Program music," wrote all his works
with this end in view. He used the instruments in
many new ways and made the orchestration of his
compositions a vital part of his story telling in
music. He also made use of characteristic themes,
which he used to depict the characters, that he
was describing in music. Berlioz also recognized
the importance of Nationality and introduced it
as an important feature in many of his works.
The "Minuet of the Will o' the Wisps" and the
serenade of "Mephistopheles," both from the
"Damnation of Faust," are remarkable examples
80
Music In The Home
Damna compostim a Proghich
of Berlioz' power of instrumentation. The over-
ture “Carnival Roman" and the arrangement of
the Hungarian "March Rakoczy," which Berlioz
introduced into the “Damnation of Faust,'' are both
splendid types of national composition. Of his
larger symphonic works, the best from a Program
point of view, is "Harold In Italy," which
describes Byron's melancholy wanderer. The
four movements of the symphony are entitled: (1)
"Harold in the Mountains," (2) "March of Pil-
grims Singing the Evening Prayer," (3) "Sere-
nade of a Mountaineer of the Abruzzi to His Mis-
tress," (4) "Orgy of Brigands." Although Ber-
lioz was important in the development of Program
music, the genius of Liszt overshadows him. Liszt
gave to his large forms of symphonic expression
the title of *"Symphonic Poems” and he left thir-
teen of these compositions. The best and most
popular are: “Orpheus," "Tasso," "Mazeppa”
and "Les Preludes." Liszt was greatly influenced
by the genius of his friend and contemporary,
Wagner. Although Wagner is naturally associ-
ated entirely with the Opera School all his instru-
mental compositions reflect the best principles of
Program music. Wagner's musical works make
use of the "leit motif” or characteristic theme,
which describes each person or inanimate thing,
which assumes dramatic importance in his compo-
sitions; these themes are usually given by definite
instruments, Wagner also preludes each act of his
*As almost all Symphonic Poems are too long for records and too dif-
ficult for the home pianist, the use of the player-piano to furnish these illus-
trations is recommended.
The Stories That Music Telis
81
IT
operas with an overture, which is to prepare the
hearer for the dramatic action which is to follow on
the stage, or the deep underlying poetic thought,
which is formed in the whole work. The "Ride
of the Valkyries” is an excellent illustration of this
type of Prelude, which prepares the hearer for
the action of the act to follow. This composition
is the Prelude to the third act of the opera “Val-
kyrie," the scene of which takes place on the Val-
kyrie's rock. An illustration of a Prelude, which
is used to prepare the hearer for the poetic thought
which underlies the entire composition, is “Vor-
spiel” to “Lohengrin.” This lovely composition
paints in tone, a picture of the angels bringing to
Earth the Holy Grail and the Sacred Spear and of
their giving these relics to the Knights of Mont-
solvat. Wagner's great operatic arias also become
programmatic, by the use of the leit motif in the
accompaniments. A good example of this is found
in “Wotan's Farewell” from “Valkyrie" and in
"Amfortas' Prayer" from "Parsifal."
Modern composers have used Program music as
their principal vehicle of musical expression,
although the Concert Overture and Suite form
have also been employed. They have combined
Nationality, "leit motif” and characteristic instru-
mentation, and have generally followed the free
pattern of Liszt's “Symphonic Poem." In national
composers like Smetana, Dvorak, Grieg, Tschai-
kowsky, Rimsky-Korsakow, etc., have generally
employed Program music as a means toward the
furthering of a knowledge of national musical
82
Music In The Home
expression. They have used as subjects historical
events or the legends of their native land, and have
incorporated folk melodies into their compositions.
The greatest master of Program music of today
is Richard Strauss; all his works follow this plan,
and his stories are most realistically portrayed in
tone. His greatest works are: “Don Juan," "Till
Eulenspiegel," "Death and Transfiguration" and
“Thus Spake Zarathustra." Saint-Saens is more
imitative in his development of the idea as will be
noticed in "The Spinning Wheel of Omphale,"
"Phaeton" or "Danse Macabre.” The Impres-
sionistic School of French composers are naturally
more vague in their melodic description, for they
are depicting ideals and poetic fancies rather than
reality. The greatest modern work of this type is
Debussy's "Afternoon of a Faun."
Many musicians feel that Program music is not
as great an expression of the true power of the art
as is Absolute music. Yet, after all, Program
music makes more of a demand on the intelligence
of the listener. For to really appreciate such
works as Beethoven's “Egmont,” Mendelssohn's
“Hebrides," Liszt's "Mazeppa, Saint-Saens'
"Danse Macabre" and "Tschaikowsky's "Overture
1812," one must have a knowledge of legend, geog-
raphy and history in order to really appreciate the
true message of the music, as the composer intended
it.
.
Chapter IX
THE CORRELATION OF MUSIC IN THE HOME
WITH THE STUDIES OF SCHOOL

URING the past decade there has been
a great interest in the music work in the
public and private schools, and in many
institutions the "Appreciation of Music
Course” is considered as of as great
importance as the actual sight singing and sight
reading courses, the chorus, or the student orches-
tras. But the true worth of music has not yet been
fully recognized. It will ultimately be realized
that the music study in school must be correlated
with the other subjects in the curriculum. This
is of course a problem which in some ways it is
difficult to solve. The busy music supervisor has
to look after the music study in a number of schools.
Sight singing, choruses, orchestras, ear training, the
study of notation, and simple harmony, all must be
outlined for the teachers. It is also almost impos-
sible for the supervisor to keep in touch with all
the daily studies in the school room. This is where
the true worth of music in the home circle really
begins. Every parent desirous of serving the best
Music In The Home
interests of the children in the home, should keep
informed as to the daily lesson work at school of
the young people of the household. It will then
become but a comparatively simple matter to
devote a short time each day in the home circle to
the listening to music, which can be correlated
with the geography, history or literature lessons of
the youthful student.
We must come to realize in the homes of this
| country, that music is a part of daily life and the
sooner that we can correlate the music that we hear,
with the other things in life, especially the studies
of the school room, the sooner will we accomplish
this end. Wise parents wish their children to be
surrounded in the home with the best in art and
with the pictures and books that will help them in
their school work. Why should music not be used
as a means to the same end? In the story telling
in the home circle, wherever there is an allusion
to music, it is often possible to give a musical illus-
tration, which will make the point even clearer to
the children. Almost all the old legends and fairy
tales can be associated with music, in some way.
It has been the author's experience that the Wag-
ner stories and music are much clearer to the child-
ish comprehension than they are to many grown-
ups. Many of the opera stories can be told to chil-
dren in a simple manner and these can be corre-
lated to geography, history or literature. The love
for the poets can be greatly stimulated by the hear-
ing of songs set to the words with which children
are already familiar. When the youthful listener
Music in Home and Studies of School
.
85
is taught to realize that music will help in the
understanding of school studies, it is amazing how
quickly he will begin to correlate for himself, the
music he hears with other things in life.
It is not a good plan for any one to play or sing
a musical composition to a child, unless one knows
about it oneself, for questions are sure to arise that
must be answered. But if the parents and teach-
ers are able to carry out the plan of musical listen-
ing as correlated with school studies, they will be
amazed to find how much they have learned them-
selves regarding music. And if this work is car-
ried on systematically, it will surprise them to find
how their own personal attitude toward music has
changed, and their children when they begin to
understand that music belongs to other things in
life, will show a far different attitude toward their
own music lessons. When parents come to appre-
ciate this point, they will realize that music study
is just as important as "the three R’s" in the gen-
eral plan of education of our children, and music,
which has before been a separate and rather vague
art, will take its place as a true member of the
family of the Nine Muses.
Chapter X
MUSIC IN ITS RELATION TO GEOGRAPHY

E have already considered the impor-
tance of Nationality as one of the fun-
damental principles that music can
express. The characteristic differences
in the music of the European countries
as it has been attested by the folk instruments has
been made apparent. We have traced Nationality
in music through its various forms; Dance song,
Folk dance, Legendary song, Composed song,
Patriotic song and National composition. Let us
now see how we may aid our young people to come
to a better realization of the importance of music,
by correlating the listening to music at home, with
the geography lessons of school.
The picture post cards, the stereopticon and the
moving pictures are all used to promote an inter-
est in foreign lands, we will now consider the
importance of music in this connection. It will be
a great aid if you will use your maps as well as
your musical instruments.
The different European cities are, of course, all
associated with the lives of the great composers, or
88
Music In The Home
with events in music's history, but it is first neces-
sary to study the simple folk song, as this best
'reflects the true association between geography and
music.
It must also be remembered that all the arts of
the various nations have been more or less influ-
enced by the climatic, as well as the racial and gov-
ernmental conditions. The primitive type may be
the same, but it shows itself in various forms.
Just as there is a difference in the speech of the
various peoples, so is there a variety in their cos-
tumes and their customs, and this is especially
noticeable in their art.
Neither do all nations use the instruments that
we know, and it is but natural that countries hav-
ing similar instruments for the presentation of
their melodies, will reflect many of the same ten-
dencies in their music. A similarity in language
is also responsible for a similarity in musical
characteristics. For example, one finds strong
points of similarity in the music of Ireland, Scot-
land and Wales, countries that all used the bag-
pipe and the harp as their early instruments. And,
although many of these songs have been associated
with the English folk songs, because they have so
long been sung in the English language, they have
distinct and individual characteristics of their own,
just as an Irishman, a Scotchman or a Welshman,
each has his own accent in speech.
The music of Ireland is said to be the oldest of
the British Isles, yet many of the Gaelic airs are
native to both Ireland and Scotland. There is
YYY
Music in Its Relation to Geography
89
proof that a famous harp school existed in Ireland
as early as the sixth century. The song "The Harp
That Once Thro' Tara's Halls” commemorates the
famous gathering of the harpers for their annual
contests in the famous minstrel hall of Tara Castle.
Besides the harp, the Irish also used the bagpipes,
and a peculiar kind of fiddle called the Geige, from
which the most popular of the Irish dances, the Jig
(as we now spell it) took its name.
The Irish, being of the Celtic race have a strange
faculty of combining joy and sorrow and this is
noticeable in some of their drinking songs and jigs.
Like many of the other peoples, who have retained
their primitive customs, the Irish describe all their
homely, everyday work with musical tunes. "The
Pretty Maid Milking Her Cow” and “The Irish
Washerwoman”, are good illustrations of this.
Excellent examples of Irish song, which will
accent geography as well are: “Bendemeer's
Stream," "Where the River Shannon Flows" and
“Killarney."
The music of Wales dates back almost as far
as does the Irish, and the use of the harp and bag-
pipe was also popular there. So many of the
Welsh songs like "All Thro' the Night," have
been sung for so long in England that they are
often mistaken for English songs. The Welsh
national anthem, “Men of Harlech," makes the
youthful listener anxious to know, just where Har-
lech is and what its men did.
Scotland has a peculiar fascination for the young
musical listener." The bagpipe, with its restricted
Music In The Home
tonal scale has, as we have already seen, left a direct
influence on the Scotch airs, and the rhythmic
peculiarity known as the "Scotch Snap," is also
due to the use of this instrument. The "Highland
Fling” and the "Sword Dances” well reflect these
characteristics, while the more sentimental side of
the Scot and his love for his native land is to be
noticed in "Loch Lomond," "Coming Thro' the
Rye," "Ye Banks and Brakes of Bonnie Doon” and
"Flow Gently Sweet Afton." The "Border Bal-
lads" also make a strong appeal to children, espe-
cially to the boy of the family. "Jock o'Hazel-
dean,” “Wha'll Be King But Charlie," "The
Campbells Are Coming" and "Scots Wha' Hae
Wi' Wallace Bled," all take on a new meaning
when one knows, where and when they actually
originated.
In England music held a much more important
place in past days than it has since, until the pres-
ent day. The Puritans did away with many of the
old songs and dances and it has been only in the
last few years that these have been revived. The
May Pole dances and the Morris Dances, as well
as the old Rounds that are now attracting the atten-
tion of the modern composers, are reminding us
of the past music of England. The "Border Bal-
lads” really belong quite as much to England as
they do to Scotland.
In France many of the old songs reflect that part
of the land from which they originated. For
example the music of Alsace and Lorraine natur-
ally shows the influence of Germany, while that
Music in Its Relation to Geography
91
-
of Provence is distinctly reminiscent of Spain.
There are many of the old French songs of the
time of Charlemagne still in existence, and there
are also Crusader's Hymns and Troubadour Songs
that we may hear and learn to know. Then there
are the charming Begerettes and dances of the
Court period to consider. Many of the modern
composers are returning to these old sources for
their inspiration. Among the many illustrations
that would be possible to hear in this connection
are "Aubade Provencal” by Couperin; “Chanson
Lorraine"; "On the Bridge at Avignon”; “March
of the Three Kings" (used by Bizet as the basis
for his overture to "L'Arlessienne"); and the mar-
velous "Marseillaise." We read much in the pres-
ent war reports regarding the little town of Arras.
It was here in the thirteenth century that there
lived a curious humpback named Adam de la
Halle. He became the most famous composer of
his day and wrote the first Pastoral Opera, which
is known as “Robin and Marion.” Many of the
songs from this work are recorded and are possible
for us to hear in our homes today.
Belgium and Holland have little music that is
distinctly national in character, for the influence
of both France and Germany is reflected in their
music as well as their language. In the early days
of music's history the great school of the Nether-
lands was the most important in the development
of counterpoint and there was laid the foundation
for all musical composition. The action of Wag-
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Music In The Home
TN
ner's “Lohengrin” takes place in Antwerp, Elsa's
castle being now the Steen Museum.
The folk music of Germany sounds more famil-
iar to us than that of any other land, because so
many of our hymns and school songs are taken from
German sources. All German folk music is of a
homely and intimate character. The emotion,
while intense and elevated, is always expressed in
simple phrases. Many of the folk songs reflect a
somewhat exaggerated sentimentality, but there is
always a very close connection between the words
and the music. There are a number of German
songs that impress us with the geography of the
land; but the three following are excellent exam-
ples: "Lorely," "The Watch on the Rhine" and
"Eine Feste Burg" ("A Mighty Fortress Is Our
God”); this latter song was written by Martin
Luther in the famous Wartburg Castle, which
stands just outside of the little town of Eisenach in
Thuringia. Here also the Minnesinger Knights
used to hold their annual contests of song, which
Wagner immortalized in his “Tannhauser." In
Wagner's "Meistersinger” the action takes place
in Nurenburg; the legends of the Rhine were the
inspiration of “The Ring of the Nibelungs.” The
story of "Hansel and Gretel" is one of the tales of
the Black Forest and the music by Humperdinck
is all taken from folk sources. One can go on
through the whole of the modern German musical
literature and find a very close association between
the places and events and music.
Music in Its Relation to Geography
93
Swiss music reflects the influence of the Italians,
the Germans and the French, just as its speech and
its folk stories are also borrowed from its neigh-
bors. The Alpine yodel-call is practically the
only distinctly national music of Switzerland,
although we will find the yodel used also by moun-
taineers in other parts of Europe. The “Swiss
Echo Song” by Eckert gives a good idea of the
yodel call as used in imitative music. The Swiss
have one national song, which is called “Kuhr-
eigen” and which the Swiss Guards, those subsi-
dized soldiers of past Court days, were not allowed
to sing because the music of this air always made
the soldier so homesick that he deserted his post.
Kiens), the modern German opera composer, has
written an opera, called “Kuhreigen”; the story of
this takes place in France during the Revolution,
the hero is a Swiss soldier, who sang the "Kuhr-
'eigen," and was condemned to death.
Hungary and Bohemia, both have distinct types
of music. The Hungarian gypsies tinge all of
their music with a coloring that is most unusual
(see page 58). The "March Rackoczy,” the
"Hungarian Rhapsodies" by Liszt and the "Hun-
garian Dances” arranged by Brahms, all show
these characteristics. Bohemian music has many
points in common with the other Slavic nations,
but she has been under the domain of Austria for
so long that many German tendencies are found in
the folk music of Bohemia today. As Bohemia
has always looked to the West for her culture her
arts reflect the West far more than they do the East.
Music In The Home
Smetana in his opera “The Bartered Bride" has set
a Bohemian folk story to Bohemian folk music,
and the result gives the hearer an excellent illus-
tration of the possibilities of the Bohemian national
music. This composer, in his symphonic poems
“The Moldau" and "Vyserhad,” pictures in music
the scenes on the banks of the famous river of
Bohemia and the strength of the mighty fortress
of Prague. The “Slavonic Dances” arranged by
Dvorak are good illustrations of Bohemian national
music. Both Smetana and Dvorak restricted
themselves almost entirely to the writing of Bohe-
mian National Composition.
To continue our interest in Slavic music let us
now journey to Russia, that vast land which in its
speech, customs and arts links the Occident with
the Orient. Russia's enormous size gives an
immense variety to her art and music. There are
songs very similar to the French and Italian folk
songs, doubtless due to the influence that these
lands had on the early Russian court. Then again
there are songs and dances almost barbaric in their
coloring and reflecting the Cossack influence of the
South and East. The most interesting folk songs
come from "Little Russia,” a district of the
Ukraine that borders on Poland. Here we find an
instrument that is individual to the people of this
locality, the balalaika. The balalaika was believed
to be obsolete, until a few years ago, when
it was rediscovered by M. Andreef, who also
found many interesting old tunes that were dis-
tinctly influenced by this instrument. The “Cos-
Music in Its Relation to Geography
STY
sack's Lullaby," "Mother Moscow" and "Song of
the Volga Boatmen" are the best of the Russian
songs to associate with geography
Polish music is characterized by its “Krakow-
iaks," "Polonaises” and “Mazurkas," which Cho-
pin was the first to give to the world. There is a
great variety and delicacy to be noticed in the dis-
tinctive Polish rhythms. It is natural that much
of the music of Poland has been influenced by both
Germany and Russia. But as Poland has been for
many centuries a Catholic country the influence of
its religious music is very apparent in many folk
songs. In fact the Polish folk song is either a
frank copy of a hymn of the Church, or a dance
song, in which the rhythm of the Krakowiak, the
Polonaise or the Mazurka is to be found
In Scandinavia there are three distinct schools
-Sweden, Norway and Finland. Sweden reflects
the influence of Germany far more than does
Norway, which has always maintained a certain
independence in art. A number of the mountain
songs of the Swedes suggest the Alpine yodel-call,
while the folk dances possess many points of sim-
iliarity with these of Germany. Norway on the
other hand has a different music in the forest lands
from that to be found in the sea coast; all Nor-
wegian folk music possesses a bold and vigorous
character which is distinctive. We are already
familiar in our study of the music of Sweden and
Norway with the works of Svendsen, Grieg and
Sinding. Finland has only recently become of
serious importance in the modern National
are three found Wlak, the
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Music In The Home
Schools. "Finlandia,” by Sibelius, a work which
we have already heard (page 34), is an unusual
example of the geographical music of this far away
land.
In the south of Europe a far different character
is noticed in the music than in that of the north.
While there are some points of similarity to be
found in the music of Spain and Italy, much of
the Spanish music is reflective of the Moorish inva-
sion and shows the influence of the Moors to almost
as great an extent as does the architecture of Spain.
The song "A Granada" tells of the glories of the
old Moorish Capital. There are many gypsies
throughout Spain and they have also influenced
her music, although not to the extent to be noticed
in the music of Hungary. The most beautiful
legendary folk songs of Spain are found in Anda-
lusia, while the people of the north revel in the
dance song. Sarasate's "Romanza Andalusia" is
an excellent example of national composition based
on the Southern folk song, while "Linda Mia,"
with its clicking castanets, is distinctly a folk dance
song of the Pyrenees. Legend tells us that it was
in the Pyrenees, between France and Spain, that
the castle of the Grail Knights were hidden.
There is a town called Montsalvat, still in exist-
ence, where there is located a wonderful temple
said to have been the Grail castle of Medieval
days. Although the work of a Frenchman Bizet's
opera “Carmen" is so distinctly Spanish in its char-
acter that the "Seguidilla" and "Habanera” as well
as "Toreador Song" can all aid the childish imag-
Music in Its Relation to Geography
97
ination as to the music of Spain. Wherever Spain
has left her mark in the new world because of her
colonies, the characteristics of her musical speech
can be traced. This is of course noticeable in the
music of many of the South American countries,
also in Mexico and Cuba. The folk music of
Spain has also been influenced by that of her colo-
nies; a striking example of this being the "Haba-
nera.” This dance was originally introduced into
Cuba by the African negro slaves, and in its oldest
version it was called "A Creole Country Dance."
It became so popular in the city of Havana, that
when it was taken to Spain, the name "Habanera”
was given to this form, which for many centuries
has been the most popular dance of the Spanish
folk.
The folk music of Portugal is very similar to
that of its more dominating neighbor. The dance
songs of the two lands are almost identical, but as
the Portuguese is more pensive and tranquil by
nature than the fiery and excitable Spaniard, so in
many of the songs of Portugal there is noticed a
repose and subdued melancholy, which is absent
in the Spanish folk song.
Like the German music, the Italian seems also
so familiar to us that its national flavor is prac-
tically lost. Yet there is much difference to be
noted in the music of Northern Italy, with that of
the Southern provinces. The songs of the sea-
ports are very different from the music that is
found in the interior. Such folk songs as “The
Dove” (Tuscany) are quite distinct from “Santa
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Music In The Home
Lucia” and “O Sole Mio" of Naples. “The Fair
Maid of Sorrento" brings up a picture of the cliffs
surrounding the Bay of Naples; the later folk song
"Funicoli-Funicola" is descriptive of the trip to
Vesuvius on the funicular railway. When one
starts to compare the music of Italian opera many
more analogies are possible. The Italian folk of
today sing the airs from the Italian operas, and one
can truly say the folk music of Italy today is the
Italian opera from Rossini to Wolf-Ferrari.
In the small mountain towns of Greece the folk
still sing the old tunes of by-gone days and the
ancient modes on which our first system of Church
music was founded are still in use by some of these
primitive people. We trace from Greece our first
development in the history of modern music.
Some of the Greek mountaineer songs, so primi-
tive in character that they might have been used
in ancient days, have been preserved by the means
of phonograph records.
In America the folk music has been greatly
affected by geographical conditions. The French
influence is to be found in the songs of Canada and
in the music of the Creoles. In Southern Califor-
nia the influence of Spain is as apparent in the
music as in the architecture. The dance song and
the plaintive minor harmonies of the negro, color
all the music of the South. The future American
composer will, naturally, combine in his music the
characteristics of all of the peoples of the world,
yet his compositions will undoubtedly reflect the
true strength and virility of a free born race.
Chapter XI
MUSIC AND THE HISTORY OF THE WORLD

ATSN considering the relation of music to
history, we do not mean the study of
musical history in the accepted terms of
o the music student, but the correlation of
the music that we hear, with the great-
est events of the world's history. Until a short
time ago, our music students, in their study of the
true meaning of the term "History.” The course
of music history consisted almost entirely in a
series of studies of the biographies of the great
composers, and, in many instances, the peculiarities
and idiosyncrasies of the individual were given far
greater emphasis than the effect which the events
of the time produced upon his works.
The mother in the home, or the teacher in the
school, may make the historical event and the mus-
ical message of far greater importance, if she seeks
to correlate them, for the child is far quicker to
recognize this relationship than one can realize.
The music of ancient days is largely a matter of
conjecture. We know from Assyrian bas reliefs
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that the instruments of the Assyrians were of the
noise-making, rhythm-marking type; the wall
paintings of the Egyptians, by the use of the wind
instruments of the reed family, and the long
stringed harps, depict the love of the sensual in
music. This simply accents what history tells us
regarding the Assyrian and Egyptian races. As
the Hebrews took their arts from both of their
more dominating neighbors, it is but natural that
their music was an adaptation of the best of both
the Egyptian and Assyrian systems. History has
proved that the Hebrew race is the most musical
on earth, and it is safe to assume that this charac-
teristic, so noticeable today, belonged to that race
in ancient days as well. We, therefore, have to
look to the Orthodox Jew, who has kept his music
with as great a care as he has the Mosaic law, for
in the collection of the Orthodox cantors many of
the settings of the psalms and prayers of the priests
are still to be found. As one listens to "Birchos
Kohanim" (Benediction of the Priests) or "Kawo-
kores Rohe Adre” (Like a Shepherd), one realizes
the glory of the music of the great days of Israel.
The "Kol Nidrei" is the most sacred of the Jew-
ish hymns, and is only sung once a year, on the
evening of the Day of Atonement, the most holy
day of the Jewish calendar. The Orthodox can-
tors will not sing it on any other occasion even for
the purpose of making a record. We have, how-
ever, the beautiful modern version of the theme in
the arrangement made by Max Bruch.
Music and the History of the World
101
The Greeks, as we know, considered music of
great importance, and their systems of musical
science were different in the various localities of
Greece. In the education of the Greek youth
there were but two courses of study--music and
athletics; all the sciences and arts being grouped
under the term "Music." Of the Greek music
which has come down to us, the most authentic is
“The Hymn to Apollo,” which was found in 1893
at a shrine to Apollo on the island of Delos. The
words and music in the old neume notation were
graven on a stone and were easily deciphered by
the modern scientists. It is interesting to notice
that the rhythm of this hymn, 5/4, is the peculiar
rhythm of the Russian folk song, which has been
so frequently remarked. That the influence of the
Greek Church is responsible for the use of this
rhythm among the folk of Russia of today is more
than self-evident.
The real development of modern music began
in the Christian Church, which for many centuries
was alone in the sustaining of all forms of art.
One traces in the early Church Chant the influ-
ence of the Hebrew and Greek music, but history
tells us that this was far more evident in the
Ambrosian Chants, which were destroyed by order
of the Church, than in the later Gregorian Chants
which are still in use in the Roman Catholic
Church. Many of the Gregorian Chants may be
heard in our homes by means of records, but since
their chief interest is only due to their historic ori-
gin it is only when they are heard in the vaults of
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Music In The Home
some great cathedral that their true significance
can be appreciated. We know that the early
Church missionaries considered music of great
importance and that they sent singers as a part of
each mission. History tells us that after the con-
version of Britain many of the best teachers came
from Ireland, which is known to have had a very
early school of music. Although the song "The
Harp That Once Thro' Tara's Halls” belongs to
a later period, it commemorates the days of the
Irish harpers and may well be heard as an illus-
tration of the importance of music in the early
days in Ireland.
When we come to the period of Charlemagne
(744-814), we find that the great master of the
Holy Roman Empire realized full well the
importance of music as an influence in civiliza-
tion. He caused music to be made a part of school
study, and even founded special schools for the
training of the Church choristers. We can hear
two songs of his day, the "Hymn of Charlemagne"
and "The Lament for Charlemagne."
The interest in the development of the science
of music continued in the Church, and that it was
widely known throughout Europe is evident from
the fact that we find first, Hucbald, a monk in
Flanders, then Guido of Arezzo, and, later,
Franco of Cologne, all working for the same ends.
Of these three, the most important in relation to
the modern school was Guido, who lived in the
eleventh century. His famous hymn to "St. John
the Baptist,” on which he founded the present sys-
Music and the History of the World 103
tem of solfeggio, can be heard by means of an
excellent record. There has also come down to
us from this century “The War Song of the Nor-
mans," which historians tell us was actually sung
by the army of William the Conqueror at the
Battle of Hastings (1066).
The influence of the Crusades is apparent in
the music of the Troubadours, who brought back
to Western Europe the most beautiful of the mel-
odies of the Orient, as well as many of the Eastern
instruments. The Crusade of Godfrey of Bouil-
lon (1096) first made popular that most univer-
sal of folk songs, "Malbrouk.” The words, "To
war has gone Duke Marlborough,” were set to
this tune after the victory of Duke of Marl-
borough at Malplaquet in 1709. We have also
many later eighteenth and nineteenth century set-
tings to the air and know it by many titles, includ-
ing “We Won't Get Home Until Morning," "For
He's a Jolly Good Fellow," and "Me and My
Mother are Irish.” It is said that Marie Antoin-
ette sang it as a cradle song. When Napoleon's
armies went into Egypt it was their most popular
marching song and was at once adopted by the
Arabs, who still sing it as one of their most popu-
lar songs. Beethoven uses it in his battle sym-
phony, "Wellington's Victory at Vittoria.” But
to return to the music of the Crusaders, the “Cru-
sader's Hymn" (Fairest Lord Jesus), still sung
in our churches today, is a better type of the relig-
ious spirit of the times than is the old marching
song, "Malbrouk.”
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Music In The Home
That France, during this period, recognized the
power of music is evident from the fact that with
the establishment of the University of Paris in 1100
we find that the chair of music was given equal
rank with that of science and history.
The most famous of the Troubadours, Adam de
la Halle, “The Hunchback of Arras," who was the
composer of the first pastoral operetta, “Robin and
Marion," lived in the thirteenth century in the
little town of Arras in France (see page 91). Sey-
eral of the selections from this work now can be
heard in our homes through the medium of rec-
ords. Then there are also several of the most beau-
tiful of the songs of De Coucy and Thibaut of
Navarre, that we are able to hear today in the
same manner.
The importance of secular music was not only
confined to France, but also is manifest by the con-
tests of the Minnesingers of Germany, which were
held in the famous old Wartburg Castle in Thur-
ingia. Wagner has immortalized this event in his
“Tannhauser” and has, in his other operas, used
the legendary material which the Minnesingers
wrote.
After the Crusades drew the nobility to the Ori-
ent, music became the heritage of the common peo-
ple and the Jongleurs in France and the guilds of
Meistersingers in Germany were a result. Mas-
senet in his opera, “Jongleur of Notre Dame” has
given an accurate picture of the life of this period;
Wagner's opera, “Die Meistersinger of Nurn-
berg' also brings before us the work of the most
Music and the History of the World
105
famous of these guilds, which remained in exist-
ence in Germany until the middle of the last cen-
tury. The true hero of Wagner's opera, Hans
Sachs (1496-1576), is a character in history who is
sure to make a personal appeal to the youthful
mind.
After the signing of the Magna Charta there be-
gan an immediate development of art in England.
We have the unquestionable proof that a great
school of music existed in England in the manu-
script of the famous old canon, “Sumer Is a
Cumen In."
The days of Wallace and Bruce are all com-
memorated in the Scotch songs dating from the
early fourteenth century. "Scots Wha' Hae, Wi'
Wallace Bled," is said to have been sung at the
Battle of Bannockburn (1314).
The Hundred Years' War naturally retarded
the progress of art, but at its close there began a
renewed interest in music throughout Europe. The
invention of printing spread knowledge to an
extent undreamed of before. The fall of Con-
stantinople gave a new impetus to the study of the
ancient arts.
It is but a natural result that secular music
should now claim equal rank with religious music.
Therefore, when Martin Luther began his
reforms of the Church he laid great stress on the
importance of music. Neither is it strange that
the Catholic Church should also realize this prin-
ciple. One of the most popular airs from Adam de
la Halle's “Robin and Marion” had long been a
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Music In The Home
part of the ritual of the Church. It was now abol-
ished, and when the famous Council of Trent met
in 1563, Pope Pius requested the composer Pales-
trina to write him a mass, which should be "both
religious and popular.”
As the Netherlands was ranked as one of the
most important countries commercially during the
fifteenth and sixteenth centuries, it is natural that
the greatest school of art and music during this
period should have been developed there. The
most important of the early masters was Josquin
des Pres, who was the contemporary and friend of
Luther. It was doubtless true that Luther obtained
much of his knowledge and enthusiasm for
music from him. The late masters of the Nether-
land school, like their contemporaries in painting,
went to Italy for further inspiration. These men
laid the foundations for the great schools of Ven-
ice, Rome and Naples.
One of these masters, Adrian Willaert, found in
Venice, in the Church of St. Mark's, two organs,
and at once decided that instrumental antiphonal
choirs were quite as possible as vocal ones. His
followers used all the instrumental voices in the
same manner, thus laying the foundation for the
orchestral choirs of today.
Music continued to be regarded as of impor-
tance in England and at the time of Elizabeth one
deficient in a knowledge of music was looked upon
as lacking in education and culture. It was proba-
bly due to the interest of King Henry VIII that
this condition prevailed during the reign of his
Music and the History of the World 107
brilliant daughter. King Henry was known to be
a lover of music and of the dance. Many of the
Morris and May Pole dances still in use today date
from his reign, a notable example being "Bluff
King Hal.” Shakespeare was a great lover of, as
well as an authority on, music. We note frequent
proofs of this in his works, and we are also for-
tunate in that many of the authentic airs of Shake-
speare's day have been preserved. Almost all those
known to have been the tunes of his period, as well
as some musical settings of his words that belong
to a later day, are available through the medium
of records.
The first existing opera dates from the dawn of
the seventeenth century and was written for the
marriage of Maria De Medici and Henry the
Fourth of France. Many of the airs from this
work, as well as from the operatic works, which
were its immediate followers, are possible for us
to hear today in our homes.
Louis XIII was a great lover of music, and sev-
eral compositions, including "Amaryllis" and
“Chanson Louis XIII," are said to have been com-
posed by him.
The Thirty Years' War, while it retarded the
operatic development in Germany, was responsible
for the great interest in instrumental music, which
was the result of the activity of the town pipers in
reproducing the songs and dances of the various
nations which were involved in the conflict. The
form of the Partita or Suite was the direct out-
growth of this time.
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Music In The Home
The advent of Cromwell did much to destroy
all art in England, but with the Restoration an
interest in music again was renewed, which is
reflected in the works of Henry Purcell, the advent
of Italian opera, and the later enthusiasm for the
works of Handel.
During the early eighteenth century the court of
Frederick the Great showed unusual interest in
the art of music, and it is significant to recall that
Bach was the friend and musical counselor of the
strange old king. Peter the Great, in Russia, now
introduced music as an important art to the Rus-
sian court.
All of the court etiquette and custom is reflected
in the music from Bach to Beethoven, the period
which is designated as the "Classical School."
The true revolutionary spirit of the late eigh-
teenth century is apparent in the music of Beet-
hoven, whose compositions are a direct outgrowth
of the feeling of independence and equality which
gave democracy to the world. Beethoven's admi-
ration for Napoleon, whom he regarded as "the
God-sent deliverer of Europe from the decay of
the Middle Ages," is manifest in the "Eroica"
symphony, which the master originally dedicated
to Bonaparte. After Napoleon's betrayal of
Democracy, Beethoven destroyed the original ded-
ication and the score now bears the inscription,
"To the memory of a great man.” It should also
be remembered that Beethoven's “Seventh Sym-
phony" was written during the siege of Vienna and
that it was originally produced at a concert given
Music and the History of the World
109
for the benefit of the soldiers wounded at the Bat-
tle of Hanau.
The court of Louis Philippe brought back to
Paris many of the past splendors of other days and
the two opera houses still in existence were estab-
lished. Naturally, musicians from all over Europe
flocked to Paris, and the French Romantic School
was the result. Just as the French authors after
the Revolution realized that they must describe in
detail the horrors of life to a horror-satiated pub-
lic, so the musicians of this period were popular
because of their extravagance of expression. In
the opera this took form in intense melodrama: in
the orchestral music of Berlioz, the bizarre and
extravagant use of the instrumental effects; while
in the virtuosity of Paganini and Liszt the same
spirit is apparent. The feeling for National expres-
sion also becomes paramount at this time. The
"Polonaises" and "Mazurkas” of Chopin and the
“Hungarian Rhapsodies" of Liszt reflect this influ-
ence.
The wars for United Italy have resulted in a
modern school of opera from Verdi to Puccini,
which holds the stages of the world today. It is
interesting to recall that the Government of Italy
once forbade the performance of one of Verdi's
operas because it was feared that it would stimu-
late too great an interest in military affairs.
One recalls that Wagner was an ardent revolu-
tionist and was actually banished from his native
land because he took too active a part in the upris-
ing of 1848. In spite of the fact that Wagner
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Music In The Home
wrote the “Kaiser March" for the ascension of
William I, the student of Wagner's political writ-
ings cannot help but realize that Wagner was at
heart an ardent advocate of democracy.
In the study of musical literature, we will find
that history has ever been a constant source of
inspiration, and when one feels that this historical
significance is strong, it must be given considera-
tion in our listening to music in the home.
The music of today is expressive of the spirit of
the times to a remarkable degree. We are too
close to the great conflict to realize yet its real sig-
nificance, yet there can be little doubt that, as it
has already resulted in a simpler form of living for
mankind, it will undoubtedly influence the art of
the world in the same manner.
Chapter XII
THE LITERARY SOURCES OF MUSIC

REACHECHILD is quick to realize the beauty of
a simple poem, or the dramatic impor-
tance of the larger works of literature,
whenever this interest is correlated with
the actual listening to music, it will be
found to be a most remarkable means of education.
Beginning with the Bible, there are constant
allusions to music, especially in the Old Testament,
which is of course but natural, for the Hebrews
were without doubt the most musical of the ancient
people. Unfortunately the Bible was translated at
a period when little was known regarding the
ancient instruments, and we therefore have a rather
distorted impression as to what the music of the
time really was. We have still retained the chant-
ing and reading of the psalms after the old anti-
phonal manner of the Hebrew service, and these
are some of the old Hebrew chants that have come
down to us so directly that we can almost imagine
that they were in use in Biblical days. The chants
that we heard in Chapter Seven, page 67 are the
best to hear again in this connection.
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Music In The Home
Biblical as well as Apochryphal subjects have
inspired many great oratorios. The stories of
"Israel in Egypt,” “Samson,” “Saul,” “Joshua,"
"Joseph,” Solomon” and “Judas Maccabeus” have
been immortalized in music by Handel, although
they never reached the popularity of his greatest
work “The Messiah.” Bach, in addition to his
"Christmas Oratorio" set all the stories of the pas-
sion of Christ, as related by the Apostles. Haydn's
“The Creation” was not directly inspired by the
Bible, but is a poem based on material from Mil-
ton's "Paradise Lost." Beethoven's only oratorio
is “Christ on the Mount of Olives.” Schubert
wrote a cantata on “Miriam's Hymn," Mendels-
sohn's two greatest musical monuments are "Eli-
jah” and “St. Paul," the two best oratorios since
Handel; Mendelssohn also left:music for a stage
work based on the story of "Athalia.” A less
known work by Mendelssohn is “Christus," a sub-
ject that also inspired Franz Liszt. "The Tower
of Babel" is Rubinstein's best known oratorio.
Gounod's “Redemption," always a popular work,
is based on a Biblical text. The story of the
"Prodigal Son” has been very popular with artists,
belong to the modern school, one being the compo-
sition of Sir Arthur Sullivan, the other the setting
by Claude Debussy. The Queen of Sheba has
been also a favorite subject with composers. Guo-
nod and Goldmark each wrote an opera based on
Solomon. There are numberless other works less
UI
The Literary Sources of Music
113
well known, which are taken from Biblical mate-
rial. But there are two works of the modern
French school that must be classed as among the
most popular works of this type: "Samson and
Delilah” by Saint-Saens and Mary Magdalene"
by Massenet. The ever popular song by Salter,
"The Cry of Rachel" always makes an impression
on youthful minds. The story of Salome, the
daughter of Herodias, who danced before the King
and won for her prize the head of John the Bap-
tist, has been an inspiration for many great works
of art. Through the Medieval days the story
assumed many legendary forms, but the gruesome
prize won by the dancing maiden has held a fas-
cination for artists, poets and musicians of all time.
The two greatest operas founded on this story are:
“Herodiade" by Massenet, and “Salome," the set-
ting of Oscar Wilde's drama, by Richard Strauss.
In all of the earliest stories of mythology, music
plays an important part. Almost all the legends
of the Greeks tell of the relation of music to the
other arts. There are two well known stories of
Apollo that are excellent examples of the esteem
in which music was held by the Greeks. One is
the story of the discovery of the lyre. It is said
that Mercury, walking on the banks of the Nile,
found an empty tortoise shell, the sinews of which
had dried into four strings; when he touched these
strings with his toe, Mercury found that the vibra-
tions made a pleasing sound, so he brought the
instrument back to Greece to Apollo, who at once
adopted it as his own individual instrument. This
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Music In The Home
is the Greek manner of acknowledging an indebt-
edness to the Egyptians for the invention of the
stringed instruments. Then there is the story of
Marsyas, who after he had found the flute, dis-
carded by Minerva, became so elated at his suc-
cess as a performer on this instrument that he chal-
lenged Apollo to a musical duel. Apollo won the
duel but because King Midas had judged in favor
of his opponent, Apollo changed the ears of Midas
to those of an ass. The defeat of Marsyas proved
for all time the superiority of the strings over the
wind instruments.
All of Greek mythology is full of allusions to
music, and it will he helpful if the youthful stu-
dent is encouraged to try for himself to correlate
music with these stories. Orpheus is the most
popular of the early musical heroes in opera, and
we find almost all the opera composers up to the
middle of the eighteenth century made musical
settings for the tragic story of the search for the
lost Eurydice. It is interesting to compare the
way in which this situation inspired the music of
Peri, Caccini and Monteverdi, of the seventeenth
century, and was also used by Gluck as the setting
for his most famous air, "Che faro senza Euridice
("I Have Lost My Euridice").
We have already heard the "Hymn to Apollo,"
which is one of the few authentic examples of
Greek music that has come down to us (see
page 101).
The stories of Acis and Galatea, Anacreon,
Antigone, Aphrodite, Ariadne, Bacchus, Dafne,
The Literary Sources Irсе.
of Music 115
Euterpe, Hercules, Medea, Odysseus, Phaeton,
Philemon and Baucis, Prometheus and Sapho
have all been the source of inspiration of many
musical composers. Saint-Saens symphonic poems
"Youth of Hercules," "Spinning Wheel of
Omphale" and "Phaeton" and the lovely song by
Brahms, "Sapphic Ode," should be heard in this
connection, for they are easier to present and not
difficult for a young person to comprehend.
The Greek dramas have contributed many
librettos for operas, the most famous being the
works of Gluck on "Iphigenia in Aulis" and "Iphi-
genia in Tauris”; “Les Troyens” by Berlioz and
Massenet's “Les Érrynnes,” the subject of which is
from the Greek tragedy although the play is by
the modern French writer Le Count des Lisle.
The mythology of the Norse has been brought
into opera by Richard Wagner, all of whose works
are based on the greatest legends of literature.
Wagner adapted the Eddas and Sagas of the Norse,
with some of the Teutonic tales of the early Minne-
singers and his great Tetralogy “The Ring of the
Nibelungs" was the result. In his first successful
opera “Rienzi” Wagner was inspired by the his-
torical novel of the same name by Bulwer Lytton;
his second work “The Flying Dutchman” is based
on the old legend of the “Wandering Tew of the
Sea." From the Minnesinger Knights Wagner
received his material for «Tannhauser," which
also combines the legend of St. Elizabeth with that
of the Venusberg. From studying the works of
the Minnesingers, he obtained the literary mate-
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Music In The Home
rial which he uses in "Lohengrin," "Tristan and
Isolde" and "Parsifal.” “Die Meistersinger" was
a result of his contrasting the literary and musical
works of the Minnesingers and the Meistersingers.
Of all the great composers Wagner had a most
remarkable understanding of legendary lore. In
"Parsifal” is an unusual example of this, for there
is not a phase of the Grail legend as it has been
used by all peoples, that Wagner does not suggest
in his last great dramas.
From the earlier folk tales told in the Kinder-
garten, to the days of the serious study of literature
in the University, music should play an impor-
tant part in the study of all literary works. The
fairy tales of "Sleeping Beauty" and "The Nut
Cracker and the Mouse King” both inspired
Tschaikowsky to write beautiful compositions,
which never fail to meet with popular favor from
youthful hearers. Massenet wrote a pretty opera
on "Cinderella." The most simple and beautiful
of all the fairy operas is, "Hansel and Gretel" by
Humperdinck, who has reflected in his music the
true feeling of childhood for this charming old
folk tale. In his opera “Koenigskinder," although
it is based on another folk story, Humperdinck
had woven into the libretto an allegorical mean-
ing, which is not entirely understood by the youth-
ful hearer.
The stories from the Arabian Nights are fre-
quently used by composers as the basis of musical
inspiration. The best known being the "Schehera-
zade Suite” by Rimsky-Korsakow.
The Literary Sources хсе,
of Music 117
There are many legendary tales of different
lands that have inspired musical composition. The
"Lorely' we know best because of the old German
folk song which Silcher set to the Heine poem,
but we should also know the later song by Franz
Liszt, which is set to the same words. The story
of Melusina the Mermaid has been immortalized
in music by Mendelssohn in his concert overture.
Hofmann also wrote a contata on this subject.
Another folk tale is “Till Eulenspiegel" or "Tyll
Owlglass," which belongs to many countries, but
is most popular in Germany. In his tone poem
entitled "Till Eulenspiegel” Richard Strauss
paints in tone a non-forgetable picture of this
merry mischief maker. Another well known folk
tale is that of the Sorcier's apprentice who, by
means of his master's charms succeds in forcing
the broom to do his bidding. This humorous tale
has been delightfully portrayed in music in the
Scherzo “L'Apprenti Sorcier" by Dukas. A dis-
tinctly Russian folk tale is "Baba Yaga" and sev-
eral of the Russian national composers have told us
of this horrible old witch in their music. The
story of the "Wild Huntsman” is found in a num-
ber of lands, but is unusually popular in the coun-
try towns of France; the tone poem by Cesar
Franck entitled "Le Chasseur Maudit" pictures
this legend in a musical composition. There is a
very remarkable example of the close relationship
between legend, nationality and music in the two
symphonic poems by Sibelius, which are based on
the “Kalevala." No more beautiful piece of mod-
118
Music In The Home
ern music exists than the tone picture which Sibe-
lius gives us of “The Swan of Tuonela," taken
from this remarkable national epic.
When the children are in the grades and are
becoming familiar with the simple and beloved
poems of childhood, try whenever it is possible to
aid them in a correlation of literature and music.
Many of the best known poems have been set to
music and are the most popular songs with chil-
dren because they know the words. It should be
also suggested to the child that he note the class
relationship that exists between the words and the
music.
BROWNING—"The Year's at the Spring” from
"Pippa Passes" ......Mrs. Beach
BURNS—"Auld Lang Syne”-
Set to an old Scotch air by Burns himself
-"Bonnie Wee Thing"... ... ... Lehmann
EUGENE FIELD—"Little Boy Blue”....... Nevin
"Wynken Blinken and Nod”
Paissiello
JAMES WHITCOMB RILEY—"There Little Girl
Don't Cry,"
Ward-Stephens
KIPLING—“Danny Deever” ......... Damrosch
—“On the Road to Mandalay”...Speaks
LONGFELLOW—“Day is Done”.............Lohr
-"The Arrow and the Song,”
Pinsuti
The Literary Sources of Music
119
TENNYSON—"The Brook” ... ..... Dolores
-"Ring Out, Wild Bells".... Gounod
The study of "Hiawatha" becomes much more
real to a child that has heard the actual Indian
chants; this story has inspired many musical com-
posers, but every child should know the beautiful
air for tenor “Onaway Awake Beloved" that is
from Coleridge-Taylor's “Hiawatha's Wedding
Feast.” When reading "Miles Standish” some of
the old songs of the Puritans can be heard and the
French Canadian folk songs will also make the
study of "Evangeline” more interesting. “The
Golden Legend” suggests the folk music of
Naples. This story inspires Dudley Buck's can-
tata on the same subject and there is much of his
music, which will appeal to the youthful listener.
No child should fail to connect the poem of “Nur-
enberg” with the music of the Meistersingers, and
Wagner's opera “Die Meistersinger.” In "Walter
von der Vogelweids" Longfellow tells of one of
the last of the Minnesingers and if you but com-
pare the poem with the aria "Am Stillen Herd,"
from the first act of "Die Meistersinger" you will
find that Wagner's young hero Walter von Stol-
zing tells the Meistersingers that "Walter von der
Vogelweide has been my master truly."
Lowell's “Vision of Sir Launfal” is always a
popular favorite and gives an opportunity to again
hear the Grail music of Wagner. The Trouba-
dour songs of this period also illustrate this work
as well as the Arthurian legends which Tennyson
tells us in his "Idylls of the King."
120
Music In The Home
Dickens is not known to the children of the
present as he was to the past generation, yet “The
Cricket on the Hearth" is still a popular favorite
with young people. There is a charming and sim-
ple opera by Goldmark, which is based on this
story. Boys are always thrilled by “The Tale of
Two Cities” and a rehearing of the "Marseillaise"
at this time is sure to make an appeal, while the
court dances of Gluck and Mozart will help to
bring back the remembrance of the luxury and
grace of the life at the court of Marie Antoinette.
Scott is another of the favorites of the past gen-
eration, but possibly a renewed interest in "Ivan-
hoe" may be brought about by hearing the songs
of the Troubadours and the Crusaders. There is
also Scott's “Lady of the Lake” which embodies
the best of the old days of Scotch minstrelsy; “Hail
to the Chief” has been set to music by Sanderson
and gives an excellent musical idea of this spirited
poem. The famous novel “The Bride of Lammer-
moor” inspired Donizetti to write his famous opera
“Lucia di Lammermoor," while “La Dame
Blanche" by Boieldieu is adapted from Scott's
novels, “The Monastery" and "Guy Mannering."
De Koven's modern operetta “Robin Hood” also
recalls the works of Scott.
We have already spoken of the importance with
which music was held at the time of Shakespeare,
and have found that many of the actual tunes of
this period as they were heard in the original
Shakespearean performances, can be reheard in
our homes today. But the vast inspiration that
121
Shakespeare has been to all the great composers
gives one material to fill many books. A child,
who is reading "A Midsummer Night's Dream,"
should be given the opportunity of hearing the
marvelous fairy music of Mendelssohn, and no
reader of "Romeo and Juliet” should forget that
this work has been the inspiration for great musi-
cal works by Berlioz, Gounod and Tschaikowsky.
There are also excellent musical compositions that
have been inspired by “Hamlet," "Macbeth,"
"Merry Wives of Windsor," "Othello” and “The
Tempest."
When we come to a chronological study of lit-
erature there is also much music to hear. The time
of Chaucer is brought directly to us by the famous
old Canon “Sumer is icumen in," which belongs
to the same period and which is in the same old
English as “The Canterbury Tales." Dante and
Chaucer both lived during the time of the greatest
of the Troubadours, and many of their songs can
be heard in this connection. Dante's story of
“Paola and Francesca” has been a constant inspira-
tion to artists, poets and musicians since his day.
Tschaikowsky has written a very beautiful Sym-
phonic Phantasia, "Francesca de Rimini" which
follows the lines of Dante as its program. The
story inspired D'Annunzio in the writing of his
play of the same name, which has been used as the
libretto for Zandonai's opera “Francesca di Rimi-
ni.” Dante's "Divinia Commedia” is also the pro-
gram for a symphonic poem by Liszt.
122
Music In The Home
Boccaccio gives the version of the story of "Gris-
elidis” which Massenet has used for the libretto of
one of his most beautiful operas.
The student of Shakespeare will be interested
in finding a great number of musical compositions,
either belonging to this period, or have been ..
inspired by the Shakespearean works, in the roll
and record catalogues.
Cervantes' immortal “Don Quixoto” has been
made an operatic here in one of the later works
of Massenet; while Richard Strauss has pictured
the “Knight of the Woeful Countenance" and his
faithful Squire, Sancho Panza, in one of his great-
est tone poems.
Milton's "Masque of Comus” was originally
produced with a musical setting by William and
Henry Lawes, while “Il Pensieroso" and "L'Alle-
gro" were both set to music by Handel. Much of
this music has been recorded.
Handel also used Dryden's "Alexander's Feast"
as the basis of a musical work.
Moliere's "Le Amour Medicin” has been used
as a libretto by many composers; a recent opera by
Wolf-Ferrari is based on this story.
Abbe Prevost's novel of "Manon Lescaut" has
inspired several opera composers; and there are
three well known operas on this subject by Auber,
Massenet and Puccini.
Voltaire's "Semiramus” provided the libretto
for Rossini's opera "Semiramide."
Schiller gave Rossini the story for “William
Tell”; Tschaikowsky the version he used for his
The Literary Sources of Music
123
opera "Jeanne d'Arc”; and Smetana and D’Indy
the material for their tone poems of "Wallen-
stein.” Beethoven tells us that his earliest ambi-
tion was to write a fitting setting for Schiller's
"Ode to Freedom" which he uses as the chorus
ending for the "Ninth Symphony." There are
many of Schiller's shorter poems that have become
songs at the hands of the great German composers.
Goethe in his "Egmont" was assisted by the inci-
dental music of his great contemporary, Beet-
hoven. Goethe's version of the Faust legend has
been the inspiration of many musical composers;
“The Damnation of Faust" by Berlioz and the
opera "Faust" by Gounod, both curiously enough
the works of Frenchmen, and "Mephistophele"
by the Italian composer, Boito, are the greatest
operatic works on this subject. Goethe's "Faust"
has, however, been programmed in the music of
Schumann's cantata, the symphony with chorus by
Liszt, and the Overture by Wagner. "Werther"
becomes an opera personage at the hands of Mas-
senet, and it is interesting for the student to know
that the lovely "Ode to Spring," sung by Werther,
to the verses of Ossian, is based on an old Gaelic
tune, which is said to date back to the time of the
old Bard. It is natural that the poems of Byron
should have appealed very strongly to musical
composers. His poetic drama “Manfred” was
used by Schumann as the foundation for a great
musical composition, and again by Tschaikowsky
for a very remarkable symphonic work. “Childe
Harold" inspired Berlioz in the writing of "Har-
124
Music In The Home
old in Italy," a symphony, telling of the wander-
ings of Byron's hero.w"Mazeppa" was used by
Liszt as the dramatic basis of one of his best sym-
phonic poems, and it was Byron's "Lament of
Tasso" which also inspired Liszt in the writing
of the Symphonic Poem "Tasso.” While Byron's
"Don Juan" has not been the direct inspiration of
many of the composers, who have used the story,
the opera by Mozart may be used in this connec-
tion, as both were taken from the same original
source.
Thomas Moore's songs are well known to the
loyer of Irish folk music. "Paradise and the Peri"
from "Lalla Rookh” was used as the libretto for a
cantata by Schumann.
Many of the poems of Heine will be found in
the song collections of Schumann and the later
song composers. “The Two Grenadiers," which
we have already discussed (page 34) is one of the
best known of the Heine poems in a great musical
setting; this is by Schumann. But Wagner also
wrote a song to these verses. "Der Asra" by Rub-
instein and Du Bist Wie Eine Blume" by Schu-
mann are two other well known songs set to
Heine's verses.
Victor Hugo provided Verdi with two of his
best librettos: the opera of "Ernani” being based
on the novel of “Hernani," by Hugo, and "Rigo-
letto" being a setting of Hugo's "Le Roi Amuse."
“Lucrezia Borgia” inspired Donizetti in the writ-
ing of the opera of the same name.
The Literary Sources of Music
125
C
Pushkin's novel "Eugene Onegin" inspired the
opera of the same name by Tschaikowsky.
Of the modern literary works which are asso-
ciated with music, Ibsen's "Peer Gynt" is the best
known, for Grieg's incidental music, originally
written for the stage performance of the play, has
become very popular. Anatole France, the gifted
French satirist, gaye Massenet the stories for this
opera of "Thais" and "Jongleur de Notre Dame.”
The dramas of Maeterlinck have been the inspira-
tion of a type of music, which is as impressionistic
in character as are the mystic poems themselves;
the best known of these works being the operas
“Pelleas and Melisande” by Debussy, "Ariane and
Blue Beard” by Dukas and "Monna Vanna" by
Fevrier.
It is safe to assert that all literary productions
wherein the thought-contents are profound will
lend themselves well to musical expression. And
music seems to be a more adequate medium for this
type of expression than are the other arts. As
Carlyle said, “All deep thought is musical.”
Chapter XIII
MUSIC EVERY HOME SHOULD KNOW

M HESE lists have been prepared in order
so that the selections already discussed
may be more easily classified. Those
marked with an * are the compositions,
which, generally speaking, should be in
the listening library of every home.
ELEMENTS OF MUSIC
Examples of Rhythm
Any Folk Dance (See Page 128-129)
* Anitra's Dance, “Peer Gynt Suite”.... .......... Grieg
The Bee ....................................Schubert
Danse Macabre............................. Saint-Saens
Gambler's Song........................Blackfeet Indians
In The Halls of the Mountain King, "Peer Gynt Suite". Grieg
*Largo al Factotum, “Barber of Seville”.............Rossini
Navajo Songs........
........Navajo Indians
*On the Beautiful Blue Danube. ................... Strauss
*Pathetic Symphony (Second Movement)......Tschaikowsky
* Ride of the Valkyries, "Valkyrie”.................Wagner
128
Music In The Home
.......................
...
.........................
Examples of Melody
* Air, D Major Suite....
..Bach
* Andante, "Fifth Symphony”....................Beethoven
*Elegie "Les Erinnyes”........
*Intermezzo, "A Midsummer Night's Dream"...Mendelssohn
Intermezzo, “Cavalleria Rusticana”..............Mascagni
*Le Cygne......
....... Saint-Saens
Morning “Peer Gynt Suite”..... ...........Grieg
Melody in F................................ Rubinstein
*Nocturne, "A Midsummer Night's Dream”....Mendelssohn
*Walter's Prize Song, "Die Meistersinger"..........Wagner
Examples of Harmony
*Funeral March, B Minor Sonata...
....... Chopin
Hallelujah Chorus, "The Messiah”.... ...... Handel
*Largo, "Xerxes”....
.......Handel
Liebestraum ........................ ........Liszt
Prelude C Sharp Minor.................... Rachmaninoff
*March of the Grail Knights, "Parsifal”............Wagner
Negro Spirituals Good News, the Chariot's Coming
I want to Be Like Jesus
Live a' Humble
NATIONALITY
Folk Dance Songs
America *Dixie Land
England London Bridge
Mulberry Bush
France *On the Bridge at Avignon
In the Spring
Ireland *St. Patrick's Day
*Wearin' o' the Green
Italy *Tarantelle
Russia Let Joy Abide
*Molodka
Sweden I See You
Dance of Greeting
Music Every Home Should Know
129
Denmark
England
France
Germany
Hungary
Ireland
Italy
Norway
Poland
Folk Dances
Ace of Diamonds
Three Man's Reel
Bluff King Hal
*Sellinger's Round
*Shepherd's Hey
* Amaryllis (Rondo)
Gavotte
Minuet
Dance, “Hansel and Gretel"
Kinderpolka
Cshebogar
Czardas
Hornpipe
Irish Washerwoman (Jig)
Rinnce Fada
Salterello
Tarantelle
Mountain March
Krakowiak
Mazurka
Polonaise
Kamarinskaia
Bleking
Oxdansen
Mountain Polka
Highland Fling
Sword Dance
Folk Dances of Custom
*Carrousel (Merry Go Round)
Harvest Dance
Gathering Peascods
May Pole Dance
*Morris Dance
Reap the Flax
Shoemaker's Dance
Three Jolly Sheepskins (Sword Dance)
Tinker's Dance
Russia
Sweden
Scotland
Sweden
Finland
England
Sweden
Denmark
Scotland
Denmark
130
Music In The Home
*Legendary Folk Songs
America Negro Spirituals
Bohemia Good Night
The Wedding
England *Drink to Me Only With Thine Eyes
O Willow Willow
France *Au Clair de la Lune
Bergere Legere
Germany *Du, Du Leigst Mir im Herzen
Tannenbaum
Hawaiia Knu Home
Ireand *Molly Bawn
*The Last Rose of Summer
Italy *Santa Lucia
*The Dove
Norway Astri, mi Astri
Ole, Ole
Russia *Song of the Volga Boatmen
Sun in the Sky Stop Shining
Scotland *Loch Lomond
Jock o'Hazeldean
Spain Linda Mia
Teresita Mia
Sweden Bellman's "Fredman's Epistle”
When I Was Seventeen
Wales *All Thro' the Night
Mentra Gwen
America
Belgium
Patriotic Songs
Dixie Land (Emmett)
Marching Through Georgia (Work)
*The Star Spangled Banner (Key)
*La Brabanconne (Campenhout)
God Save the King (Carey)
*Rule Britannia (Arne)
*To War Has Gone Duke Marlborough
(Legendary)
England
France
Music Every Home Should Know
131
*Marseillaise (de Lisle)
Germany The Watch on the Rhine (Wilhelm)
Deutschland uber Alles (Austrian Hymn)
(Haydn)
Ireland The Harp That Once Thro' Tara's Halls
(Legendary)
*The Minstrel Boy (Legendary)
Italy *Garibaldi Hymn (Olivieri)
Norway Norwegian National Hymn (Blom)
Russia God Save the Czar (Lvoff)
*Hymn of Free Russia (Gretchaninoff)
Scotland *Scots Wha' Hae Wi' Wallace Bled" (Legendary)
The Campbells Are Coming (Legendary)
Spain Soldier's Thy Fatherland Calls
Sweden From Swedish Hearts (Lindblad)
Wales *Men of Harlech (Legendary)
Composed Folk Songs
America *Swanee River (Foster)
*My Old Kentucky Home (Foster)
Bohemia , *Cradle Song (Smetana)
England *Sally, in Our Alley (Carey)
Home, Sweet Home (Bishop)
France Mignonette (Le Roux)
Germany *Haidenroslein (Werner)
The Loreley (Silcher)
Ireland *Kathleen Mavourneen (Crouch)
Killarney (Balfe)
Italy La Mandolinata (Paladilhe)
*O Sole Mio (di Capua)
Russia Kolebalnia (Bachmetieff)
Sea Gull's Cry (Grodski)
Scotland Annie Laurie (Lady Scott)
Mary of Argyle (Nelson)
Spain *La Paloma (Yradier)
Clavelitos (Valverde)
132
Music In The Home
America
Bohemia
England
Finland
France
Hungary
National Composition
Dagger Dance, “Natoma” (Herbert)
*From the Land of the Sky Blue Water (Cadman)
Slavonic Dances (Dvorak)
*Songs My Mother Taught Me (Dvorak)
Shepherd's Hey (Grainger)
Finlandia (Sibelius)
*Overture L'Arlesienne (Bizet)
Legend of the Sage Bush, “Jongeleur of Notre
Dame" (Massenet)
Opera, “Louise” (Charpentier)
*Hungarian Dances (Brahms)
*Hungarian Rhapsodies (Liszt)
Overture, "Sakuntala” (Goldmark)
*Two Grenadiers (Schumann)
*Intermezzo, Acts 2-3, “Jewels of the Madonna"
(Wolf-Ferrarri)
Norwegian Wedding March (Grieg)
"Peer Gynt Suite” No. 1 (Grieg)
* Polonaise Militaire (Chopin)
Souvenir de Moscow (Wieniawski)
*Marche Slav (Tschaikowsky)
*Overture 1812 (Tschaikowsky)
Romanza Andaluzia (Sarasate)
Spanish Dances (Sarasate)
Swedish Wedding March (Sodermann)
Germany
Italy
Norway
Poland
Russia
Spain
Sweden
FORM
(It must always be remembered that Form is the basic prin-
ciple of all music, however, in some compositions the form over-
shadows the other principles. We have listed here the compo-
sitions in which the Formal pattern is of greater importance
than Nationality, Poetic Thought or Description.)
Music Every Home Should Know
133
Welsh
Scotch
English
Scotch
Irish
Italian
Song Form Patterns
All Thro’ the Night
Comin' Thro' the Rye
Drink to Me Only
Loch Lomond
Minstrel Boy
Santa Lucia
Folk Dances
(See page 129.)
........
.......
..
.
.
Composed Dances
Gavotte, E major.........
...... Bach
Gavotte ..........................
.. Gossec
Gavotte ..................
....Gretry
*Gavotte, "Les Petits Riens”....
.................
.......Mozart
* Mazurka, Op. 50, No. 2.......
......Chopin
Polonaise, “I Am Titania", "Mignon"... ...... Thomas
*Polonaise, "Militaire" .
.................
......Chopin
Rigaudon ...
......Monsigny
Rigadon ......
..Rameau
Scherzo ......
Dittersdorf
*Tambourin ......
..Gossec
.
.......
..
..
..........
..
.......
MİNUET
................................
.............................
*Minuet in G......
* Minuet ........
Minuet ........
Minuet in F..........:::
*Minuet, “Don Giovanni'
*Minuet .....
RONDO
....... Beethoven
.......Boccherini
..Gluck
........Haydn
......Mozart
......Paderewski
....................
.
..
..
.......
.....
..
..
...
..
...
..
*Amaryllis .................
*Carillon of Cythera....
Sellinger's Round.........
h.........................
........... Ghys
.......Couperin
.... Old English
134
Music In The Home
WALTZ
.............
*Minute Waltz.......
*Musetta's Waltz, “La Boheme"......
*On the Beautiful Blue Danube. ......
Valse Brilliante...................
Voce di Primevera (Voices of Spring)
*Waltz Song, “Romeo and Juliet”...
.Chopin
Puccini
.Strauss
......Chopin
. Strauss
Gounod
.......
.............
MARCHES
......
..
*
*
*
*
Aase's Death, “Peer Gynt Suite"...
......Grieg
Dead March, "Saul”......
..Handel
*Funeral March, "Eroica Symphony”.
.Beethoven
*Funeral March, B minor, Sonata....... .....Chopin
*Hail Bright Abode, "Tannhauser"...... ....Wagner
*March of the Guilds, "Die Meistersinger”:. .......Wagner
*March of the Grail Knights, "Parsifal”
.Wagner
*March Rackozy.....
......Berlioz
Norwegian Wedding March..
...Grieg
*Pilgrim's Chorus, “Tannhauser"....... .....Wagner
* Siegfried's Death March, "Die Goetterdammerung".Wagner
Stars and Stripes Forever..
............Sousa
Swedish Wedding March. .................... Sodermann
POETIC THOUGHT
(See also Examples of Melody, Page 128.)
*Largo, "New World,” Symphony.... .......Dvorak
Lullaby ......................................Brahms
*Meditation, "Thais”................ ........Massenet
Serenade ........
.......Schubert
*Songs Without Words—"Consolation"........Mendelssohn
"Sorrow" ..... ............
“Spring Song"..
To a Water-lily....
..MacDowell
Music Every Home Should Know 135
Expression of Grief
Aase's Death, "Peer Gynt Suite"...... ....... Grieg
Dead March, “Saul”............................Handel
Funeral March, B minor, Sonata........ .....Chopin
Funeral March, "Eroica,” Symphony............Beethoven
Siegfried's Death March......
.......Wagner
Expression of Joy
Brindisi, "Lucrezia Borgia”............ ........Donizetti
Let Joy Abide.....
........Russian
Voce di Primavera, Voice of Spring..... .......Strauss
Villanelle.
.....Del Acqua
.........................
Expression of Love
FOLK SONGS
All Thro' the Night.......
Annie Laurie. ....................
Drink to Me Only.....
Du Du Liegst mir im Herzen.
Kathleen Mavourneen ..........
O Sole Mio........
..Welsh
Scotch
..... English
.German
........ Irish
...... Italian
en................,
0
OPERA
Dupuis le Jour, “Louise"....... ........Charpentier
Isolde's Liebestod, “Tristan and Isolde”...........Wagner
My Heart at Thy Sweet Voice, "Samson and Delilah”..
...................................... Saint-Saens
Siegmund's Love Song, "Valkyrie”...... .......Wagner
Walter's Prize Song, "Die Meistersinger”.........Wagner
Expression of Religion
*Adeste Fideles.........................Old Latin Hymn
*Almighty .....................
..................Schubert
Amfortas' Prayer, “Parsifal”........ ........Wagner
136
Music In The Home
Birchos Kohanim...
........ Hebrew Chant
*But the Lord Is Mindful, "St. Paul”..........Mendelssohn
Crusader's Hymn.................
......Old French
*Ein Feste Burg.........
........Luther
* Elizabeth's Prayer, "Tannhauser".... ........Wagner
Good Friday Spell, “Parsifal”....
..Wagner
Gloria Patri....................
........Palestrina
I Know that My Redeemer Liveth, “The Messiah”....
...........................
......... Handel
*If With All Your Hearts, "Elijah”...........Mendelssohn
Joseph Mine.......
.Calvisius
*Kol Nidre.................
..... Arr. Bruch
Kyrie Kekraxa. ....
...Greek Church
Kyrie Eleison ...
......Gregorian
Lo, How a Rose.............
...... Calvisius
Love of God in Nature.........
.....Beethoven
March of the Grail Knights, "Parsifal” ........Wagner
Oh! Rest in the Lord, “Elijah”.
.Mendelssohn
Pilgrim's Chorus, “Tannhauser"..... .....Wagner
Popule Meus...?
.Palestrina
Prayer of the King, “Lohengrin” .........Wagner
To Us Is Born Immanuel.....
..Praetorius
*Total Eclipse, "Samson"....
.... Handel
...........................
...............................
...........
*Bee ......i
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.
.........................
DESCRIPTIVE MUSIC
Imitation
Banjo Song.......
.......Homer
.Schubert
Bell Song, "Lakme”...
.......Delibes
Carillon of Cythera....
.Couperin
Clavecitos ...................
.Valverde
*Danse Macabre...
.... Saint-Saens
Gretchen at the Spinning Wheel.
..... Schubert
Guitarrico ..........
.......Soriano
In the Clock Store. .....
...Orth
In a Boat.........
....... Grieg
Minuet, Will o' the Wisps, "Damnation of Faust”...Berlioz
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C..............................
Music Every Home Should Know
137
Mandolinata ...
Paladilhe
Mandoline ................................... Debussy
Aria, "Perle de Brazil" Thou Brilliant Bird.......... David
*Ride of the Valkyries.......
.Wagner
Serenade Mephistopheles, “Damnation of Faust”.....Berlioz
Spinning Wheel................
...... Spindler
Spinning Wheel Quartette, “Martha".............. Flotow
*Sweet Bird, "Il Pensieroso"..
....... Handel
Swiss Echo Song........
...Eckert
Art Ballads
VCI, ......
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*Danny Deever..........
Edward .......
*Erl King...........
Gretchen at the Spinning Wheel
*Two Grenadiers.....
................
.......Damrosch
......Loewe
..... Schubert
....Schubert
.....Schumann
..........Loewe
.........Schubert
..............................
The Wanderer........
1..
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Cure....................
...................
PROGRAM MUSIC
Afternoon of a Faun........ ............ Debussy
Capriccio on the Departure of a Brother..............Bach
Carneval Romain, Overture.
.... ...Berlioz
Coriolanus, Overture..........
.....Beethoven
Danse Macabre..........
Saint-Saens
Death and Transfiguration
.........Strauss
Don Juan.................
........Strauss
Egmont, Overture.......
.....Beethoven
*Fair Melusina, Overture..
...Mendelssohn
*Frieschutz, Der, Overture..... .......von Weber
Genoveva, Overture.........
........ Schumann
Harold in Italy, Symphony.
...... ...Berlioz
Hebrides, Overture.........
......Mendelssohn
*Les Preludes........
..........Liszt
*Leonora No. 3, Overture.
.......Beethoven
*Lohengrin, Vorspiel ........
..Wagner
138
Music In The Home
M
azeppa .......................................Liszt
...
...
..
...
..
.........
.....
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.............
.....
..
...
.......................
Minuet, Will o' the Wisps, “Damnation of Faust”...Berlioz
Moldau ...........
...........Smetana
Oberon, Overture........
... von Weber
Orpheus ..........
.........Liszt
*Pastoral, Symphony.....
.. ...Beethoven
Phaeton ...........
.... Saint-Saens
.Leoncavallo
*Ride of the Valkyries.....
.....Wagner
Spinning Wheel of Omphale.....
.Saint-Saens
Tasso .............
.......Liszt
Toreador Song, “Carmen”....
.......Bizet
Till Eulenspiegel ...........
.......Strauss
*Wotan's Farewell....
......Wagner
When I Was Page, “Falstaff"..... .........Verdi
..................
GEOGRAPHY
America
Bohemia
Dixie Land
Swanee River
Moldau
Vysehrad
Border Ballads
England
Finland
France
Germany
Aubade Provencal
Chanson Lorraine
On the Bridge at Avignon
Watch on the Rhine
Loreley
On the Beautiful Blue Danube
Bendeemer's Stream
Killarney
Where the River Shannon Flows
The Dove
The Fair Maid of Sorrento
Funicoli-Funicola
Ireland
Italy
Music Every Home Should Know
139
Russia
Scotland
Cossack Lullaby
Mother Moscow
Song of the Volga Boatmen
Loch Lomond
Ye Banks and Braes of Bonnie Doone
Flow Gently Sweet Afton
A Granada
Romanza Andaluzia
Sequidilla (from "Carmen")
Habanera (from “Carmen”)
Men of Harlech
Spain
Wales
HISTORY
......................
Birchos Kohanim.............
..Hebrew Chant
Kawokores Rohe Adre.......... ....... Hebrew Chant
Kyrie Kekraka ........
.......Greek Church
Kyrie Eleison............
.......Gregorian
Hymn to Apollo........
.....Ancient Greek
Hymn of Charlemagne......
......Old French
Hymn to St. John Baptist......
.Guido of Arezzo
Lament for Charlemagne...... ......Old French
War Song of the Normans....
.........French
Filae Jerusalem ......
...... Gabrielli
Popule Meus ...............
......Palestrina
Gloria Patri ................
....Palestrina
To War Has Gone Duke Marlborough........Old French
Songs from "Robin and Marion”........Adam de la Halle
When the Nightingale Doth Sing..
...De Coucy
Scots Wha Hae' Wi Wallace Bled.... ........ Scotch
Ein Feste Burg......
......... Luther
Huguenots Les..
....Meyerbeer
Bluff King Hall..
...Old English
Amaryllis ............
..Old French
Chanson Louis XIII.
.Old French
"Eroica” Symphony....
...Beethoven
Kaiser March .......
.....Wagner
Hymn of Free Russia........
Gretchaninoff
...........................
...........................
....................
140
Music In The Home
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..........................
LITERARY SIGNIFICANCE
Am Stillem Herd "Die Meistersinger"............Wagner
Brindisi “Lucrezia Borgia”...
........Donizetti
But the Lord, "St. Paul”...................Mendelssohn
Casse Noisette Suite.......
Tschaikowsky
Che Faro Senza Eurydice, "Orfeo'
........ Gluck
Cry of Rachel, The......
............Salter
Du Bist Wie Eine Blume...
..Schumann
Fair Melusina Overture....
Mendelssohn
Funeste piaggie "Eurydice”........ ............Peri
Hail to the Chief..............
...... Sanderson
Hymn to Apollo........
....Ancient Greek
If With All Your Hearts, “Elijah”...........Mendelssohn
Il est Bon, “Herodiade"....
........Massenet
Legend of Sage Bush, "Jongleur de Notre Dame”..Massenet
Loreley ..........
........Liszt
Mad Scene, “Hamlet”.
...... Thomas
Masque of Comus.......
... Lawes
Mazeppa ..............
..............Liszt
Meditation, “Thais” ......
.........Massenet
My Heart at Thy Sweet Voice, “Samson and Delilah”..
....................................... Saint-Saens
Non piango, "Eurydice”.
..................Caccini
Onaway Awake Beloved, “Hiawatha's Wedding Feast”.
.................................. Coleridge-Taylor
Ode of Ossian, "Werther”...... .........Massenet
Overture, “A Midsummer Night's Dream”....Mendelssohn
Overture, "Egmont" ....... ............Beethoven
Overture, “The Flying Dutchman”.
.Wagner
Overture, "Merry Wives of Windsor"... ......Nicholai
Overture Rienzi...............
...Wagner
Overture, “Tannhauser" .....
....Wagner
Overture, “William Tell”..
...... Rossini
Pastoral Symphony, “The Messiah
....... Handel
Peer Gynt, Suite No. 1.....
........Grieg
Saint-Saens
Reve Il “Manon"..
........Massenet
Ride of the Valkyries......
........Wagner
....................
.................
Phaeton .............
.......................
Music Every Home Should Know
141
son
......................
Sapphic Ode .......
.......Brahms
Scheherazade ......................
.......Rimsky-Korsakow
Sextette, “Lucia di Lammermoor".. .........Donizetti
Sound an Alarm, “Judas Maccabeus" ........Handel
Spinning Wheel of Omphale. ..... .... Saint-Saens
Swan of Tuonela...............
........Sibelius
Sweet Bird, "Il Pensieroso"....
.....Handel
Sumer is Icumen In.......
.Old English
Total Eclipses, "Samson".
........ Handel
Troyens, Les...........
........Berlioz
Tu se Morta, "Orfeo”...
.Monteverdi
Two Grenadiers .....
.Schumann
Till Eulenspiegel ......
.......Strauss
Vorspiel, “Lohengrin” ....
....Wagner
Vorspiel Meistersinger .....
.....Wagner
Vorspiel Parsifal .......
.....Wagner
Vorspiel Tristan and Isolde.....
.....Wagner
Witches' Dance, “Hansel and Gretel”...... ..Humperdinck
Year's at the Spring............................ Beach
Youth of Hercules .......................... Saint-Saens
........................
General Index
143
Absolute Music, 71-76.
Acis and Galatea, 114.
Africa, 56-57.
Alpine Yodel, 93-95.
Alsace, 90.
Ambrosian Chants, 101.
America, 98.
American Indian Songs, 20.
American Music, 20-49-50-98.
American Negro, 57-98.
Anacreon, 114.
Andaluzia, 96.
Annunzio, D', 121.
Antigone, 114.
Anticipation, 13.
Antiphonal, 106-111.
Antwerp, 92.
Aphrodite, 114.
Apochrypal Subjects, 112.
Apollo, 101-113.
Apostles, 112.
Appreciation of Music, 83.
Arabian Nights, 68-116.
Architecture, 12-35-38-43-96-98.
Aria, 68.
Ariadne, 114.
Arras, 91-104.
Art Ballads, 77-78-79.
Arthurian Legends, 119.
Asia, 56,
Assyrian bas reliefs, 99.
В
Bacchus, 114.
Bagpipes, 26-56-88-89.
Balalaika, 57-94.
Banjo, 57.
Barbaric, 94.
Battle of Bannockburn, 105.
Battle of Hastings, 103.
Battle of Hanau, 109.
Battle of Koenigsberg, 30.
Bay of Naples, 98.
Ben Lomond, 29.
Belgium, 91.
Bells, 76.
Bergerettes, 91.
Bible, 111-112.
Black, Forest, 92.
Boat Songs, 21.
Boccaccio, 122.
Bohemia, 49-50-54-93.
Bohemian Music, 93-94.
Border Ballads, 90-138.
Bride of Lammermoor, 120.
Britain, 102.
British Isles, 88.
Browning, 118.
Bruce, 105.
Burns, 118.
Byron, 123-124.
Cadence, 40.
Cadenza, 59.
Canada, 98.
Castanets, 29-55-96.
Canterbury Tales, 121.
Carlyle, 125.
Cathedrals, 67-102.
Catholic Church, 95-98-101-105.
Cazalis, Henri, 32.
Celtic Race, 89.
Cervantes, 122.
Charlemagne, 91-102.
Chord Harmony, 19.
Choruses, 68-83.
Classical Overture, 77.
Classical School, 73-108.
Clavecin, 76.
Climatic Conditions, 54.
Close Harmony, 20.
Composed Folk Song, 45-47-87.
Concertos, 26.
Concert Overture, 77-81.
Concert Goers, 14-15.
Correlation, 16-83-84-85.
Council of Trent, 106.
Counterpoint, 91.
Cossack, 94.
Crusades, 103-104.
Cuba, 97.
Cradle Song, 21-31.
Creole, 97-98.
Cromwell, 108.
Crusades, 14-103.
Czardas, 28-46.



D
Dafne, 114.
Dances of Custom, 46.
Dance Songs, 45-87-98.
Dante, 121.
D'Annunzio, 121.
Day of Atonement, 100.
Delos, 101.
Descriptive Dances, 46.
Descriptive Expression, 27-31-32-34-48-61.
71-74.
Descriptive Ballads, 32.
Dialogue Songs, 72.
Dickens, 120.
Don Quixote, 122.
Drinking Songs, 89.
Drum, 55.
Dryden, 122.
Dulcimer, 58.


E
Ear Training, 83.
Eddas, 115.
Egyptians, 100.
144
General Index
H
Elements of_Music, 18-19-20-23-25-39.
Elizabeth's Reign, 14-106.
Eisenach, 92.
England, 46-49-90.
English Folk Songs, 88-89.
English Lessons, 14.
Evangeline, 119.
Evolution of Instruments, 23.
Europe, 56. :
European Cities, 87.
European Countries, 187.
Eurydice, 114.
Euterpe, 114.
Expression, 27.

Hamlet, 121.
Harmony, 17-18-20-22-23-25-38-83-98.
Harp, 55-89.
Hawaiian, 34-57.
Hebrew Chants, 67.
Hebrew Race, 100.
Heine, 34-124.
Henry IV, 107.
Henry VIII, 106.
Hercules, 114.
Hiawatha, 119.
Highland Fling, 129.
History, 14-82-84-99-100-110.
History of Music, 59.
Holland, 91.
Hornpipe, 46-129.
Hugo, Victor, 124.
Hundred Years War, 105.
Hungary, 28-46-54-93.
Hymns, 65.
Fairy Tales, 84-116.
Fall of Constantinople, 105.
Faust Legend, 54.
Finland, 49.
Field, Eugene, 118.
Finland, 34-95.
Flute, 19.
Form, 13-26-27-30-33-34-35-37-38-61.
Folk Dances, 45-87-129.
Folk Instruments, 87.
Folk Tales, 51. .
Folk Songs, 41.
France, 34-49-55-91-93.
France, Anatole, 125.
Frederick the Great, 108.
French, 54-93-94.
French Canadian Songs, 119.
French Lessons, 14.
French Revolution, 109.
Freska, 28.
Fugue, 35-76.
Ibsen, 125.
Idylls of King, 119.
Imitation, 13-17-19-20-26-43-93.
Imitative Music, 57.
Impressionistic School, 82.
Indians, (see America).
Individual Instruments, 55.
Instrumental Forms, 45.
Instrumental Music, 26.
Instrumentation, 79-80.
Invention of Printing, 105.
Ireland, 55-88.
Irish, 48.
Israel, 14-100.
Italy, 49-55-56-96.
Italians, 49-54-93-94-97-98.
Italian Opera, 98.
Ivanhoe, 120.


Jacobites, 29.
Jewish Cantors, 67.
Jig, 26-89.
Jongleurs, 104.
Joy, 62-63-89.
Gaelic, 88-123.
Gavotte, 26-129.
Geige, 89.
Genre Paintings, 71.
Geography, 14-82-84-87-88-89-92-95.
Germans, 54-93-97.
Germany, 49-91-92-95.
German Folk Music, 92.
German Lessons, 14.
Godfrey of Bouillon, 103.
Goethe, 123.
Golden Legend, 119.
Gothic Cathedral, 35.
Grail Knights, 96.
Grail Legends, 116.
Grammar, 40.
Greece, 14.98.
Greek Church, 59-67-101.
Greek Drama, 115.
Greek, Mythology, 114.
Greek Scale, 59.
Gregorian Chants, 67.
Grief, 62.
Guitar, 56.
Guy Mannering, 120.
Gypsies, 28-58-93-96.
Kalevala, 119.
King Midas, 114.
Kipling, 118.
Krakowiak, 95-129.
Kremlin, 35.

Lady of Lake, 120.
Lalla Rookh, 120.
Lassen, 28.
Latin Hymns, 32.
Latin Lessons, 14.
Latin People, 53-54-56-57.
Legendary Fólk Song, 45-46-47-87-96.
General Index
145

Nationality, 14-26-28-29-33-34-35-45-61-62-63-
71-79-83-87.
National Compositions, 45-48-87-94.
Neapolitan, 41.
Negro Spirituals, 20.
Netherland School, 91-106.
Neume Notation, 101.
Nine Muses, 16-85.
Norse Legends, 14.
Norway, 14-49-95.
Norwegians, 50-54-95.
Nurenberg, 92.
Occident, 94.
Odysseus, 114.
Old Testament, 111.
Opera, 66-68.
Opera Stories, 84.
Oratorio, 66.
Orient, 50-94.
Orpheus, 114.
Ossian, 123.
Othello, 121.
Overtures, 26-77.
Legendary Patriotic Songs, 47.
Leit Motif, 80-81.
Lessons in Listening, 19.
Literature, 12-43-84-111-118-121.
Little Russia, 94.
Longfellow, 118-119.
Lord Lytton, 16-115.
Louis XIII, 107.
Louis Philippe, 109.
Love, 62-63.
Lorraine, 90.
Lowell, 119.
Lullabies, 25.
Lute, 56.
Lyre, 113.
M
Macbeth, 121.
Madrigal, 75.
Maeterlinck, 125.
Magna Charter, 105.
Malplaquet, 103.
Mandolin, 56.
Major, 59.
Marches, 26-41.
Marie Antoinette, 103-120.
Maria de Medici, 107.
Marsyas, 114.
Martial Music, 63.
Mazurka, 46-49.
Medea, 114.
Medieval Days, 56-113.
Mechanical Music, 11.
Melodic Instruments, 55.
Meistersingers, 104-116.
Melody, 17-18-20-21-22-23-25-28.
Mercury, 113.
Merry Wives of Windsor, 121.
Message of Music, 25.
Metre, 18.
Mexico, 97.
Miles Standish, 119.
Milton, 122.
Minnessingers, 115-116.
Minor, 59-98.
Minuet, 26-41-129-133.
Modern National Schools, 49-50.
Modern Schools, 31-48.
Modes, 59.
Moliere, 122.
Monastery, The, 120.
Montsalvat, 96.
Mood Pictures, 22.
Moors, 96.
Moore, Thomas, 124.
Mosaic Law, 100.
Moscow, 34.
Musical Composition, 23.
Music of Today, 110.
Music Supervisor, 83.
Music Universal Language, 17-19-53.
Mythology of Greece, 113-114.
Mythology of Norse, 115.

Painting, 12-16-43-64-74-106.
Pastoral Opera, 91.
Partita, 107.
Patriotism, 62-63-64..
Patriotic Songs, 45-47-64-87.
Peter the Great, 108.
Phaeton, 114.
Philemon and Baucis, 114.
Phonograph, 11-67.
Physchology, 13.
Piano, 31-33-76.
Pippa Passes, 118.
Player Piano, 11.
Player Rolls, 21.
Poetic Expression (Thought), 27-31-33-34-
47-61-62-63-64-72.
Poetry, 18-27-31.
Poland, 46-91-95.
Polish Folk Song, 95.
Polonaise, 46-49-129.
Poles, 54.
Political Conditions, 54.
Pope Pius, 106.
Popular Music, 16.
Portugal, 56-97.
Prevost Abbe, 122.
Principles of Music, 25-26-33-35-37-45-71-87.
Program Music, 27-28-31-32-35-72-73-75-79.
S.CO06. 16.

Napoleon, 34-103.
80-81-82.
Prometheus, 114.
Protestant Hymnal, 65.
Provence, 91.
Puritans, 90.
Pushkin, 125.
Pyrenees, 55-96.
Quartettes, 26.
146
General Index
R
:
Suite, 81-107.
Strings, 23.
Symphonies, 26-27.
Symphonic Fantasia, 121.
Symphonic Poems, 31-32-80-81.
Sweden, 49-95.
Swedes, 54-95.
Swiss Guards, 93.
Swiss Music, 93.
Switzerland, 93.
Records, 21.
Reeds, 23.
Religion, 62.
Religious Feeling, 63-64-67-69.
Religious Music, 63-65-66-69.
Renaissance, 14.
Restoration, 108.
Rhine legends, 92.
Rhythm, 13-17-18-20-21-22-23-25-38-58.
Rhythmic Instruments, 55.
Riley, James Whitcomb, 118.
Robin Hood, 120.
Roman Church, 67.
Romantic School, 78-109.
Rome, 14.
Rondó, 42-43-76.
Russia, 34-49-94-95.
Russian, 54-95.
Tale of Two Cities, 120.
Tambourine, 29-55.
Tara Castle, 56-89.
Tarante, 29.
Technical Training, 12-13.
Tempest, 121.
Teutons, 54.
Thirty Years War, 107.
Title, 73.
Tom-Tom, 55.
Town Pipers, 107.
Trio, 41.
Troubadour Songs, 91-103-104-119-120-121.
Tuscany, 97.
S
Ukelele, 57.
Ukraine, 94.
United Italy, 109.
University of Paris, 104.
Sagaş, 115.
Sapho, 114.
Scandinavian, 56-95.
Scales, 59.
Schiller, Frederick, 123.
Schottiches, 46.
Scotch, 48-90-99.
Scotch' Snap, 26-58-90.
Scotland, 26-46-56-88.
Scott, Sir Walter, 120.
Sculpture, 12-16-43.
Serenade, 3.
Shakespeare, 106-120-121-122.
Siege of Vienna, 108.
Sight Singing, 83.
Sight Reading, 83.
Slavic, 54-58-93-94.
Solfeggio, 103.
Sonata, 26.
Songs, 26-32-63.
Sorrow, 89.
South American, 97.
Southern California, 98.
Spain, 55-56-96-97.
Spanish, 33-54-96.
St. Elizabeth, 115.
Steen Museum, 92.
St. Marks, 106.
Student Orchestras, 83.

Venice, 106.
Vesuvius, 98.
Violin, 58.
Vocal Waltz, 30.
Voltaire, 122.
Vorspiel, 81.
Vision of Sir Launfal, 119.
Wales, 88.
Wallace, 105.
Walter von der Vogelweide, 119.
Waltzes, 26-41.
Wartburg Castle, 92.
Welsh, 33-89.
William I, 110.
Index of Composers
147
Andreef, M., 94.
Arne Dr. Thomas, 48-130.
Auber, Daniel, 122.
Eckert, Carl, 93-137.
Emmett, Dan, 130.
Fevrier, Henri, 125.
Flotow, Frederick, 137.
Foster, Stephen, 47-131.
Franco of Cologne, 102.
Franck, Cesar, 117.

Bach, Johann Sebastian, 41-68-76-108-112-
128-133-137.
Bachmetieff, 131.
Balfe, Michael, 47-131.
Banchiero, Adriano, 75.
Beach, Mrs. H. H. A., 118-141.
Beethoven, Ludwig, 41-49-62-77-82-103-108-
112-123-128-129-133-134-135-136-137-138-139.
140.
Bellman, Nickolaus, 56.
Berlioz, Hector, 78-79-80-109-115-121-123-
134-136-137-138-141.
Bishop, Sir Henry, 131..
Bizet, Georges, 33-48-50-91-96-132-138.
Blom, Carl, 131.
Boccherini, Francois, 133.
Boito, Arrigo, 123.
Boieldieu, 120.
Brahms, Johannes, 21-31-48-59-93-115-132-
134-141.
Bruch, Max, 67-100-136.
Buck, Dudley, 119.
Bull, Ole, 49.

Gabrielli, Giovanni, 68-139.
Gade, Niels, 49.
Ghys, Henri, 42-133.
Glazounow, Alexandre, 49.
Gluck, Christoph, 114-115-120-133-140.
Goldmark, Carl, 50-112-120-132.
Gounod, Charles, 30-112-119-121-123-134.
Gossec, Francois, 133.
Grainger, Percy, 51-132.
Gretchaninoff, Alexander, 131, 139.
Gretry, Andre, 133.
Grieg, Edward, 21-22-49-50-63-81-95-125-127.
128-132-134-135-136-137-140-141.
Grodski, 131.
Guido of Arezzo, 102-139.
H
C
.
Handel, Georg Frederic, 19-62-66-68-69-112-
122-128-134-135-136-137-140-141.
Haydn, Franz Josef, 41-48-112-131-133.
Herbert, Victor, 132.
Homer, Sidney, 57-136.
Hucbald of Flanders, 102.
Humperdinck, Engelbert, 92-116-141.
d'Indy, Paul, 123.
Jannequin, Clement, 74-75.
Josquin des Pres, 106.

K
Key, Francis Scott, 48-130.
Kienzl, Wilhelm, 93.
I
Caccini, Giulo, 114-140.
Cadman, Charles Wakefield, 20-50-132.
Calvisius, Sethus, 68-136.
Campenhout, Francois, 130.
Capua di E., 131.
Carey, Henry, 130-131.
Charpentier, Gustave, 132-135.
Chopin, Frederick, 49-63-78-95-109-128-132-
134-135.
Coleridge-Taylor, Samuel, 119-140.
Coucy, Chatelain de, 104-139.
Couperin, Francois, 43-76-91-133-136.
Crouch, 131.
Cui, César, 49-50.
D
Damrosch, Walter, 118-137.
David, Felicien, 137.
Debussy, Claude, 57-82-112-125-137.
DeKoven, Reginald, 120.
Del Acqua, 63-135.
Delibes, Leo, 136.
Denza, Liugi, 98.
Des Pres, Josquin, 106.
Dittersdorf, Karl, 133.
Dolores, 119.
Donizetti, Gaetano, 120-124-135-140-141.
Dukas, Paul, 117-125.
Dyorąk, Antonin, 49-50-81-94-132-134,
Lawes, Henry, 122-140.
Lawes, William, 122-140.
Lehman, Liza, 118.
Leoncavallo, Ruggiero, 138.
Lindblad, Adolf, 131.
Liszt, Franz, 28-29-33-49-50-59-78-80-81-82-
93-109-112-117-121-123-124-128-132-137-138-
140.
148
Index of Composers

Sarasate, Pablo, 96-132.
Schubert, Franz, 32-69-71-77-78-112-127-134-
, 135-136-137.
Schumann, Robert, 34-48-78-79-123-124-132-
137-140-141.
Scott, Lady, 47-131.
Sharp, Cecil, 42.
Sibelius, Jean, 34-49-50-96-117-118-132-141.
Silcher, Frederick, 47-117-131.
Sinding, Christian, 49-95.
Sjogren, Emil, 49.
Smetana, Frederic, 21-35-49-50-81-94-122-
123-131-138.
Sodermann, August, 33-49-50-132-134.
Soriano, Francesca, 56-136.
Sousa, John Philip, 27-134.
Speaks, Oley, 118.
Spindler, Fritz, 137.
Strauss, Johann, 30-63-127-134-135.
Strauss, Richard, 82-113-117-122-137-138.
141.
Suk, Josef, 49.
Sullivan, Arthur, 65-112.
Svendsen, Johann, 95.
Thibaut of Navarre, 104.
Thomas, Ambrose, 121-133-140.
Thomas, Theodore, 16-30. i
Tschaikowsky, Peter Illytch, 35-49-50-58-81-
82-116-121-122-123-125-127-132-140.
Valverde, Joachim, 57-131-136.
Verdi, Guiseppe, 109-124-138.
Von Weber, Carl Maria, 77-137-138.
Wagner, Richard, 27-63-66-80-81-92-104-105-
109-110-115-116-119-123-127-128-134-135-136-
•137-138-139-140-141.
Ward, Stephens, 118.
Werner, Karl, 131.
Wieniawski, Henri, 132.
Wilhelm, Carl, 131.
Willaert, Adrian, 106.
Wolf-Ferrari Ermanno, 50-98-122-132.
Work, Henry, 130.
Y
Yradier, Sebastian, 131.
Z
Lohr, Harvey, 118.
Loewe, Carl, "78-137.
Luther, Martin, 65-92-105-106-136-139.
Lvoff, Alexis, 131.
M
MacDowell, Edward, 134.
Mascagni, Pietro, 128.
Massenet, Jules, 104-113-115-116-122-123-
125-128-132-134-137-138-140.
Mendelssohn, Felix, 31-49-69-74-78-79-82-112-
117-121-128-134-136-137-138-140.
Meyerbeer, Giocomo, 139.
Monsigny, Pierre, 133.
Monteverdi, Claudio, 114-141.
Moussorgsky, Modest, 49.
Mozart, Wolfgang, 41-120-124-133.
Munday, John, 75.
Nelson, 131.
Nicolai, Otto, 121-140.
o
Olivieri, 48-131.
Orth, 136.
Pederewski, Ignace, 133.
Paganini, Niccoli, 109.
Paladilhe, Emile, 47-57-131-137.
Palestrina, Giovanni, 68-106-136-139.
Passiello, Giovanni, 118.
Peri, Jacobo, 114-140.
Practorious, 'Michael, 68-136.
Pinsuti, Ciro, 118.
Puccini, Giacomo, 109-122-134,
R
Rameau, Jean Philippe, 133.
Rimsky-Korsakow Nicholas, 49-50-81-116-
141.
Rossini, Gioachino, 29-66-98-122-127-140.
Rouget de Lisle, Claude, 47-131.
Le Roux, Xavier, 131.
Rubinstein, Anton, 49-112-124.
Sachs, Hans, 105.
Saint-Saens, Camille, 32-82-113-115-127-128-
135-136-137-138-140-141.
Sanderson, Wilfred, 113-120-140.
Zandonai, Riccardo, 121.
Index of Musical Selections
149
Brindisi “Lucretzia Borgia"-Donizetti, 63-
135-140.
Brook, TheDolores, 119.
But the Lord Is Mindful of His Own, “St.
Paul”-Mendelssohn, 69-136-140.
Aase's Death, "Peer Gynt Suite No. 1”—
Grieg, 22-63-134-135.
Ace of Diamonds-Danish, 129.
Adeste Fideles-Old Hymn, 65-135.
Afternoon of a Faun, TheDebussy, 82-
137.
Air D Major Suite--Bach, 128.
A Granada–Spanish, 96-139.
Alexander's Feast (Oratorio) -- Handel,
122.
All Thro' the Night-Welsh, 33-39-40-63-
89-130-133-135.
Almighty, The-Schubert, 69-135
Alohoe, Oe-Hawaiian, 34-57.
Am Stillem Herd, “Die Meistersinger" —
Wagner, 119-140.
Amaryllis Ghys, 42-107-129-133-139.
America-Carey, 64.
Amfortas' Prayer, “Parsifal”—Wagner, 67-
81-135.
Andante, “Fifth Symphony”—Beethoven,
128.
Anitra's Dance, “Peer Gynt Suite No. 1”-
Annie Laurie-Lady Scott, 47-63-72-131-
135.
Ariane and Blue Beard (Opera)--Dukas,
Grieg, 22-127.
Campbells Are Coming, The-Scotch, 47-
58-90-131.
Capriccio on the Departure of a Brother
-Bach, 76-137.
Carmen (Opera)-Bizet, 33-48-96-138.
Carneval Romain (Overture)—Berlioz, 80-
137.
Carillon of Cythera, The-Couperin, 43.
76-133-136.
Carrousel-Swedish, 46-129.
Casse Noisette Suite-Tschaikowsky, 116-
140.
Cavalleria Rusticana (Opera) --Mascagni,
128.
Chanson Indoue, "Sadko"-Rimsky-Korsa-
kow, 50.
Chanson Lorraine--French, 91-138.
Chanson Louis XIII-French, 107-139.
Chasseur Maudit, Le-Franck, 117.
Che Faro Senza Eurydice, “Orfeo"-Gluck,
114-140.
Christ on the Mount of Olives-Beethoven,


124.
Arrow and the Song, The-Pinsuti, 118.
Ash Grove, The Welsh, 47.
Asra, Der-Rubinstein, 124.
Astri, mi Astri-Norwegian, 72-130.
Athalia-Mendelssohn, 112.
Aubade Provencal-old French, 91-138.
Au Clair de Lune-Old French, 72-93-130.
Auld Lang Syne Scotch, 118.
Austrian Hymn (Deutschland uber Alles)
-Haydn, 48-13ì.
112.
Christmas (Oratorio)—Bach, 112.
Christus (Oratorio)-Liszt, 112.
Christus (Oratorio)-Mendelssohn, 112.
Cinderella (Opera)—Massenet, 116.
Clavecitos-Valverde, 58-131-136.
Comin' Thro' the Rye-Scotch, 40-90-133.
Comme se Carita Napoli-Italian, 57.
Consolation-Mendelssohn, 31-134.
Cossack Lullaby, The-Russian, 21-95-139.
Coriolanus (Overture)—Beethoven, 77-137.
Creation, The (Oratorio) -Haydn, '112.
Cricket On the Hearth, The (Opera)
Goldmark, 120.
Crusader's Hymn-French, 65-103-136.
Cry of Rachel, The--Salter, 113-140.
Cshebogar-Hungarian, 129.
Czardas-Hungarian, 129.
Cygne, Le-Saint-Saens, 128.
Baba Yaga—Liadow, 117..
Banjo, Song A-Homer, 57-136.
Barber of Seville (Opera)-Rossini, 127.
Bartered Bride, The (Opera)--Smetana,
94.
Bartered Bride, The (Overture)--Sme-
tana, 94.
Battle of Killiecrankie-Scotch, 56.
Bee, The-Schubert, 127-136.
Bendeemer's Stream-Irish, 89-138.
Bell Song, “Lakme”-Delibes, 136.
Bergere Legere--French, 73-130.
Birchos Kohanim--Hebrew Chant, 100-
136-139.
Bleking-Swedish, 129.
Bluff King Hal-English, 107-129-139.
Boheme, La-Puccini, 134.
Bohemian Cradle Song-Smetana, 21-35-50.
Bonnie Wee Thing-Lehmann, 118.
Brabanconne, La--Belgium, 130.**
Dagger Dance, “Natoma”-Herbert, 132..
Dame Blanche, La (Opera)--Boieldieu,
120.
Damnation of Faust-Berlioz, 79-80-123-
136-138.
Danny Deever-Damrosch, 72-118-137.
Dance of Greeting—Swedish, 128.
Danse Macabre--Saint-Saens, 32-82-127.
136-137.
Day Is Done, The-Lohr, 118.
Dead March, "Saul”—Handel, 62-134-135.
Death and Transfiguration Strauss, 82-
150
Index of Musical Selections
137.
Dies Irae-Latin Hymn, 32.
Divinia Commedia (Symphony)-Liszt, 121.
Dixie Land-Emmett, 46-64-128-130-138.
Don Giovanni (Don Juan) (Opera)-Mo-
_zart, 124-133.
Don Juan-Strauss, 82-132.
Don Quixote (Opera)-Massenet, 122.
Don Quixote-Strauss, 122.
Dove, The-Italian, 97-130-138.
Drink to Me Only-English, 40-63-133-135.
Du Bist Wie Eine Blume-Schumann, 124-
140.
Du, du, liegst mir im Herzen--German,
63-130-135.
Dupuis le Jour, "Louise”—Charpentier,
135.
Gambler's Song—Blackfeet Indians, 20-55-
127.
Garibaldi Hymn-Alivieri, 48-131.
Gathering Peascods-English, 46-129.
Gavotte E Major-Bach, 133.
Gavotte-Gossec, 133.
Gavotte-Gretry, 133.
Gavotte, “Les Petits Riens"--Mozart, 133.
Genoveva Overture-Schumann. 79.
Gloria Patri-Palestrina, 68-136-139.
God Preserve Thy People-Russian, 35.
God Save the Czar-Lvoff, 35-64-131.
God Save the King--Carey, 130.
Golden Legend, The (Cantata)—Sullivan,
119.
Good Night-Bohemian, 130.
Good News-Negro Spiritual, 128.
Good Friday Spell, “Parsifal”—Wagner,
67-136.
Gretchen at the Spinning Wheel-Schubert,
78-136-137.
Griselidis (Opera)-Massenet, 122.
Guitarrico-Soriano, 56-136.


H
Edward Loewe, 78-132.
Egmont (Overture)—Beethoven, 77-88-123-

Hiawatha's Wedding Feast-Coleridge-Tay-
132-140.
Ein Feste Burg—Luther, 65-92-136-139.
Elegie, "Les Erinnyes”—Massenet, 128.
Elizabeth's Prayer, “Tannhauser"-Wag-
Elijah (Oratorio)-Mendelssohn, 69-112-
136-140.
Erl King, The-Schubert, 32-71-78-132.
Ernani (Opera)-Verdi, 124.
"Eroica" (Symphony)—Beethoven, 62-139.
Eugen Onegin--Tschaikowsky, 124.
Eurydice (Opera)—Caccini, 114-140.
Eurydice (Opera)—Peri, 114-140.
Faithfu' Johnnie-Beethoven, 48.
Fair Maid of Sorrento-Italian, 98-138.
Fair Melusina Overture-Mendelssohn, 79.
137-140.
Falstaff (Opera)-Verdi, 138.
Faust (Cantata)-Schumann, 123.
Faust (Opera) —Gounod, 123.
Faust Overture—Wagner, 123.
Faust Symphony-Liszt, 123.
Filiae Jerusalem-Gabrielli, 67-139.
Finlandia--Sibelius, 34-50-132-138.
Flow Gently, Sweet Afton-Scotch, 90-139.
Flying Dutchman (Opera)—Wagner, 115-
140.
Flying Dutchman Overture-Wagner, 115-
140.
Fredman's Epistle-Bellman, 56-130.
Freischutz, Der (Opera) —Von Weber, 77-
137.
Freischutz, Der, Overture-Von Weber,
77-137.
From the Land of the Sky Blue Water-
Cadinan, 20-49-132.
From Swedish Hearts--Lindblad, 131.
Funeral March, "Eroica" Symphony-
Beethoven, 62-134-135.
Funeral March, Sonata B Minor-Chopin,
62-128-134-135.
Funeste Piaggie, “Eurydice"-Peri, 140.
Funicoli-Funicola-Denza, 98-138.
lor, 46-91-140.
Habanera, “Carmen”-Bizet, 33-96-97-139.
Haidenroslein-Werner, 131.
Hail Bright Abode, Tannhauser"_Wag-
ner, 27-134.
Hail to the Chief-Sanderson, 120-140.
Hallelujah Chorus, “The Messiah”-Han-
del, 68-128.
Hansel and Gretel (Opera)-Humperdinck,
92-116.
Hamlet (Opera)-Thomas, 121-140.
Harold in Italy (Symphony)—Berlioz, 80-
123-137.
Harp That Once, The Irish, 55-89-102-131.
Harvest Dance-Finnish, 129.
Hebrides, The, Overture-Mendelssohn, 79.
82-137.
Herodiade (Opera)-Massenet, 113-140.
He Shall Feed His Flock, "The Messiah”
-Handel, 68.
Home, Sweet Home-Bishop, 131.
How Can I Leave Thee-German, 47.
Hugenots, Les (Opera)—Meyerbeer, 139.
Hungarian Dances—Brahms, 48-59-93-132.
Hungary, My Treasure-Hiingarian, 29.
Hungarian Rhapsodies—Liszt, 28-59-93-109.
132.
Hungarian Rhapsody No. 2-Liszt, 28-50.
Hymn to Apollo- Ancient Greek, 101-114-
139-140.
Hymn of Charlemagne-French, 102-139.
Hymn of Free Russia-Gretchaninoff, 131-
139.
Hymn to St. John Baptist–Latin, 102-139.
I
I Want to Be Like Jesus—20-128.
If With All Your Hearts, “Elijah”-Men-
delssohn, 69-136-140.


Index of Musical Selections
151
I Know That My Redeemer Liveth, “Mes-
siah"-Handel, 68-136.
Il Pensieroso-Handel, 19-122.
Il est Bon, "Herodiade".Massenet, 140.
In a Boat--Grieg, 21-136.
In a Clock Store-- Orth, 136.
Intermezzo, “A Midsummer Night's Dream”
-Mendelssohn, 128.
Intermezzo, “Cavalleria Rusticana”—Mas-
cagni, 128.
Intermezzo II, "Jewels of the Madonna"-
Wolf-Ferrari, 50-132.
In the Hall of the Mountain King, “Peer
Gynt"—Grieg, 22-23-127.
In the Spring French, 128.
Iphegenia in Aulis-Gluck, 115.
Iphegenia in Tauris-Gluck, 115.
Irish Washerwoman, The-Irish, 82-129.
I See You,Swedish, 128.
Israel in Egypt (Oratorio)—Handel, 112.
Italian Symphony-Mendelssohn, 49.
Isolde's Liebstod, “Tristan and Isolde'-
Wagner, 135.

Jeanne d'Arc (Opera)—Tschaikowsky,
123.
Jewels of the Madonna (Opera)-Wolf-


Largo, “Xerxes"-Handel, 66-128.
Largo al Factotum, “Barber of Seville".
Rossini, 127.
Last Rose of Summer–Irish, 130.
Legend of the Sage Bush, “Jongleur de
Notre Dame'-Massenet, 132-140.
Leonora Overture No. 3-Beethoven, 77.
137.
Les Erinnyes-Massenet, 115.
Les Preludes—Liszt, 80-137.
Let Joy Abide--Russian, 57-63-128-135.
Liebestraum-Liszt, 128.
Linda Mia-Spanish, 55-96-130.
Little Boy Blue-Nevin, 118.
Live A' Humble-Negro Spiritual, 20-128.
Loch Lomond-Scotch, 29-40-90-130-133-
139.
Lo, How a RosePraetorius, 68-136.
Lohengrin (Opera)-Wagner, 27-67-92-136-
137.
Lohengrin Vorspiel—Wagner, 81-137.
London Bridge-English, 128.
Loreley, The-Liszt, 92-118-140.
Loreley, The-Silcher, 47-72-92-117-131-138.
Louise (Opera)-Charpentier, 132-135.
Love of God in Nature-Beethoven, 69-136.
Lucia di Lammermoor (Opera)-Donizetti,
120.
Lucrezia Borgia (Opera)-Donizetti, 124.
Lullaby (Wiegenlied) -Brahms, 21-31-134.
Ferrari, 50-132.
Jock o' Hazeldean Scotch, 72-90-130.
Jongleur de Notre Dame (Opera) --Masse-
net, 104-124-132-140.
Joseph (Oratorio)-Handel, 112.
Joseph MineCalvisius, 68-136.
Joshua (Oratorio)-Handel, 112.
Judas Maccabeus (Oratorio)--Handel, 112.
K
Kaiser March--Wagner, 110-139.
Kamarinskaia–Russian, 129.
Kathleen Mavourneen-Crouch, 63-72-131-
135.
Kawokores Rohe AdremHebrew Chant,
100-139.
Killarney-Balfe, 47-89-131-138.
Kinderpolka-Gerinar, 129.
Knu Home-Hawaiian, 57-130.
Koenigkinder, Die (Opera)-Humperdinck,
Kolebalnia-Bachretieff, 131.
Kol Nidre-Bruch, 67-100-136.
Kuhreigen, Der (Opera)-Kienzl, 93.
Kyrie Eleison-Gregorian, 67-136-139.
Kyrie Ke Kraxa-Greek, 67-136-139.
116.
M
Macbeth-Strauss, 121.
Mad Scene, “Hamlet”—Thomas, 140.
Malbrouk-French, 102.
Mandolinata La-Paladilhe, 47-57-131-137,
Mandoline-Debussy, 58-137.
Manfred (Cantata)-Schumann, 123.
Manfred Symphony—Tschaikowsky, 123.
Manon (Opera)-Auber, 122.
Manon (Opera)-Massenet, 122-140.
Manon Lescaut (Opera)—Puccini, 122.
ch of the Grail Knights, "Parsifal”
Wagner, 27-128-134-136.
March of the Guilds, “Die Meistersinger"
-Wagner, 27-134.
March of the Three Kings-French, 91.
Marching Through Georgia_Work, 64-130.
March Rackoczy-Berlioz, 80-93-134.
Marche Slav—Tschaikowsky, 50-132.
Masque of Conius-122-140.
Marseillaise, Le-Rouget de L'Isle, 34-35-
47-64-91-137.
Martha (Opera)-Flotow, 137,
Mary of Argyle-Scotch, 131.
May Pole Dance-English, 46-129.
Mazeppa-Liszt, 80-82-138-140.
Mazurkas-Chopin, 46-95-109-129.
Mazurka, Op. 50, No. 2-Chopin, 133.
Meditation, "Thais" -Massenet, 134-140.
Meistersinger, Die (Opera)-Wagner, 27-
92-104-128-135.
Meistersinger, Die, Vorspiel-Wagner.
Melody in F--Rubinstein, 128.
Men or Harlech-Welsh. 47-89-131-139.
Mentra Gwen-Welsh, 130.
Mephistopheles (Opera)—Boito, 123.
L’Allegro-Handel, 122.
L'Amour Medicin (Opera)-Wolf-Ferrari,
122.
L'Apprenti Sorcier-Dukas, 117.
L'Arlessienne Overture--Bizet, 30-91-132.
Lakme (Opera)-Delibes, 136.
Lament for Charlemagne-French, 102-139.
Largo, “New World Symphony"-Dvorak,
134.
152
Index of Musical Selections
On the Road to Mandalay--Speaks, 72-118.
Onward Christian Soldiers-Sullivan, 65.
136.
Merry Wives of Windsor (Opera)—Nicolai,
121-140.
Merry Wives of Windsor, Overture-
Nicolai, 140.
Messiah, The (Oratorio)--Handel, 68-112-
136-140.
Midsummer Night's Dream, A, Overture
Mendelssohn, 74-79-121-138-140.
Mignon (Opera)-Thomas, 131-133.
Mignonette-Le Roux, 131.
Minstrel Boy, The-Irish, 40-47-72-131-133.
Miriam's Hymn—Schubert, 112.
Minuet in Ğ-Beethoven, 133.
Minuet-Boccherini, 133.
Minuet-Gluck, 133.
Minuet in F-Haydn, 133.
Minuet, “Don Juan"-Mozart, 133.
Minuet-Paderewski, 133.
Minuet Waltz-Chopin, 134.
Minuet of Will 0° Wisps, "Damnation of
Faust"-Berlioz, 79-136-138.
Moldau, The-Smetana, 94-138.
Molly Brown-Irish, 130.
Molodka-Russian, 57-128.
Monna Vanna (Opera)-Fevrier, 125.
Morning, “Peer Gynt Suite”—Grieg, 22-
128.
Morris Dance-English, 46-129.
Mother Moscow Russian, 95-139.
Mountain March - Norwegian, 129.
Mountain Polka-Swedish, 129.
Mulberry Bush-English, 128.
My Old Kentucky Home Foster, 131.
My Heart at Thy Sweet Voice, '“Samson
and Delilah'-Saint-Saens, 135-140.
OPERA-
Ariane and Blue Beard-Duka
Barber of Seville, The_Rossini, 127.
Bartered Bride, The-Smetana, 94.
Boheme, La-Puccini, 134.
Carmen-Bizet, 33-48-96-138.
Cavalleria Rusticana-Mascagni, 128.
Cinderella-Massenet, 116.
Cricket on the Hearth, The-Goldmark,
120.
Dame Blanche, La-Boieldieu, 120.
Damnation of Faust-Berlios, 79-80-123- ·
Don Juan-Mogart, 82-132.
Don Quixote, Massenet, 122.
Ernani-Verdi, 124.
Eugen Onegin-Tschaikowsky, 124.
Eurydice-Caccini, 114-140.
EurydicemDeri, 114-140.
Falstaff-Verdi, 138.
Faust-Gounod, 123.
Flying Dutchman, The-Wagner, 115-
140.
Freischutz, Der—Von Weber, 77-137.
Griselidis— Massenet, 122.
Hansel and Gretel-Humperdinck, 92.
116.
Hamlet-Thomas, 121-140.
Herodiade-Massenet, 113-140.
Hugenots, Les-Meyerbeer, 139.
Iphegenia in Aulis-Gluck, 115.
Iphegenia in Tauris-Gluck, 115.
Jeanne d'Arc—Tschaikowsky, 123.
Jewels of the Madonna, The Wolf-Fer.
50-132.
Jongleur de Notre Dame-Massenet, 104-
124-132-140.
Koenigskinder-Die Humperdinck, 116.
Kuhreigen, Der-Kienzl, 93.
L'Amour Medicin-Wolf-Fer
Lakme-Delibes, 136.
Lohengrin-Wagner, 27-67-92-136-137.
Louise-Charpentier, 132-135.
Lucia di Lammermoor-Donizetti, 120.
Lucrezia Borgia-Donizetti, 124.
Manon-Auber, 122.
Manon-Massenet, 122-140.
Manon Lescaut-puccini, 122.
Martha---Flotow, 137.
Meistersinger, Die-Wagner, 27-92-104-
128-135.
Mephistopheles-Boito, 123.
Merry Wives of Windsor, The-Nicolai,
121-140.
Mignon—Thomas, 131-133.
Monna Vanna-Fevrier, 125.
Natoma-Herbert, 132.
Oberon-Von Weber, 77-138.
Orfeo-Monteverdi, 141.
Orfeo and Eurydice-Gluck, 140.
Othello-Verdi, 121.
Pagliacci, I'-Leoncavallo, 138.
Paola and Francesca-Zandonai, 122.
Parsifal-Wagner, 27-67-81-128-136.


N

Natoma (Opera) --Herbert, 132.
Navajo Chants-American Indians, 20-127.
New World Symphony--Dvorak, 134.
Ninth Symphony-Beethoven, 123.
Nocturne, "A Midsummer Night's Dream”
Mendelssohn, 128.
Non Piango, “Eurydice"-Monteverdi, 140.
Norwegian National Hymn-Blom, 131.
Norwegian Wedding March-Grieg, 50-132-
134.
Nut Cracker Suite-Tschaikowsky, (See
Casse Noisette.)

Oberon (Opera)—Von Weber, 77...
Oberon Overture-Von Weber, 77-138.
O Blessed Virgin (See "Elizabeth's Pray-
er")-Wagner.
Ode of Ossian, “Werther”—Massenet, 123-
140.
Ob Rest in the Lord, “Elijah"--Mendels-
sohn, 69-136.
Ole-Olem-Norwegian, 130.
Onaway, Awake Beloved, “Hiawatha”-
Coleridge-Taylor, 46-91-140.
On the Beautiful Blue Danube-Strauss,
30-127-134-138.
On the Bridge at Avignon, French, 128-
138.


Index of Musical Selections
153
Coriolanus-Beethoven, 77-137.
Egmont-Beethoven, 72-88-123-132-140.
Fair Melusina-Mendelssohn, 79-137-140.
Flying Dutchman-Wagner, 115-140.
Freischutz, Der-Von Weber, 77-137,
Genoveva--Schumann, 79-137.
Hebrides--Mendelssohn, 137.
L'Arlessienne-Bizet, 50-91-132.
Leonora No. 3-Beethoven, 77-137.
Merry Wives of Windsor-Nicolai, 121.
140.
Midsummer Night's Dream, A-Men.
delssohn, 74-79-121-138-140.
Oberon--Von Weber, 77-138.
Rienzi-Wagner, 115-140.
Sakuntala-Goldnark, 50-132.
Tannhauser-Wagner, 27-140.
William Tell-Rossini, 139.
1812-Tschaikowsky, 35-50-82-132.
O Willow, Willow-English, 130.
Oxdansen-Swedish, 129.
Pelleas and Melisande-Debussy, 125.
Perle de Brazil-David, 19-137.
Queen of Sheba--Goldmark, 112.
Queen of Sheba-Gounod, 112.
Rienzi (Opera)-Wagner, 115.
Rienzi Overture-Wagner, 115-140.
Rigoletto-Verdi, 124.
Ring of the Nibelungs-Wagner, 115.
Rhinegold.
Valkyrie,
Siegfried.
Twilight of the Gods (Goetterdammerung)
134-135.
Robin Hood-De Koven, 120.
Robin and Marion-Adam de la Halle,
91-104-105-139.
Romeo and Juliet-Gounod, 30-121-134.
Sadko-Rimsky-Korsakow, 50.
Salome-Strauss, 113.
Samson and Delilah-Saint-Saens, 113-
135,
Semiramide-Rossini, 122.
Tannhauser-Wagner, 66-92-104-134-136.
Thais-Massenet, 125-134.
Tristan and Isolde-Wagner, 115-135-141.
Troyens, Les-Berlioz, 115-141.
Werther-Massenet, 123.
William Tell-Rossini, 122-140.
Xerxes-Handel, 66-128.
ORATORIO
Alexander's Feast-Handel, 122.
Christmas Oratorio-Bach, 112.
Christus-Liszt, 112.
Christus Mendelssohn, 112.
Christ On the Mount of Olives-Bee.
thoven, 112.
Creation, The -Haydn, 112.
Elijah-Mendelssohn, 69-112-136-140.
Israel in Egypt-Handel, 112.
Joseph--Handel, 112.
Joshua-Handel, 112.
Judas Maccabeus Handel, 112.
Messiah, The-Handel, 68-112-136-140.
Prodigal Son-Debussy, 112.
Prodigal Son-Sullivan, 112.
Redemption-Gounod, 112.
Samson-Handel, 68-112-136-140.
Saul-Handel, 62-112-136.
Seven Last Words of Christ Schuts,
68.
Stabat Mater-Rossini, 66.
St. Paul-Mendelssohn, 69-112-136.
Tower of Babel-Rubinstein, 112.
Orientale-Cui, 50.
Orfeo (Opera) --Monteverdi, 141.
Orpheus and' Eurydice (Opera)-Gluck,
140.
Orpheus-Liset, 80-138.
O Sole Mio-di Capua, 63-131-135.
Othello (Opera)-Verdi, 121.
OVERTURE-


Pagliacci, I' (Opera)-Leoncavallo.
Paloma, La--Yradier, 131.
Paola and Francesca-Zandonai, 122.
Parsifal (Opera)-Wagner, 27-67-81-128-134-
136.
Parsifal Vorspiel-Wagner.
Paradise and the Peri-Schumann, 124.
Pastorale Symphony, “The Messiah"-
Handel, 140.
“Pastoral" Symphony-Beethoven, 77-138.
"Pathetic" Symphony-Tschaikowsky, 58.
127.
Peer Gynt Suite No. 1—-Grieg, 22-28-50-62-
124-128-132-140.
Pelleas and Melisande (Opera)-Debussy,
125.
Perle de Brazil (Opera)-David, 19-137.
Phaeton-Saint-Saens, 82-115-138-140.
Pilgrim's Chorus, “Tannhauser"--Wagner,
27-66-134-136,
Polonaise I Am Titania, “Mignon”-
Thomas, 133.
Polonaise Militaire-Chopin, 132-133.
Popule Meus-Palestrina, 68-136-139.
Preludes, Les--Liszt, 128.
Prayer of King, “Lohengrin”-Wagner, 66-
136.
Pretty Maid Milking–Irish, 89.
Prodigal Son (Oratorio)-Debussy, 112.
Prodigal Son (Oratorio)-Sullivan, 112.
Prologue, “I' Pagliacci" -Leoncavallo, 138.


Queen of Sheba (Opera)-Goldmark, 112.
Queen of Sheba (Opera)--Gounod, 112.
R
Reap the Flax Swedish, 46-129.
Redemption, The (Oratorio)-Gounod, 112.
Reve, II, “Manon-Massenet, 140.
Ride' of Valkyries, “Valkyrie"-Wagner,
81-127-137-138-140.
Bartered Bride-Smetana, 94.
Carneval Romain-Berlioz, 80-137.
154
Index of Musical Selections
Souvenir de Moscow-Wieniawski, 132.
Spanish Dances-Sarasate, 132.
Spinning Song-Mendelssohn, 134.
Spinning Wheel Quartette, “Martha”—Flo-
tow, 137.
Spinning Wheel of Omphale-Saint-Saens,
82-115-137-138-141.
Stabat Mater (Oratorio)-Rossini, 66.
Star Spangled Banner-Key, 48-64-130.
Stars and Stripes Forever-Sousa, 27-134.
St. Patrick's Day-Irish, 46-128.
St. Paul (Oratorio)-Mendelssohn, 69-112-
136.
Sumer Is Icumen In-Old English, 105-
121-141.
Sun in the Sky-Russian, 57-130.
Swanee River-Foster, 47-131-138.
Swan of Tuonela---Sibelius, 118-141.
Swedish Wedding March-Sodermann, 33.
50-132-134.
Swiss Echo Song-Eckert, 93-137.
Sword Dances-Scotch, 46-90-129.
Sweet Bird, “II Pensieroso”—Handel, 19-
137-141.

Suite
Casse Noisette (Nut Cracker)-Tschai-
kowsky, 116.
Peer Gynt No. 1–Grieg, 22-23-50-63-124-
Rienzi (Opera)--Wagner, 115...
Rienzi Overture—Wagner, 115-140.
Rigaudon-Monsigny, 133.
Rigoletto (Opera) — Verdi, 124.
Ring of the Nibelungs (Operas)—Wagner,
115.
Ring Out Wild Bells--Gounod, 119.
Rinnce Fada-Irish, 129.
Robin Hood (Opera)-De Koven, 120.
Robin and Marion-de la Halle, 91-104-
105-139.
Romanza Andaluzia-Sarasate, 96-132-139.
Romeo and Juliet (Opera)- Gounod, 30-
121-134.
Rule Britannia--Arne, 48-130.
Sadko (Opera)–Rimsky-Korsakow, 50.
Sakuntala Overture-Goldmark, 50-132.
Salome (Opera)-Strauss, 113.
Salterello-Italian, 129.
Sally In Our Alley-Carey, 131.
Samson and Delilah (Opera)—Saint-Saens,
113-135.
Samson (Oratorio) — Handel, 68-112-136,
140.
Saul (Oratorio)---Handel, 62-112-136.
Santa Lucia-Italian, 21-41-97-130-133.
Sapphic Ode-Brahins, 115-141.
Scheherazade Suite-Rimsky-Korsakow, 116.
Scherzo–Dittersdorf, 133.
Scotch Symphony-Mendelssohn, 49.
Scots Wha' Hae Wi Wallace Bled-Scotch,
58-90-105-131-139.
Sea Gulls Cry-Grodski, 131.
Seguidilla, “Carmen"-Bizet, 96-139.
Sellinger's Round-English, '42-129-133.
Semiramide (Opera)-Rossini, 122.
Serenade Mephistopheles, “Damnation of
Faust”-Berlioz, 79.
Serenade-Schubert, 71-134.
Seven Last Words of Christ (Oratorio)
Schutz, 68.
Seventh Symphony-Beethoveni, 108.
Sextette, "Lucia di Lammermoor”-Doni-
zetti, 140.
Shepherd's Hey-Grainger, 51-129-132.
Shoemaker's Dance-Danish, 46-129.
Siegfried's Death March, “Goetterdammer-
ung”—63-134-135.
Siegmund's Love Song, “Valkyrie"
Wagner.
Slavonic Dances-Dvorak, 50-94-132.
Sleeping Beauty Suite-Tschaikowsky, 116.
Soldier's Farewell-German, 72.
Soldiers, Thy Fatherland Calls-Spanish,
131.
Solomon (Oratorio)-Handel, 112.
Song of the Volga Boatmen-Russian,
21-95-130-139.
Songs My Mother Taught Me-Dvorak,
50-132.
Songs Without Words—Mendelssohn, 31-
134.
Sorrow-Mendelssohn, 31-134.
Sound An Alarm, "Judas Maccabeus"-
Handel, 141.
132.
Scheherazade-Rimsky-Korsakow, 116-141.
Sleeping Beauty-Tschaikowsky, 116.
Symphony--
Divinia Commedia-Liszt, 121.
Eroica-Beethoven, 62.
Fifth-Beethoven, 128.
Faust-Liszt, 123.
Harold in Italy--Berlioz, 80-123-137.
Italian-Mendelssohn, 49.
New World-Dvorak, 134.
Pastoral-Beethoven, 77.
Pathetic-Tschaikowsky, 58-127.
Scotch-Mendelssohn, 49.
Seventh-Beethoven, '108.
T
Tambourin-Gossec, 133.
Tannenbaum-German, 130.
Tannhauser (Opera)--Wagrier, 66-92-104-
134-136.
Tannhauser Overture-Wagner, 27-140.
Tarantella- Italian, 29-129.
Tarantella-Arr. Rossini, 29-46-128.
Tasso-Liszt, 124-138.
Teresita Mia-Spanish, 130.
Thais (Opera)-Massenet, 125-134.
Tempest, Thé-Tschaikowsky, 121.
There, Little Girl-Ward-Stephens, 118.
Three Man's Reel-Danish, 129.
Three Jolly Sheepskins—Scotch, 129.
Thou Brilliant Bird, "Perle de Brazil”-
David, 119-137.
Thus Spake Zarathustra-Strauss, 82.
Till Eulenspiegel-Strauss, 82-117-138-140.
Tinker's Dance Danish, 46-129.


Index of Musical Selections
155
coewe, 78-137. _wilhelm, 92-
To Anacreon In Heaven-English, 48.
To a Water-lily-MacDowell, 134.'
To Us Is Born Emmanuel - Praetorious, 68-
136.
To War Has Gone Duke Marlborough
French, 103-130-139.
Toreador' Song, “Carmen”-Bizet, 96-138.
Total Eclipse, "Samson"-Handel, 68-136-
140.
Tower of Babel (Oratorio)-Rubinstein,
112.
Tristan and Isolde (Opera)-Wagner, 115-
135-141.
Troyens, Les (Opera)-Berlioz, 115-141.
Tu se Morte, "Orfeo"-Monteverdi, 141.
Two Grenadiers, The-Schumann, 34-48-79.
124-132-137-141.
Wanderer, Der-Schubert, 78-137.
War Song of the Normans-French, 103.
139.
Watch, The-Loewe, 78-137.
Watch on the Rhine, The-Wilhelm, 92-
131-138.
Wearing of the Green Irish, 46-128.
Weaving Dance-Swedish, 46.
Wedding, The-Bohemian, 130.
Wedding March, "Lohengrin” —— Wagner,
27.
Wellington's Victory at Vittoria--Beetho-
ven, 103.
Werther (Opera)-Massenet, 123.
Who'll Be King But Charlie Scotch, 89.
When I Was Page, “Falstaff-Verdi, 138.
When I Was Seventeen -Swedish, 47-130.
When the Nightingale Doth Sing-De
Coney, 139.
Where the River Shannon Flows-Russell,
89-138.
Wiegenlied (See Lullaby)-Brahms.
Will Ye Come Back Again-Scotch, 56.
William Tell (Opera) Rossini, 122-140.
William Tell Overture-Rossini, 139.
Witches' Dance, “Hansel and Gretel”-
Humperdinck,' 141.
Wotan's Farewell, “Valkyrie”_-Wagner, 81-
138.
Wynken, Blinken and Nod-Pasiello, 118.
v
Valkyrie (Opera)-Wagner, 81-127-135-137-
138-140.
Valse Brilliante-Chopin, 134.
Villanelle Del Acqua, 63-135.
Voce di Primavera (Voice of Spring)
Strauss, 63-134-135.
Vorspiel-
Lohengrin-Wagner, 137-140.
Die Meistersinger— Wagner, 141.
Tristan and Isolde-Wagner, 141.
Parsifal-Wagner, 81-141.
Vysehrad-92-138.

W
Xerxes (Opera)-Handel, 66-128.
Walter's Prize Song, “Die Meistersinger"
-Wagner, 128-135
Wallenstein-d'Indy,
Wallenstein-Smetana, 123.
Waltz Musetta, “La Boheme"-Puccini.
Waltz Song, “Romeo and Juliсt". Gounod,
30-134.
Ye Banks and Braes-Scotch, 89-139.
Years At the Spring, The-Beach, 118-141.
Youth of Hercules, The-Saint-Saens, 115.
141.

UNIVERSITY OF MICHIGAN
3 9015 00959 3206
MOUND
SEP 21 1949
UNIY. " SICH.

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