CONTENTS OF VOLUME ONE
| PAGE | ||
| General Introduction | ix | |
| Introduction to the Narrative History of Music by C. Hubert H. Parry |
xxvii | |
| Part I. Preliminaries | ||
| CHAPTER | ||
| I. | Primitive Music | 1 |
| Music in nature—Theories of the origin of music—Intervals and scales; contrast—The aborigines of Carribea, Polynesia, Samoa, Africa—The rhythmic element: music and the dance; instruments of percussion—Harmonic traces—Wind instruments and their scales; the xylophone—Instruments of semi-civilized peoples—The North American Indian—Influence of modern culture on savage music. |
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| II. | Exotic Music | 42 |
| Significance of exotic music—Classification; Aztecs and Peruvians—The Orient: China and Hindustan, the Mohammedans—Exotic instruments—Music as religious rite; music and dancing—Music and customs; Orient and Occident. |
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| III. | The Most Ancient Civilized Nations | 64 |
| Conjecture and authority—The Assyrians and Babylonians; instruments; scales—The Hebrews—The Egyptians; social aspects; Plato’s testimony; instruments—Egyptian influence on Greek culture and its musical significance. |
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| IV. | The Music of the Ancient Greeks | 88 |
| Significance of Greek music—Greek conception of music; mythical records—Music in social life; folk-song; general characteristics of Greek music—Systems and scales—Pythagoras’ theories; later theorists: Aristoxenus to Ptolemy—Periods of Greek composition; the nomoi; lyricism; choral dancing and choral lyricism; the drama—Greek instruments; notation. |
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| Part II. Beginnings | ||
| V. | The Age of Plain-Song | 128 |
| Music in the Roman empire—Sources of early Christian music; the hymns of St. Ambrose—Hebrew traditions—Psalmody, responses, antiphons; the liturgy; the Gregorian tradition; the antiphonary and the gradual; sequences and tropes—Ecclesiastical modes; early notation. |
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| VI. | The Beginnings of Polyphony | 160 |
| The third dimension in music—‘Antiphony’ and Polyphony; magadizing; organum and diaphony, parallel and oblique—Guido d’Arezzo and his reputed inventions; solmisation; progress of notation—Johannes Cotto and the Ad organum faciendum; contrary motion and the beginning of true polyphony—Measured music; mensural notation—Faux-bourdon, gymel; forms of mensural composition. |
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| VII. | Secular Music in the Middle Ages | 186 |
| Popular music; fusion of secular and ecclesiastical spirit; Paganism and Christianity; the epic—Folksong; early types in France, complainte, narrative song, dance song; Germany and the North; occupational songs—Vagrant musicians; jongleurs, minstrels; the love song—Troubadours and Trouvères; Adam de la Halle—The Minnesinger; the Meistersinger; influence on Reformation and Renaissance. |
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| Part III. The Polyphonic Period | ||
| VIII. | The Rise of the Netherland Schools | 226 |
| The Netherland style; the Ars Nova; Maschault and the Paris school; the papal ban on figured music—The Gallo-Belgian school; early English polyphony; John Dunstable; Dufay and Binchois; other Gallo-Belgians—Okeghem and his school—Josquin des Prés; merits of the Netherland Schools. |
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| IX. | The Italian Renaissance | 258 |
| Spirit of the Renaissance—Trovatori and cantori a liuto; The Florentine Ars Nova; Landino; caccia, ballata, madrigal—The fifteenth century; the Medici; Netherland influence; popular song forms—Adrian Willaert and the new madrigal—Orazio Vecchi and the dramatic madrigal. |
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| X. | The Golden Age of Polyphony | 284 |
| Invention of music printing—The Reformation—The immediate successors of Josquin; Adrian Willaert and the Venetian school; Germany and England—Orlando di Lasso—Palestrina; his life—The Palestrina style; the culmination of vocal polyphony—Conclusion. |
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| Part IV. The Development of Harmony | ||
| XI. | The Beginnings of Opera and Oratorio | 324 |
| The forerunners of opera—The Florentine reform of 1600; the ‘expressive’ style; Peri and Caccini; the first opera; Cavalieri and the origin of the oratorio—Claudio Monteverdi: his life and his works. |
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| XII. | New Forms: Vocal and Instrumental | 348 |
| Résumé of the sixteenth century—Rhythm and form; the development of harmony; figured bass—The organ style; canzona da sonar; ricercar; toccata; sonata da chiesa; great organists—The genesis of violin music; canzona and sonata—The sonata da camera; the suite—Music for the harpsichord—The opera in the seventeenth century; Heinrich Schütz. |
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| XIII. | The Seventeenth Century | 388 |
| The musicians of the century—Henry Purcell and music in England—Italy: Alessandro Scarlatti; Arcangelo Corelli; Domenico Scarlatti—The beginnings of French opera: the Ballet-comique de la reine; Cambert and Perrin—Jean Baptiste de Lully—Couperin and Rameau—Music in Germany: Keiser, Mattheson, and the Hamburg opera; precursors of Bach. |
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| XIV. | Handel and the Oratorio | 418 |
| The consequences of the seventeenth century: Bach and Handel—Handel’s early life; the opera at Hamburg; the German oratorio—The Italian period, Rodrigo, Agrippina, and Resurrezione—Music in England; Handel as opera composer and impresario—Origins of the Handelian oratorio; from ‘Esther’ to ‘The Messiah’—Handel’s instrumental music; conclusion. |
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| XV. | Johann Sebastian Bach | 448 |
| Introduction—The life of Bach—Bach’s polyphonic skill and the qualities of his genius—Bach’s contribution to the art of music and the forms he employed—The revision of keyboard technique and equal temperament—Bach’s relation to the history of music. |
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| Index. See Volume III. | ||
| Bibliography. See Volume III. |