and meaning of polyphony--monodic and homophonic--canonic
imitation--chords as incidents--variety and unity--early
French school--Coussemaker's researches--Leonin--descant--Perotin--names
of pieces--Robert of Sabillon--Pierre de la Croix--Jean
of Garland--Franco of Paris--Jean de Muris--fleurettes--John
Cotton--Machaut--Gallo-Belgic school--Dufay--Hans de Zeelandia--Antoine
de Busnois.

CHAPTER XIII--SCHOOLS OF THE NETHERLANDS 160-167

Wealth of the Low Countries--freedom of the communes--strength
of the burgher class--period of these schools--table of periods
and masters--Okeghem--Tinctor--Josquin--his popularity--Arkadelt;
Gombert--Willaert--Goudimel--Cypriano de Rore--Orlando de Lassus--his
Munich school--his genius.

CHAPTER XIV--POLYPHONIC SCHOOLS OF ITALY--PALESTRINA 168-178

Prosperity of Italy in fifteenth century--great cathedrals and public
works--conservatories founded at Naples--Willaert at St. Mark's,
Venice--Zarlino--his reforms in theory--Cypriano de Rore--Goudimel;
Palestrina--the council of Trent--Palestrina's music--Martin Luther.

CHAPTER XV--CHANGES IN MUSICAL NOTATION 179-188

General direction of musical progress toward classification and the
establishment of unities of various kinds--early letter notation
of the Greeks and Romans--Roman notation as used by Guido of
Arezzo--neumae--with lines--additional lines--"Lament for
Charlemagne"--notation employed by the French Trouveres--clefs--new
staff proposed by an American reformer.

CHAPTER XVI--MUSICAL INSTRUMENTS--THE VIOLIN AND ORGAN 189-207

Progress in tonal perceptions--influence of harp and lute--description
of the latter--system of stringing--locating the frets--the
violin--bow discovered in India--early forms of bowed instruments--rebec;
barytone--viol da Gamba--Amati--Stradivari--peculiarities of his
instruments--Maggini--Stainer--antiquity of the organ--early
forms--organ sent Charlemagne--organs at Munich--Malmesbury
Abbey--measure of organ pipes--portable organ--clumsiness of the old
keyboards--the organ in 1500 A.D.

BOOK THIRD--THE DAWN OF MODERN MUSIC.

CHAPTER XVII--CONDITION OF MUSIC AT BEGINNING OF EIGHTEENTH
CENTURY 211-220

Justification of the name "apprentice period"--office of domestic
musicians in England in the reign of Elizabeth--great fondness
for music everywhere--casual influence of counter