point in educating
harmonic sense--madrigal--multiplicity of collections of
this kind--absurd use of madrigals for dramatic monody--the
work of the seventeenth century, free melodic expression--the
new problem of the musical drama--the representative principle
in music--music last of the arts--Florence and Venice the
centers--statistics of books published from 1470 to 1500.

CHAPTER XVIII--FIRST CENTURY OF ITALIAN OPERA AND DRAMATIC
SONG 221-234

Circle of the Literati in Florence--Galilei and his monody--Peri's
"Dafne"--Schuetz's setting of the same--Peri's "Eurydice"--rare
editions--_Il stilo rappresentativo_--Cavaliere's oratorio "The
Soul and the Body"--second period of opera--Monteverde's
"_Arianna_"--orchestra of the same--new orchestral effects--scene
from "Eurydice"--director of St. Mark's--Legrenzi--Cesti--public
theaters--Alessandro Scarlatti--_recitativo stromentato_--Corelli--sonatas
for the violin--influence of the violin upon the art of
singing--origin of Italian school of singing--artificial sopranos--Porpora;
Selections from Monteverde, Cavalli and Scarlatti.

CHAPTER XIX--BEGINNINGS OF OPERA IN FRANCE AND GERMANY 235-243

Slow progress of opera to other parts of Europe--origin of French
opera--ballets of Boesset--Perrin--Cambert--their first opera--their
patent from the king--Lulli--his success and productivity--attention
to verbal delivery and the vernacular of the audience--foundations
of the French Academie de Musique--opera in Germany--Schuetz--Hamburg
and Keiser--selection from Lulli--"Roland"--Mattheson.

CHAPTER XX--THE PROGRESS OF ORATORIO 244-248

Oratorio invented simultaneously with opera--Cavaliere--mystery
plays--Carissimi--two types of oratorio--cantata--Haendel's
appropriation from Carissimi--sacred oratorio--Schuetz's Passions--"Last
Seven Words."

CHAPTER XXI--BEGINNINGS OF INSTRUMENTAL MUSIC 249-260

Beginnings of instrumental music in seventeenth century--tentative
character of instrumental music of sixteenth century--Gabrieli
and organ pieces--imitations of vocal works--melodies not fully
carried out--Swelinck--Scheidt--Schein--Frescobaldi--Reinken--Pachelbel;
Muffat--Corelli--orchestra of the period--its defects.

BOOK FOURTH--FLOWERING TIME OF MODERN MUSIC.

CHAPTER XXII--MUSIC IN THE EIGHTEENTH CENTURY 261-264

The flowering time of modern mu