The Art of Music A Comprehensive Library of Information for Music Lovers and Musicians From the origins of Music to the end of the first decade of the Twentieth Century In Fourteen Volumes     GENERAL INTRODUCTION

THE HISTORY OF MUSIC (art and Science) FROM THE EARLIEST RECORDS TO THE FALL OF THE ROMAN EMPIRE. W. CHAPPELL
THE EGYPTIANS
	1.-The first firm footing for history.—Greek Music.—The Romans.—The Mediaeval system.—Greek love of Octave harmony.—Church Tones not Greek music 2.-Great similarity of systems with modern systems.—The ancient minor scale parent of the major.—Deductions about Egypt and Babylon.—Music in the time of Homer.—Lyre of the Greek Hermes.—Terpander's seven strings.—Early Greek scale of seven notes.—Its association with theseven planets 3.-The Egyptian Hermes and his three-stringed "lyre."—The Chaldaean Octave-system same as the Egyptian—The instrument of Hermes of the lute kind.—How long-necked instruments taught the mathematical proportions of the Octave.—Fable of Terpander taking his lyre to Egypt.—Egyptian Magadis and tetrachord flute.—The certainty as to the practice of harmony in ancient Egypt.
THE GREEKS
	4.-Stories about Pythagoras.—The Monochord and the Pandura.—The seven and the eight-stringed lyres.—The difference between a Greek one-octave and a two-octave scale.—Difficulties in classical Greek writers explained. 5.-Greek figure of speech "adding a string to the lyre."—Ion's addition of a tetrachord to the earlier system.—The Lesser System Complete.—The Greater System Complete.—Greek Modes and their attributed characters.—Principal modes for the voice.—Fifteen modes.—Harmony of the universe four Octaves and a Sixth.—Pythagorean system of the planets revolving round the sun.—The musical theory.—The doctrine of making the earth a fixed plain in the centre of the universe invented six centuries after the true Egyptian teaching of Pythagoras. 6.- singing.—Its high pitch lowered by Claudius Ptolemy.—Greek-written music and plan of tuning the lyre.—Greek Chromatic scale had neither Fourth nor Seventh.—Enharmonic scale.—The scale of Olympus, or Common Genus.—The Chroai, or varied tunings of scales.— The six peculiar scales, called "very ancient" by Aristides Quintillianus 7.-Greek Harmony.—Fetis's professed solution.—A passage in Plato re-considered.—Music in Greek education.—Practice of discords mixed with concords—Horace.—Seneca's description of music in an amphitheatre.—Cicero on harmony.—The modern controversy about ancient harmony. 8.-Three Greek hymns with music.—Assistance to learning rendered by illustrious Oxonians.—The three hymns the only trustworthy remains of Greek music.—Not duly represented hitherto.—Reasons given.—Now published in modern notation.
BASIS OF THE SCIENCE OF MUSIC
	9.-Its fundamental laws. — Earliest uses of music. — Mathematical divisions of strings not alone sufficient.—Minor tones introduced by Didymus, and followed by Claudius Ptolemy.—Neither the Greek scale nor the modern is properly in one key.—Hence the question whether Elevenths were concords.—How to test intervals.—The true proportions for scales.—Rules for adding and deducting intervals.—Scales of Didymus and of Ptolemy.—Defects of the modern scale.— The law of Nature the only true guide.—Objections to the Fourth and minor Seventh of the present scale.—Causes of Concord and Discord.—Pythagorean ideas realized by modern science.—Sounds too high and too low for our hearing.
THE MUSICAL INSTRUMENTS OF THE ANCIENTS
	10.- Difficulties of the subject.- Athenaeus’s incorrect account about the Hydraulic Organ—General names.— Magadis.— Sambuca.— Buxus.— Wind instruments.— Syrinx, or Pandean Pipe.— Pandura.— The Double Reed or Hautboy principle.— The Bassoon and Comet, or Como Inglese.— The Gingras.— The Bombos. —Roman Haut-boy-player.— Second principle: the Single Beed Clarionet.— The Shawm, or Chalumeau.— A Pythian game of Apollo and the Python.— Pythauli.— Chorauli.— The Box for Reeds.— Many materials for Pipes, and their names from countries and from special purposes.— Length of Arabian Pipes proverbial.— Egyptian Pipes many notes.— The Bombyx.— Third principle : the Pipe blown at the end.— The old English Flute and the Flageolet.— The Organ Diapason.— The Egyptian Pipe and Greek Monaulos and Kalamaulos.— Fourth principle : the present Flute.— The Photinx and Plagiaulos.— Egyptian Flute.— Phrygian and Berecynthian Pipes with homs at the end.— Elymos.— Scytalia.— Competitions of Pipers.— The muzzles round their mouths.— Bagpipe.— Fifth principle : the free Reed or Harmonium principle derived from China.— Sixth principle : Trumpets and Horns— Egyptian, Assyrian, Greek, Etruscan, and Roman.   11.-Instruments of Percussion.—The Egyptian Sistrum.—Drum.— Dulcimers. — Timbrels or Tambourines. — Three kinds of Cymbals. — Oxubaphoi. — Lekidoi. — Acetabula. — Krotala. — Krembala or Castanets.
STRINGED INSTRUMENTS
	12.- Stringed instruments.—The four grades of Lyre.—Phorminx, Kithara, and Chelys.—Polyphthongos, Polychordos, Barbitos, or Asiatic Lyre.—Sambuca, or small Trigon.—Etruscan Lyre. —The fabulous Tripod of Pythagoras.—Apollo an ill-used god. —The Pektis.—Nabla.—Pandoura. — Skindapsos. — Pelex.— Greeks no originators of new principles in instruments.— Appendages of the Lyre.—Psaltery a class of Harp—Large Trigon.—Psalmos.—No wire strings.—Epigoneion and Simikion real Harps. — Egyptian Harps of various kinds. — Etruscan imagination.—Bands of blind men.—Roman use of four strings. —Boethius an indifferent authority upon music.
ORGANS
	13- Why the Hydraulic Organ was an enigma to lookers-on.— Invented in the third century B.C.— Athenaeus’s error as to the date.— Heron first describes it.— Vitruvius and his commentators.— The light touch of the Organ.— Burney and Hawkins give up the attempt to understand the Hydraulic Organ.— The supposed difficulties explained.— An application of the power of water no longer in use.— Why the water was supposed to be boiling.— A condensing syringe used for bellows.— Heron’s description translated.— Vitruvius paraphrased.— Organs of 8 stops in use b.C.— Use of hollow vessels to reproduce tone in theatres.— Competitions of organists and their medals.— Two Latin idioms.— Verses to represent organ pipes.— Antiquity of the Pneumatic Organ.— Ancient bellows.— Organs on the Obelisk of Theodosius.—Julian’s epigram, and other notices.

 

Book I: The Pre-Classic Periods	Book II: Classicism and Romanticism.
Book III: Modern Music.	Book IV: Music in America.
Book V: The Voice and Vocal Music.	Book VI: Choral and Church Music
Book VII: Pianoforte and Chamber Music.	Book VIII: The Orchestra and Orchestral Music.
Book IX: The Opera	Book X: The Dance.
Book XI: Dictionary of Musicians and General Index.	Book XII: Dictionary of Musicians and General Index.
Book XIII: Musical Examples.	Book XIV: Modern Musical Examples.

The Story of the Harp

 

 

 

BIOGRAPHICAL NOTICE OF NICOLO PAGANINI,

WITH AN

Analysis of his Compositions,

AND A SKETCH OF THE HISTORY OF THE VIOLIN.

BY

F. J. Fétis.

 

 

PDF collection

THE OXFORD HISTORY OF MUSIC

 

INTRODUCTORY VOLUME

 

VOL. I

THE POLYPHONIC PERIOD. Part I METHOD OF MUSICAL ART, 330-1330

 

 

VOL. I. THE POLYPHONIC PERIOD.

 

VOL II. METHOD OF MUSICAL ART, 1330-1600

 

VOL. III. THE MUSIC OF THE SEVENTEENTH CENTURY

 

VOL. IV. THE AGE OF BACH & HANDEL

 

VOL. V. THE VIENNESE PERIOD

 

VOL VII. SYMPHONY AND DRAMA

 

THE AMERICAN HISTORY AND ENCYCLOPEDIA OF MUSIC

 

 

VOL- 1. MUSICAL DICTIONARY

 

VOL- 2. MUSICAL BIOGRAPHIES. PART ONE

 

VOL- 3. MUSICAL BIOGRAPHIES. PART TWO

 

VOL. 4. HISTORY OF AMERICAN MUSIC

 

VOL. 5. HISTORY OF FOREIGN MUSIC

 

VOL. 6. OPERAS. PART ONE

 

VOL. 7. OPERAS. PART TWO

 

VOL. 8. ORATORIOS AND MASSES

 

VOL. 9. THEORY OF MUSIC

 

VOL. 10. MUSICAL INSTRUMENTS

 

VOL. 11. ESSENTIALS OF MUSIC. PART ONE

 

VOL. 12. ESSENTIALS OF MUSIC. PART TWO

 

 

 

THE PRIVATE LIFE OF THE GREAT COMPOSERS

Beethoven Mozart Haydn Bach Handel Gluck Mendelssohn Chopin Schubert Liszt Rossini Schumann Donizetti Meyerbeer Wagner

 

 

THE HEART OF MUSIC _- THE STORY OF THE VIOLIN

 

 

THE STORY OF THE ORGAN MUSIC

 

David's Harp in Song and Story

 

 

THE STORY OF ORATORIO

 

 

THE STORY OF CHAMBER MUSIC

 

 

MUSIC IN THE HISTORY OF THE WESTERN CHURCH

 

marble statue of a Satyr with cymbals (British Museum)