Taste, 311

Technique, 163 et seq.

Tennyson, 9

Terminology, musical, 8

Theatre nationale de l’Opera-Comique, 223

Thespis, 212

Thomas, “Mignon,” 223

Tibia, 98

Titiens, 242

Tonal language, 42, 43

Tones, co-ordination of, 17

Touch, 163 et seq.

Tragedia per musica, 227

Tremolo, 91

Trench, Archbishop, 65, 66

Triangle, 74, 110

Trio, 134

Triolet, 136

Trombone, 82, 105, 106, 109 et seq.

Trumpet, 105, 108

Tschaikowsky, 88, 132;
  “Symphonie Pathetique,” 132

Tuba, 82, 85, 106, 108

“Turkish” music, 97

Tympani, 82, 111 et seq.

Ugly, the, not fit for music, 50

United States, first to have amateur singing societies, 257, 262;
  spread of choral music in, 263

Unity in the symphony, 27, 137

Vaudevilles, 224

Verdi, 152, 203, 210, 228, 236, 238, 242, 243;
  “Aida,” 152, 228, 238;
  “Il Trovatore,” 210, 243;
  “Otello,” 228, 238;
  “Falstaff,” 228, 236;
  Requiem, 290

Vestris, 153

Vibrato, 90

Vile, the, unfit for music, 50

Viola, 74, 77, 82, 92, 93

Viole da braccio, 93

Viole da gamba, 93

Violin, 73, 74, 77, 82, 86 et seq., 144, 162

Violin concertos, 145

Violoncello, 74, 77, 82, 92, 93, 94

Virginal, 168, 170

Vocal music, 61, 215

Vorspiel, 148

Wagner, 41, 79, 80, 81, 88, 89, 94, 111, 205, 206, 219, 226, 227, 232,
  235, 237, 238, 244, 248, 249, 250, 251, 303, 305, 314;
  on the content of music, 41;
  his instrumentation, 80, 111;
  his dramas, 219, 226, 227, 248;
  Musikdrama, 227, 249;
  his dialogue, 235;
  his orchestra, 238, 250;
  his operas, 248;
  his theories, 249;
  endless melody, 250;
  typical phrases, 250;
  “leading motives,” 250;
  popularity of his music, 303;
  on criticism, 314;
  “Flying Dutchman,” 248;
  “Tannhaeuser,” 248;
  “Lohengrin,” 79, 88, 235, 248;
  “Die Meistersinger,” 249;
  “Tristan und Isolde,” 87, 237, 249;
  “Rheingold,” 237;
  “Die Walkuere,” 94, 237;
  “Siegfried,” 237, 244;
  “Die Goetterdaemmerung,” 237;
  “Ring of the Nibelung,” 249, 251, 305;
  “Parsifal,” 249

Waldhorn, 107

Wallace, W.V., 223

Walter, Jacob, 53

Water, musical delineation of, 58, 59

Weber, 67, 96, 244, 248;
  his Romanticism, 67;
  “Der Freischuetz,” 96, 225;
  “Oberon,” 225;
  “Euryanthe,” 225