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INDEX TO VOL. VI
Academy of Music: PA‘j''
Anber’s Masaniello,.................................
Bellini’s Music,..................................... ^
Donizetti’s Lucia di Lammermoor,.................. 179
XI Trovatore,.................................... • *
La Sonnambula,.................................... 867
Meyerbeer’s Prophet,............................... 383
Rossini’s Semiramide,.............................. 401
The De Lagrange Troupe,........................... 212
The Steffanone and Vestvali Troupe,................ 212
Yerdi’s Ernani,.................................... 779
American Opera: Rip Van Winkle,......... 334
Answers to Correspondents, 8, 24, 40,56, 72, 88,104,
120, 130, 152,169, 185, 200, 213, 236, 254, 272, 291, 30S,
323, 339, 356, 371, 338, 405, 420, 436.
Antediluvian Researches,............................. 286
Artistic Music and the People’s Song,................22S, 269
At what age should Instruction in Vocal Music com-
mence, .............................................
A Word about Simple Music........................... 77
Bishop McIlvaink on Preludes and Interludes,........ 251
Book Reviews, 63, 95,126, 198, 231, 352, 868, 410.
Brainerd’s (Miss Maria S.) Concert,................... 432
Characteristic Complexion of Keys,.................... 285
Church Music,....................................... 73
Classical Matinees. By Wm. Mason and Card Berg-
MANN,....................................... 400
Cinderella at Niblo’s,.......................... 266
Complimentary Concert to Mr. Eisfeld,............... 179
Congregational Music: Pastoral Letter to the Clergy and
Laity of the Prot. Epis. Church in the Diocese of Ohio,
on the subjects of Confirmation and Church Music, ... 250
Congregational Singing among Negroes,................ 107
Congregational Singing: Letters from Truro and Mar-
tellato,............................................ 384
Conversations with Mendelssohn,.................... 805
Cultivation of the Voice. By Geo. F. Root,........... 305
Didactic Hymns,..................................... 230
Emfeld’s Second Soirde,......................... — 431
English Opera at Niblo’s Garden,................213, 266, 334
Figured Base,........................................ 123
First Philharmonic Concert,.......................... 399
German Theatres,.................................... 163
How to Organize Musical Conventions. By W. B. Brad-
bury, .............................................. 231
How to Learn Music—the best Books to use,........... 119
II Trovatore at the Academy,.......................... 153
Interesting from the London Musical World,........... 178
Juvenile Concerts,.................................... 230
Letters about Richard Wagner,...................... 284
Madame De Lagrange at Niblo’s..................... 152
Mason and Bergmann’s Second Matinee,.............. 431
Mile. Parodi’s Concerts,.............................. 302
Miscellany :
Abridgement of Hymns,............................. 62
A Deacon’s Idea of “ Messages of Grace,”............ 168
A Music-Teacher Abroad,........................... 94
Antediluvian Researches,........................... 236
Artistic Hatred,.................................... 217
A Sensitive Ear,.......... 16
Chinese Flutes,........ 143
Choir Proprieties,................................... 142
Composition of Psalm Tunes,....................... 353
Dulce Domnm,..................................... 63
English Appreciation of Opera,...................... 168
Genius, the effects of,.. *............................ 143
Lines addressed to Lowell Mason. By a former
Pupil,........................................... 217
Lip Service in Choirs,..............,................ 168
Miseries of a Music Teacher,........................ 35.3
Modern Church Music,............................. 94
Musical Criticism, .................................. 823
Music as an Art,.............. 353
Musikle Eppick,.................................... 94
Music in Churches,................................. 353
Music in Schools,................................... 307
Negro Minstrelsy,.............. 14
Nourrit and Garat,................................. 217
Pensive Sammy vs. Pensez a moi,................... 143
Piano-forte Business in Boston,...................... 95
Psalm Singing, want of appreciation of, in ministers,... 94
Rich Against his Will,.............................. 236
Schneider on Church Tunes,............ 15
Sibilants,...........................................
Singing in the German Churches,....................
Sin in a Fiddle,.....................................
Specimen of Watt’s Hymns,........................
St. George’s Hall, Liverpool,........................
The Choir,.........................................
The Doctrinal Power of Music,......................
The Music Master Abroad,..........................
The Music of the Political Spheres,.................
The Polka; an Extract from a “ Country Ball,”......
The Street Opera, (a Burlesque,)....................
The Way the Choir Boys are Taught in England,.....
Worse and Worse,...................................
Mohammedan Call to Prayer,.........................
Musical Contributions,................................
Musical Conversations :
No. I. Musical Terms,..............................
No. II. Technical Terms, etc.,......................
Musical Correspondence :
Domestic.—Akron, 31 Albany, N. Y., 369; Alden, N.
Y.,369; Amherst, N. IF, 92; Antioch, O., 233; At-
tica. N. Y., 354, 417; Baltimore, 29, 61, 91, 108, 124,
PAGE
323
168
15
217
168
142
159
62
15
144
15
126
254
403
57
164
197
N. Y., 370; Blairstown. N. J., 333; Boston, 12, 29,44,
61, 77,165,182, 227, 306, 386, 417, 434; Canandaigua,
N. Y.; 13, 45, 217,232; Canton, 111., 142; Chicago,
13; Cincinnati, 124; Cleveland, 0,142,252; Ooloma,
El Dorado Co., Cal., 126; Columbus, O., 1S3, 321;
Cooperstown, N, Y., 30, 159, 252; Cortland, N. Y.,
238, 854; Dayton, 0,126; Deckerstown, N. J., 321;
Dorchester, Mass., 2S7; Dublin, O., 28S; Erie, Pa.,
Evans Center, N. Y., 125; Franklin, N. Y., 338; Ger-
mantown, Pa., 288, 370; Gettysburgh, Pa., 31;
Greenport, L. I., 45; Hamilton, O., 46; Hartford,
Ct, 417; Hudson, N. Y., 159; Indianapolis, 62, 79,
Jackson, Pa., 217; Janesville, Wis., 418,— ; Jas-
per, N. Y., 125; Jersey City, 141; Knoxville, Tenn.,
46, 142, 217,252, 322; Lancaster, N. Y.. 386; La
Porte, Ind., 91; Lewisburg, Pa., 92; Limestone
Springs, S. C., 165: Lyons, N. Y., 183, 252, 869;
Madison, N. Y„ 282; Manchester, N. Y., 125; Mat-
tituck, L. I., 270; Maumee City, O., 91; Maytown,
Lancaster Co., Pa., 886; Meadville, Pa., 45; Midlde-
town, N. Y., 79; Morrisania, N. Y., 46; Mt. Pleas-
ant, Pa., 92; Mount Vernon, O., 252; New-Albany,
Ind., 125; Newark, N. J., 14L; New-Bedford, Mass.,
108; New-IIartford, Conn., 159; Newtown, N. J.,
165, 232; Niagara Falls, 91; North-Shenango, Pa.,
418; Otowa, III, 183; Philadelphia, 12,29, 45, 61, 78,
91, 107, 124, 141, 158, 182, 199, 217, 251, 287....;
Port-Jervis, N. Y., 126; Portland, Me., 165; Provi-
dence, Pa., 370; Providence, R. I., 79, 92; Rich-
mond, Va,, 108; Ripley, O., 413; ltipon, Wis., 125;
Riverhead, L. I., 142; Rochester, 30,78, 1S2,199, 287,
3S6,417,435; Sandusky,O., 31, 370; South-Bend, Ind.,
283, 288 ; Springfield, Mass., 338, 418; Steubenville,
O. , 125; Toledo, O., 252; Troy, N. Y„ 13,78,158, 839,
369, 435; Troy, O., 31; Troy, Pa., 109; TTnionville,
30; Washington, D. C., 18, 30, 45, 78,159,165, 251,
417; Waterford, Pa., 418; Westport, Ct,, 354; Wil-
liamstown, Mass., 288; Willimantic, Ct, 125; Wil-
mington,kill., 13; Wooster, O., 31; Zanesville, O., 435.
Foreign.—Alexandria, Egypt, 47; Berlin, 46, 92,109,
270, 290, 355, 387, 419,____; Breslau, Germany, 234,
253; London, 165,1S3, 200, 217, 233, 252, 289, 307,
322, 338, 355, 886, 404, 418, 435; Manchester, Eng-
land. 307; Paris, 106, 1S4, 200, 217, 233, 252, 288, 306,
322, 339, 354, 370,387,405, 41S, 435.
Musical Gossip, 42, 57, 104,157, 161, 177,193, 209, 225,
245, 265, 981, 301, 317, 333, 349, 865,381, 397, 413, 430.
Musical Matters in New-York, 11, 28, 42, 75, 90,122,140.
Musical Reminiscences :
I. Sims Reeves and Pischek,....................... 851
II. Piano-Forte Compositions,....................... 3S3
Musical Taste and Criticism :
No. I. Criticism,.................................... 227
No. II. Mendelssohn’s Popularity in England—Rich-
ard Wagner in London—Causes of the position of
the London Musical World and the Athenceum,... 246
No. III. Mozart and his Don Giovanni,............. 267
Music in Schools—Signs of the Times,.................. 90
Music Publishers’ Convention,........................ 197
My Fourth Musical Convention Tour. By W. B. Brad-
bury, .......................................(..... 92
New and Difficult Music at Choir Rehearsals,........... 154
Niblo’s Garden :
Madame De Lagrange,............................ 152
The Daughter of St. Mark,.......................... 213
Cinderella,......................................... 266
Mr. Bristow’s Rip Van Winkle,.................... 834
Notes by the Way,................................... 14
Notices of Celebrated Artists :
Friedrich Von Flotow,........................... 106
Fr. Chopin,........................................ 308
Miss Eliza Hensler,.............................. 194
Madlle. Parodi,.................................... 302
Rachel,........ .................................. 30S
Sims Rkevf,s and PisonEK,.......................... 351
Sopiiia Cruvelli,................................. 27
Nutting’s HUolicons,................................. 372
Obituary,......................... 494
Ohio State Musical Gathering Postponed,.............. 88
Old Tunes,................ 216
On Chanting,......................................... 60
Oar Prize Songs—Great Competition,.................. 351
Our New Volume,................................... 429
Pestalozzian Music Teaching. By Lowell Mason :
Chap. I. General View—Analysis of Sounds,......... 25
II. Rhythmics: Division of Time—Measures and
parts of Measure?............................... 43
III. Rhythmics: Tones in connection with the Di-
vision of Time or Measures,......... 43
IV. Rhythmics: Musical Sounds represented by
Written Characters—Technical Terms introduced, 58
V. Melodics: The Scale—One and Two,........... 58
VI. “ Musical Siiins or Notation,........... 74
VfT. Rhythmics and Melodics United,............. S9
VIII. Rhythmics: Beating Time,............
IX. 11 Rests,....................
X. Melodics: Syllables and Solomization,.....
XI. XII. Melodics: The Scale continued,........... 121
XIII. “ United Parts of a Measure—
Primitive and Derived forms,.................... 136
XIV. Melodics: The Scale continued,............. 137
XV. Technical Terms introduced,................. 133
XVI. Rhythmics: Triple Measure,.............. 155
XVII. “ Triple Measure — Primitive and
Derived Forms,................... 156
XVIII. Melodics: The Scale completed,........... 163
XIX. , XX., XXI., XXII. Melodics: The Position of
the Scale upon the Staff,..................163.180, 196
XXIII. Melodics: Relation and Absolute Pitch—
Letters,......................................... 215
XXIV. Melodics: Clefs,.......................... 23S
XXV. Rhythmics: Four-Part Measure,........... 248
XXVI. “ Quadruple Measure, Classifica-
tion............................................ 248
XXVII. “ Rests,......................... 249
XXVIII. Dynamics: Degrees of Power,.......... 268
XXIX. “ Form of Tones,.............. 268
XXX. “ Legato, Staccato, Pause,...... 285
XXXI. Melodics: Skips, or the tones of the Scale
sung out of their regular succession,.............. 304
XXXII. Melodics: Skips: one, three, and five,... 304
XXXIII. “ “ one, three, five, and eight, .320
XXXIV. “ “ one, three, five, eight, and
seven,.......................................... 326
XXXV. “ “ one, three, five, eight,
seven and four,................................. 836
XXXVI. Melodics: Skips: one, three, five, eight,
89
105
105
seven, four, two, and six,........................ 336
XXXVII. Rhythmics: Syncopation,.............. 351
XXXVIII. , XXXIX. Melodics: Extension of the
Scale,.......................................367, 3S4
XL. Melodics : Male and Female Voices — Entire
Vocal Compass—Classification of Voices,......... 401
XL. Concluded,.................................. 432
Pestalozzian Music Teaching, object of the articles on, 415
Pestalozzian Principles of Instruction. By Lowell
Mason,............................................ 9
Piano-Forte Playing,...............................195, 211
Pleasures of a Young Chorister,........................ 31
Posthumous works of Fr. Chopin,..................... 308
Preludes and Interludes. By Bishop McIlvaink,...... 251
Prize Composition,.................................... 286
Rachel’s Performances,............................... 303
Sheet Music Reviews, 16, 32, 47, 64, 79, 95, 126, 144,
159,166, 198, 231, 251, 269, 286, 306, 321, 337, 352, 368,
885, 416, 434.
Singing a Recreation in Schools,.......................
Sketch of Mr. Lowell Mason : a suitable Mark of Honor,
Special Notices, 8, 24, 40,56,72, 88, 104,120, 136, 152,
169, 186, 201, 219, 237, 255, 273, 291, 309, 324, 340, 357,
371, 3S9, 406, 421, 437.
State Musical Gathering in Ohio,......................
Statistics of German Theatres,.........................
Suggestions to those who desire to organise Musical Con-
ventions,............. 24
The Academy of Music—Row things are done there,..... 162
The Academy of Music under Mr. Paine,............335, 414
The German Concerts,................................ 432
The German Musical Festival,........ 214
The Music Trade of New-York........................ 76
Theodore F.isfeld’s Classical SoirOes,................. 399
The Ohio State Musical Gathering at Cleveland,......... 216
The Opera at Church,............ 11
The Pilgrim Fathers, a Cantata, Performance of the, in
New-York,......................................... 139
Thorough Base—Answers to Questions on,............. 181
Time and Tune—their union and offspring, (an Allegory,) 167
Travelling Sketches. By S. v. W.,..............164,198, 230
Universal Capacity for Music,......................... 59
Voice Teaching in Milan,.............................. 319
What Sometimes happens to Concert-goers,............. 76
Where shall we get an Organ ?........................ 402
402
271
43
163