“Eroica” symphony, 100, 132, 136;
  Fifth symphony, 28, 29, 30, 31, 92, 103, 120, 125, 133;
  “Pastoral” symphony, 44, 49, 53, 62, 63, 94, 102, 132, 140, 141;
  Seventh symphony, 31, 32, 132, 133;
  Eighth symphony, 113;
  Ninth symphony, 33, 34, 35, 94, 133, 136, 138, 305;
  Sonata, op. 10, No. 3, 321;
  Sonata, op. 31, No. 2, 29;
  Sonata “Appassionata,” 29, 30, 31;
  Pianoforte concerto in G, 31;
  Pianoforte concerto in E-flat, 146;
  Violin concerto, 146;
  “Becalmed at Sea,” 60;
  “Fidelio,” 203, 208, 232;
  Mass in D, 60, 292, 294;
  Serenade, op. 8, 151

Bell chime, 74

Bellini, 203, 204, 242, 245;
  “La Sonnambula,” 204, 245;
  “Norma,” 242

Benedetti, 242

Berlin Singakademie, 262

Berlioz, 49, 80, 87, 89, 90, 94, 100, 102, 104, 113, 137, 138, 139,
  294, 295;
  “L’idee fixe,” 137;
  “Symphonie Fantastique,” 137;
  “Romeo and Juliet,” 90, 94, 139;
  Requiem, 113, 294, 295

Bizet, “Carmen,” 238, 242

Boileau, 206

Bosio, 241

Boston Symphony Orchestra, 81, 82, 108

Bottesini, 94

Bourree, 173

Brahms’s “Academic overture,” 101

Branle, 173

Brass instruments, 74, 104 et seq.

Brignoli, 209, 242

Broadwood’s pianoforte, 195

Brown, Dr. John, 321

Bully Bottom in music, 61

Bunner, H.C., 136

Burns’s “Ye flowery banks,” 175

Caccini, “Eurydice,” 234

Cadences, 23

Cadenzas, 145

Calve, Emma, 242, 247

Calvin and music, 275

Campanini, 242

Cantatas, 290

Cat’s mew in music, 52

Catalani, 245, 246

Chaconne, 153

Chamber music, 36, 44 et seq., 144

Chicago Symphony Orchestra, 81, 82, 108

Choirs, 253 et seq.;
  size of, 257 et seq., 264, 271;
  men’s, 255, 260;
  boys’, 261;
  women’s, 261;
  mixed, 262, 264;
  division of, 260, 266;
  growth of, in Germany, 262;
  history of, in America, 263;
  in Cincinnati, 264;
  contralto voices in, 270

Choirs, orchestral, 74

Chopin, 167, 188, 190, 191, 192, 196;
  his romanticism, 188;
  Preludes, 190;
  Etudes, 191;
  Nocturnes, 191;
  Ballades, 192;
  Polonaises, 192;
  Mazurkas, 192;
  his pedal effects, 196

Choral music, 253 et seq.;
  antiphonal, 267;
  mediaeval, 274;
  Calvin on, 275;
  Luther’s influence on, 276;
  congregational, 277;
  secular tunes in, 276, 277;
  Romanticism, influence on, 277;
  preponderance in oratorio, 289;
  dramatic and descriptive, 289

Chorley, H.F., on Jenny Lind’s singing, 243