Materna, Amalia, 247

Matthews, Brander, 11

Mazurka, 192

Melba, Nellie, 204, 238, 245, 247, 271

Melody, 19, 21, 22, 24

Memory, 19, 21, 73

Mendelssohn, 41, 42, 49, 59, 61, 67, 102, 109, 132, 139, 140, 149,
  168, 243, 278, 288, 289, 322;
  on the content of music, 41, 42;
  his Romanticism, 67;
  on the use of the trombones, 109;
  opinion of Jenny Lind, 243;
  “Songs without Words,” 41;
  “Hebrides” overture, 59, 149;
  “Midsummer Night’s Dream,” 61, 102;
  “Scotch” symphony, 132, 139;
  “Italian” symphony, 132;
  “Hymn of Praise,” 140;
  “St. Paul,” 278;
  “Elijah,” 288, 289

Mersenne, “Harmonie universelle,” 175, 176

Metropolitan Opera House, New York, 203, 224, 226, 244

Meyerbeer, 89, 102, 203, 204, 208, 242, 243, 244;
  “L’Africaine,” 89;
  “Robert le Diable,” 102, 208, 244;
  “Huguenots,” 204;
  “L’Etoile du Nord,” 243

Military bands, 123

Minor mode, 57

Minuet, 134, 151, 173, 179

Mirabeau, 293

Model, none in nature for music, 8, 180

Monteverde, “Orfeo,” 87

Moscheles, on Jenny Lind’s singing, 243

Motet, 283

Motives, 22, 24

Mozart, 84, 109, 132, 145, 151, 168, 183, 184, 195, 202, 203, 221,
  224, 228, 230, 238, 244, 265, 292;
  his pianoforte technique, 184;
  on Doles’s mass, 292;
  his orchestra, 238;
  his edition of Handel’s “Messiah,” 265;
  on cadenzas, 145;
  his pianoforte, 195;
  his serenades, 151;
  “Don Giovanni,” 109, 202, 221, 222, 228, 230;
  “Magic Flute,” 203;
  G-minor symphony, 132;
  “Figaro,” 202, 228

Musica parlante, 234

Musical instruction, deficiencies in, 9

Musician, Critic, and Public, 297

Musikdrama, 227, 238, 249

Neri, Filippo, 288

Nevada, Emma, 204

Newspaper, the modern, 297, 298, 313

New York Opera, 206, 226, 241

Niecks, Frederick, 192

Niemann, Albert, 233

Nightingale, in music, 52

Nilsson, Christine, 242, 246, 247

Nordica, Lillian, 247

Norman-Neruda, Madame, 320

Notes not music, 20

Nottebohm, “Beethoveniana,” 63

Oboe, 47, 74, 78, 82, 84, 98 et seq.

Opera, descriptive music in, 61;
  history of, 202 et seq.;
  language of, 205;
  polyglot performances of, 207 et seq.;
  their texts perverted, 207 et seq.;
  words of, 209, 210;
  elements in, 214;
  invention of, 216 et seq.;
  varieties of, 220 et seq.;
  comic elements in, 221;
  action and incident in, 236;
  singing in, 239;
  singers compared, 241 et seq.