How did the opera influence the development of the orchestra and orchestral music? Contrast Bach and Handel. Whose methods are used today to the greater extent? What did Haydn and Mozart contribute? What did Beethoven contribute? Contrast the orchestra used by the composers mentioned. Give an account of the work of Berlioz in the orchestral field. Give an account of the great writers of modern times. What form is the basis of writing for the orchestra? SUGGESTIONS FOR A REVIEW OF LESSONS XVII TO XXIV. Independent research on the part of pupils is essential to real mastery of a subject. The following topics can be used as subjects for short essays to be prepared by pupils. The material will be found in this book and in the reference works mentioned in connection with the various lessons. LESSON XXV.—1. The Pianoforte in America. 2. Pianoforte Makers in the 19th Century. 3. Points of difference between the early Claviers and the Modern Piano. LESSON XXVI.—1. Comparison between the Early Venetian schools of Painting and Music. 2. The composers of the Early Venetian school. 3. The composers of the Later Venetian school. 4. The development of the Science of Thorough-Bass. LESSON XXVII.—1. Queen Elizabeth as a Patron of Art. 2. Characteristics of the Early French Clavier school. 3. Influence of the Early English and French Clavier schools on subsequent Writings. LESSON XXVIII.—1. German character as reflected in early music. 2. Comparison of Bach and Handel’s Clavier Works. 3. Influence exerted by the Well-Tempered Clavichord. LESSON XXIX.—1. Comparison between the Polyphonic and Harmonic styles. 2. Musical influence of J. S. Bach’s Children. 3. The First Sonatas compared with Modern Music. LESSON XXX.—1. German appreciation of music in Haydn’s time. 2. Haydn as a man. 3. Haydn’s connection with Mozart. LESSON XXXI.—1. Mozart’s character. 2. Mozart’s struggles with poverty. 3. Mozart’s contributions to form. 4. The Viennese school of this period. LESSON XXXII.—1. Beethoven’s character as shown in his letters. 2. Beethoven’s peculiarities. 3. Beethoven and his contemporaries. LESSON XXXIII.—1. Beethoven’s manner of composing. 2. Beethoven’s love of nature. 3. Effect of Beethoven upon succeeding composers. LESSON XXXIV.—1. The points of superiority of the Violin over the Viol. 2. The three great makers of violins. 3. Why the violin is called the King of Instruments. LESSON XXXV.—1. The character of early violin music. 2. The development of violin playing and composition. 3. Arrange the great players in their respective schools. LESSON XXXVI.—1. Classify the instruments of the orchestra. 2. Give a sketch of the development of the orchestra, instruments added, etc. 3. Contrast Beethoven’s work with that of his predecessors and successors. 4. What is the form of a Symphony? In what respects does the form used by modern composers differ from that of the classical symphony? LESSON XXXVII.