E-text prepared by Juliet Sutherland, Linda Cantoni, and the Project Gutenberg Online Distributed Proofreading Team (https://www.pgdp.net/c/). Thanks to Alex Guzman for help with the modern transcription of neume notation. Note: Project Gutenberg also has an HTML version of this file which includes the original 168 visual illustrations and 25 added audio files. See 20293-h.htm or 20293-h.zip: (https://www.gutenberg.org/dirs/2/0/2/9/20293/20293-h/20293-h.htm) or (https://www.gutenberg.org/dirs/2/0/2/9/20293/20293-h.zip) A POPULAR HISTORY OF THE ART OF MUSIC From the Earliest Times Until the Present. With Accounts of the Chief Musical Instruments and Scales; the Principles and Artistic Value of Their Music; together with Biographical Notices of the Greater Composers, Chronological Charts, Specimens of Music, and Many Engravings. by W. S. B. MATHEWS, Editor of "Music" Magazine, Author of "How to Understand Music," "Studies in Phrasing," "Twenty Lessons to a Beginner," "Primer of Musical Forms," Associate Editor of Mason's "Pianoforte Technics," etc., etc. Chicago: The "Music" Magazine Publishing Co. 1402-5 The Auditorium. Copyright by W. S. B. Mathews, 1891. TO DR. FLORENCE ZIEGFELD, _President of the Chicago Musical College_ THIS WORK IS RESPECTFULLY DEDICATED. PREFACE. I have here endeavored to provide a readable account of the entire history of the art of music, within the compass of a single small volume, and to treat the luxuriant and many-sided later development with the particularity proportionate to its importance, and the greater interest appertaining to it from its proximity to the times of the reader. The range of the work can be most easily estimated from the Table of Contents (pages 5-10). It will be seen that I have attempted to cover the same extent of history, in treating of which the standard musical histories of Naumann, Ambros, Fetis and others have employed from three times to ten times as much space. In the nature of the case there will be differences of opinion among competent judges concerning my success in this difficult undertaking. Upon this point I can only plead absolute sincerity of purpose, and a certain familiarity with the ground to be covered, due to having treated it in my lectures in the Chicago Musical College for five years, to the extent of about thirty-five lectures yearly. I have made free use of all the standard histories--those of Fetis, Ambros, Naumann, Brendel, Gevaert, Hawkins, Burney, the writings of Dr. Hugo Riemann, Dr. Ritter, Prof. Fillmore, and the dictionaries of Grove and Mendel, as well as many monographs in all the leading modern languages.