CHAPTER XIV--POLYPHONIC SCHOOLS OF ITALY--PALESTRINA 168-178 Prosperity of Italy in fifteenth century--great cathedrals and public works--conservatories founded at Naples--Willaert at St. Mark's, Venice--Zarlino--his reforms in theory--Cypriano de Rore--Goudimel; Palestrina--the council of Trent--Palestrina's music--Martin Luther. CHAPTER XV--CHANGES IN MUSICAL NOTATION 179-188 General direction of musical progress toward classification and the establishment of unities of various kinds--early letter notation of the Greeks and Romans--Roman notation as used by Guido of Arezzo--neumae--with lines--additional lines--"Lament for Charlemagne"--notation employed by the French Trouveres--clefs--new staff proposed by an American reformer. CHAPTER XVI--MUSICAL INSTRUMENTS--THE VIOLIN AND ORGAN 189-207 Progress in tonal perceptions--influence of harp and lute--description of the latter--system of stringing--locating the frets--the violin--bow discovered in India--early forms of bowed instruments--rebec; barytone--viol da Gamba--Amati--Stradivari--peculiarities of his instruments--Maggini--Stainer--antiquity of the organ--early forms--organ sent Charlemagne--organs at Munich--Malmesbury Abbey--measure of organ pipes--portable organ--clumsiness of the old keyboards--the organ in 1500 A.D. BOOK THIRD--THE DAWN OF MODERN MUSIC. CHAPTER XVII--CONDITION OF MUSIC AT BEGINNING OF EIGHTEENTH CENTURY 211-220 Justification of the name "apprentice period"--office of domestic musicians in England in the reign of Elizabeth--great fondness for music everywhere--casual influence of counterpoint in educating harmonic sense--madrigal--multiplicity of collections of this kind--absurd use of madrigals for dramatic monody--the work of the seventeenth century, free melodic expression--the new problem of the musical drama--the representative principle in music--music last of the arts--Florence and Venice the centers--statistics of books published from 1470 to 1500. CHAPTER XVIII--FIRST CENTURY OF ITALIAN OPERA AND DRAMATIC SONG 221-234 Circle of the Literati in Florence--Galilei and his monody--Peri's "Dafne"--Schuetz's setting of the same--Peri's "Eurydice"--rare editions--_Il stilo rappresentativo_--Cavaliere's oratorio "The Soul and the Body"--second period of opera--Monteverde's "_Arianna_"--orchestra of the same--new orchestral effects--scene from "Eurydice"--director of St. Mark's--Legrenzi--Cesti--public theaters--Alessandro Scarlatti--_recitativo stromentato_--Corelli--sonatas for the violin--influence of the violin upon the art of singing--origin of Italian school of singing--artificial sopranos--Porpora; Selections from Monteverde, Cavalli and Scarlatti. CHAPTER XIX--BEGINNINGS OF OPERA IN FRANCE AND GERMANY 235-243