I. THE ORIGIN OF MUSIC 1 II. ORIGIN OF SONG VS. ORIGIN OF INSTRUMENTAL MUSIC 16 III. THE MUSIC OF THE HEBREWS AND THE HINDUS 32 IV. THE MUSIC OF THE EGYPTIANS, ASSYRIANS AND CHINESE 42 V. THE MUSIC OF THE CHINESE (continued) 54 VI. THE MUSIC OF GREECE 69 VII. THE MUSIC OF THE ROMANS--THE EARLY CHURCH 90 VIII. FORMATION OF THE SCALE--NOTATION 106 IX. THE SYSTEMS OF HUCBALD AND GUIDO D'AREZZO--THE BEGINNING OF COUNTERPOINT 122 X. MUSICAL INSTRUMENTS--THEIR HISTORY AND DEVELOPMENT 132 XI. FOLK-SONG AND ITS RELATION TO NATIONALISM IN MUSIC 141 XII. THE TROUBADOURS, MINNESINGERS AND MASTERSINGERS 158 XIII. EARLY INSTRUMENTAL FORMS 175 XIV. THE MERGING OF THE SUITE INTO THE SONATA 188 XV. THE DEVELOPMENT OF PIANOFORTE MUSIC 199 XVI. THE MYSTERY AND MIRACLE PLAY 205 XVII. OPERA 210 XVIII. OPERA (continued) 224 XIX. ON THE LIVES AND ART PRINCIPLES OF SOME SEVENTEENTH AND EIGHTEENTH CENTURY COMPOSERS 236 XX. DECLAMATION IN MUSIC 254 XXI. SUGGESTION IN MUSIC 261 CRITICAL AND HISTORICAL ESSAYS I THE ORIGIN OF MUSIC Darwin's theory that music had its origin "in the sounds made by the half-human progenitors of man during the season of courtship" seems for many reasons to be inadequate and untenable. A much more plausible explanation, it seems to me, is to be found in the theory of Theophrastus, in which the origin of music is attributed to the whole range of human emotion. When an animal utters a cry of joy or pain it expresses its emotions in more or less definite tones; and at some remote period of the earth's history all primeval mankind must have expressed its emotions in much the same manner. When this inarticulate speech developed into the use of certain sounds as symbols for emotions--emotions that otherwise would have been expressed by the natural sounds occasioned by them--then we have the beginnings of speech as distinguished from music, which is still the universal language. In other words, intellectual development begins with articulate speech, leaving music for the expression of the emotions.