The Classic period was the period of pure beauty in instrumental music. It corresponds to the second and third periods of the Netherlands school, and existed for the same reasons, namely, that its formal materials had been developed just far enough to permit its composers to make beautiful effects without aiming at an organized system of expression. In the Classic period we find wonderful symmetry of form, a continual subordination of profound learning to a pleasing style, and a sweetness and serenity of the emotional atmosphere. In Haydn and Mozart we find simple and tuneful subjects and bright, good-natured, and perspicuous treatment. In the sonatas and symphonies of the Classic period one finds no attempt at the expression of anything deeper than sentiment. The note of passion was attempted only in opera, but it was never permitted even there to create a serious disturbance of pure musical beauty. The Romantic period took its spirit from the romantic movement in German poetry. In it one finds a constant struggle for the definite expression of the profoundest emotions of our nature. Its forms are flexible, its diction the richest attainable, and its conception of beauty based largely on its ideal of truth. It is in this period that music now is, but it does not follow that no contemporaneous composer has a right to offer us a work in the classic form and style. We must accept it as an example of pure musical beauty, and not look for an expressiveness which the composer did not seek to attain. The tendency of composers of absolute music at present is to make less and less use of the strict classic forms. But there are certain fundamental principles of music which they cannot ignore without danger to the art. The music lover who has an understanding of the spirit of musical history will best be able to appreciate their purposes and their achievements, without losing the power to enjoy the less pretentious works of the fathers of modern music. Index _A capella_ church music, 79. A minor, the scale of, 6. "Abou Hassan," Weber's, 349. Académie de Musique, the, 295. "Acis et Galathée," Lulli's, 302. "Adam and Eve," Theile's, 338. "Adonis," Perrin's, 295. Æschylus, 200, 238, 239. "Æsthetics," Veron's, 384. "Africaine, L'," Meyerbeer's, 325, 326. "Agnes von Hohenstaufen," Spontini's, 323. Agricola, 93. "Aïda," Verdi's, 282, 284, 285, 288. "Akebar, Roi de Mogol," Mailly's, 295. Alaric, 55. "Alceste," Gluck's, 314, 315. "Alceste," Lulli's, 302. Alexandria, Christian communities of, 2. Allegri, Gregorio, 77; his "Misere," 78. All Souls' College, 63. Ambrose, St., 3; his system of chanting, 3, 4, 71, 74. America, Wagner's works in, 358. American Academy of the Dramatic Arts, the, in New York, 248. "Amico fido, L'," Bardi's, 236. Amsterdam, 49. Anerio, Felice, 77; his masses, 78.