Anhalt-Koethen, 121. "Anima e Corpo," Cavaliere's, 148; production of, 149; the first oratorio, 203. Anti-buffonists, the, 309. Antioch, 3. Antiphonal writing, 46. Antwerp, 40. Apollo, 200. Apostles, the, 2. "Appassionata," Beethoven's, 145. Arabs, the, 57. Arcadelt, 39, 75. Architecture, Doric, 69, 70. Architecture, Gothic, 70. Arezzo, Guido d', 19, 86. Aria, five kinds of, 273. _Aria da capo_, the, 263, 265; Scarlatti's development of, 269, 270; Verdi's use of, 282, 287. Aria form, the, 318, 363, 364. "Ariadne," Perrin's, 295. "Arianna," Monteverde's, 254, 260. "Ariodant," Méhul's, 322. Arioso style, the, of Italy, 210, 287, 288, 330, 372, 377. Aristoxenus, on rhythm, 238. Armand, St., 14. "Armide," Gluck's, 315. "Armide," Lulli's, 302, 303-306. Arnstadt, 121. Arpeggios, 105, 107. Art, the Renaissance in, 69. "Art of Fugue, The," Bach's, 122. "Artaserse," Gluck's, 313. Artusi, 260. "Ascanio," Saint-Säens', 332. "Attaque du Moulin, L'," Bruneau's, 334. Auber, Daniel François, operas of, 323. Augsburg, 95. "Ave Maria," Verdi's, 283. Avignon, papal court removed to, 24. B minor, Bach's mass in, 153. Babcock, Alpheus, 97. Bacchus, the altar of, 200. Bach, Carl Philip Emmanuel, on clavichord playing, 108; piano sonatas of, 130, 133, 134, 161; the "father of the sonata," 132; work of, 132-134; his departures from polyphony, 133, 135, 138, 139, 144; symphonies of, 161. Bach, Johann Sebastian, 90, 91, 93, 98, 100; his "Well-Tempered Clavichord," 100, 106, 122, 139; his use of the thumb, 109; his fingering, 109; his style, 109; great compositions of, 115; the fugues of, 120; his life, 120, 121; the most excellent of all models, 121; his works, 121; his organ and clavichord fugues, 122; his mastership of artistic organization, 123, 127; his concertos, 130; his sonatas, 122, 131, 190; orchestra employed by, 152, 153, 188, 189; his chamber music, 190; his settings of the story of Christ's passions, 207, 217, 338; his oratorios, 207, 209, 211, 212; his St. Matthew Passion, 212; his oratorios compared with Handel's, 213, 215, 216, 217; essentially German, 216; his use of the German chorale, 217; criticism of his work, 218, 219, 220, 221, 227, 228, 229, 230, 231, 233, 358, 389, 391. Baffo, Johannes, the harpsichord builder, 92. Baini, the biographer of Palestrina, 44. Ballet, the Italian, introduced to Paris, 291. "Ballet Comique de la Royne," Beaujoyeux's, 148, 290-294, 296. Ballet movements, 158. Ballets, the French, 291, 292, 294, 306, 307, 318. Baltazarini. See _Beaujoyeux_.