Melody, modern, first appearance of, 10; production of, 10, 11, 21. "Melusine," Mendelssohn's, 180. Melzi, Prince, 313. Mendelssohn, Bartholdi Felix, orchestra of, 154; his symphonic writing 179, 180; chamber music of, 196; his "St. Paul," 213, 226, 227, 228; resurrects Bach's St. Matthew Passion, 221, 227; oratorios of, 225, 226; his "Songs Without Words," 226; his "Midsummer Night's Dream" overture, 226; his "Hebrides" overture, 180, 226; attracted toward the Protestant oratorio, 227; his "Elijah," 229-231; his choruses, 229; his use of the chorale, 229; his fusion of styles, 230, 232, 352. Mercadante, Saverio, operas of, 281. "Merlin," Goldmark's, 356. Mersenne, Marin, describes the clavicymbalum, 91; his "Harmonie Universelle," 100. Merulo, Claudio, the "toccata" of, 104, 122; his festival play, 237. "Messiah, The," Handel's, 152, 207, 212; most popular oratorio in the United States, 215, 232, 223, 272. Meyerbeer, Jacob, 281, 323; his early work, 324; his operas, 324, 325; his grandiose style, 325, 326; his powers of characterization, 327, 330; his influence on Gounod, 331; his influence on Saint-Säens, 333, 334, 356, 358. Michaelis, Theodore, 296. "Midsummer Night's Dream" overture, Mendelssohn's, 226. Milan, 49, 281, 288, 308. Milton, John, 185. Minnesingers, the, 55, 56; the era of, 58. Minnesingers, the German, 56. Minnesong, the, 58. Minor key, the modern, introduction of, 214, 243, 261. Minstrels, the, 55; songs of, 57, 240. Minuet, the, 138, 139, 144, 168. Minuet movement, the, 139, 144. Minuets, Haydn's, 144; Beethoven's, 144. Miracle plays, the, 56, 201; abuses of, 202; Neri's reforms in, 202-203. "Mireille," Gounod's, 329. "Misere," Allegri's, 78. "Mitridate, Re di Ponto," Mozart's, 340. Mohammed II., 67. Molière, 301. Monochord, the, 71, 86, 87, 88, 103. Monody, Italian, 291, 292. Monophonic era, the, 81. Monophonic style, the, 115; development of, 126-146; sonata form tending towards, 160, 251. Mons, 49. Montalto, Cardinal, 246. Montaud, 333. Monte, Cardinal dal, 246. Monte, Philip de, 40, 49. Montpensier, Mlle. de, 301. Monteverde, Claudio, development made in the orchestra by, 149; his "Orfeo," 149, 254; significance of his work, 150; his operas, 150, 157; his early work, 253, 254; his "Arianna," 254; his "Tancredi e Clorinda," 259, 262; the Wagner of his time, 260; innovations of, 260; Parry's comments on the work of 261, 262, 264; his influence on Lulli, 306, 307. Morley, "Plain and Easy Introduction to Practical Music," 128. Morzin, Count, 136.