Organ school, the, of Venice, 102, 209; of Rome, 104. Organum, the, of Hucbald, 14, 35. Orléans, 10. "Orpheus," Schütz's, 337. "Otello," Rossini's, 277, 278. "Otello," Verdi's, 282, 283, 284, 285, 286. Overture, the, Gluck's idea of, 316; advancement of, 353. "Overture, the Italian," 159, 160. Overture, the programme, 178. Overtures, Lulli's, 159; their influence upon the symphony, 161; Weber's, 353; Beethoven's, 353. "O Welt, ich muss dich lassen," 60. Oxford, 63. Paderewski, 114. Padua, 93. "Pagliacci," 287. Paisiello, 221, 275. Palazzo Bardi, the, 239, 244. Palestrina, 44, 45, 49; his masses, 72; his development of church polyphony, 74; his career, 74; his style, 75, 76, 77, 78, 80, 120, 328, 338, 387. Paliarino, an instrument maker, 94. Pandæan pipe, the, 149, 250. Papal Chapel, the, 75, 77. "Papillons," Schumann's, 180. "Pardon de Ploermel, Le," Meyerbeer's, 325. Paris, 2, 24, 28, 45, 87, 277; Italian ballet introduced to, 291, 294, 301, 306, 308, 312, 313, 314, 315, 328, 358. "Paris and Helen," Gluck's, 314. Paris Grand Opéra, the, 296. Paris, the University of, becomes the centre of European study, 24, 87. Parisian symphony, Mozart's, 165. Parry, Dr. C. H. H., on the "Evolution of the Art of Music," 81, 120, 129, 130; on Beethoven and the symphony, 167, 168, 169; on Stradella and Cesti, 205, 216; his comments on the work of Monteverde, 261, 262; on Gluck, 320; on Meyerbeer, 326; on Mozart, 342; on classicism, 381. "Parsifal," Wagner's, 358, 360. Pasquine, Bernado, the works of, 105. Passacaglia, a, 129. "Passage work," 131. Passion, the, Bach's settings of, 122, 207; Schütz's settings of, 210, 211; Brockes' text of, 211. _Pasticcio_, a, 313. "Pastorale," Cambert's, 295. Paul, Saint, 2. Pavanes, the, 128. Pedal, the "celeste," 97. Pedalling, 113. "Penitential Psalms," Lasso's, 50, 73. Penna, Lorenzo, 105; rules of, 108. Pergolesi, 275. Peri, Jacopo, the "Daphne" of, 244, 245; his "Eurydice," 149, 245, 246; his theory of recitative, 247, 248, 249, 250; peculiarities of his music, 250-252, 253, 254, 264, 285, 290, 303, 307, 315, 318, 336, 337, 345, 352, 357; Wagner's theories compared with those of, 359, 361, 377. Pericles, 319. Perotin, the "Posui adjutorum" of, 25, 27. Perrin, Pierre, operas of, 295, 296, 300, 301. "Persée," Lulli's, 302. Persephone, the rape of, 200. Pesaro, 277. "Peter Schmoll," Weber's, 349. Philadelphia, 98. "Philémon et Baucis," Gounod's, 329. Philip the Fair, 24. "Phryne," Saint-Säens', 333.