Pianists, professional, 102; their rules, 108. Piano, the, precursors of, 71; the result of a long development, 83; its fundamental principle, 83; evolution of, 85-98; the Steinert collection, 87; equal temperament in, 98-100, 186, 191, 193, 194; technics of, 388. Piano, the English, 97, 111. Piano playing, evolution of, 101-115. Piano style, the polyphonic, 116-125. Pianos, Viennese, 96, 97. "Pianoforte, The," Rimbault's, 93. "Pianoforte Sonata," the, Shedlock's, 133. Picardy, 292. Piccini, 275; his development of the operatic finale, 275, 314, 315. Piccolo, the, 149, 155. Piedmont, 290. Pipers, town, 61. "Piramo e Tisbe," Gluck's, 313, 315. Pius IX., Pope, 72. Pizzicato, the, invention of, 151. "Plain and Easy Introduction to Practical Music," Morley's, 128. Plays, Greek, influence upon oratorio of, 199, 200, 201. Plays, secular, 235. Plays, the pastoral, 291, 292. Pliny, the Younger, 2. Poetry, German, 392. Poetry, relation of music to, 316. Poets, Italian, 203. Polka, the, 20. "Polyeucte," Gounod's, 329. Polyphonic era, the, 81. Polyphonic forms, the, 22, 25, 27; difference between the sonata and, 125. Polyphonic motet style, the old, 210. Polyphonic period, the, characteristics of, 387, 389, 391. Polyphonic playing, 106-108. Polyphonic style, the, 115, 190. Polyphonic writing, 44, 73; a new kind of, 112, 117, 124. Polyphony, church, 74; England's mastery of, 80, 129. Polyphony, English, 27. Polyphony, instrumental, 124; comes to an end with Bach, 124; on a new basis, 214. Polyphony, vocal, 148. "Pomone," Perrin and Cambert's, 296, 300. "Pompeo," Scarlatti's, 265. Ponte, Lorenzo da, the "Don Juan" of, 343. "Posui adjutorum," the, of Perotin, 25. "Power of Love and Wine, The," Weber's, 349. "Power of Sound," Spohr's, 180. Preludes, Bach's, 122, 123. Printing, invention of, 67; introduction of, 68. "Prophète, Le," Meyerbeer's, 325. "Proserpine," Saint-Säens', 332. Protestant Church, the, 71; in Germany, 217, 218, 228, 229. Protestantism, the spirit of, 212. Provence, 292. Psalms, Hebrew, 2; in the early Church, 3; antiphonal chanting of, 3. Ptolomæus, Claudius, 86. Pythagoras, the musical system of, 14, 85. "Quartet, American," Dvorak's, 198. Quartet, string, the, Haydn the father of, 137; Monteverde's use of, 150; Scarlatti's use of, 151, 190, 193; the opportunities offered by, 194, 197. Quartets, Haydn's, 137, 190, 191; Mozart's, 140, 192, 168, 186, 189; Gossec's, 190; complete establishment of, 192; Beethoven and romanticism in, 192-196. Quartets, piano, 186, 191, 193, 196, 197.