"Trovatore, Il," Verdi's, 281, 282. Trumpets, 149, 153, 155, 156, 162, 164. Turkey, the Christian scholars of, 67. Turks, the, 67. "Tutti" passages, 151. Tschaikowsky, Peter Ilitisch, symphonies of, 181; his "Symphony Pathetique," 181; his "Hamlet" overture, 179; his symphonic writing, 179, 382. Tschudi and Kirkman, the harpsichord builders, 92. Tympani, 153, 155. Upright piano, the, 98. "Vampire, The," 355. Vatican, the, at Rome, 75. Vaudemont, Mlle. de, 291. Venetians, the, 104. Venetian school, the, 77, 78. Venice, 45, 50, 71; school of Catholic composition at, 77; the home of opera, 253, 259, 263, 344, 357. Veni Sancte Spiritus, 9. Verdi, Giuseppe, 277; his "La Traviata," 278; his operas, 281, 282; his three styles, 282; accused of imitating Wagner, 284; his work in "Falstaff," 285, 287; his development of the arioso style, 287, 288, 331, 332, 378, 390. Vernio, Count of, 236, 237, 238, 240, 243, 244. Veron, Eugene, on rhythm, 384. "Vestale, La," Spontini's, 323. Victimæ Paschali, 9. Vienna, 95, 136, 140, 143, 337, 339, 340, 344. Viols, 147. Violas di gamba, 148, 149, 150, 151, 153, 162, 186, 187, 189. Violin, the, 83; its rapid development as a solo instrument, 127, 148, 149; assumes its proper place in the orchestra, 150, 153, 154, 155, 162, 168, 187, 188, 189, 190, 193, 250. Violins, French, 149. Violoncellos, 148, 153, 154, 162, 186, 187, 188-193. "Violons du Roi, Les," 301. Vincennes, 295. Vinci, Leonardo da, 69. Virginal, the, 87, 91. Vitellozzi, Cardinal, 72. Vittoria, Tommaso Ludovico da, 77; his works, 77, 78. Vivaldi, 131. Vogelweide, Walther von der, 58. Vogler, 324. Volkslieder, the old, 59; essential features of, 60. Voltaire, 310. Vulgate, the Latin, 68. Vulpius, Melchior, 209. Wagner, Richard, music of, 47, 58, 59, 63, 78, 137, 154; orchestra of, 154, 155, 260, 266; his "Lohengrin," 267-269, 329; his "Rienzi," 281, 358, 284, 285; his "Tannhäuser," 306, 314, 320, 325, 331, 332, 333, 334, 335, 342; "Die Meistersinger," 343, 347; Weber the artistic forerunner of, 350, 351; his debt to Weber, 352; on Beethoven's "Fidelio," 353, 354; his enormous influence on German opera, 355, 356; the greatness of his genius, 357; his operas, 358; his system, 358; his theories compared with Peri's, 359; his use of the myth as a subject, 361-363; abandons the old style and creates a new, 361, 362, 364; his _leit motiv_, 364, 365; his motives, 366-368; his works self-explanatory, 371; his recitative, 372; importance of his work, 379, 388. Waits, the, 62.