Tannhaeuser, 41. Temple, Hope, 152. Tennyson, Lady, 152. Tenson, 46. Terence, 31. Tesi, Vittoria, 112. Thegerstrom, Hilda, 219. Thorn, Edgar, 209. Thys, Pauline, 188. Tournament, 47. Train, Adeline, 209. Travenet, Mme. de, 193. Tretbar, Helen, 209, 242. Troubadours, 38, 39, 44-56, 59, 60. Troup, Emily J., 144. Trouveres, 47, 48. Tschitscherin, Theodosia de, 229. Tunison, Louise, 209. Tussenbroek, Hendrika van, 217. Tyrell, Agnes, 163. U Uccelli, Caroline, 215. Ulrich von Lichtenstein, 43. Ulysses, 24. V Valentine, Ann, 133. Van Buren, Alicia, 206. Verdi, Giuseppe, 84-85. Verger, Virginie du, 191. Verse, 47. Vezzana, Lucretia, 65. Viardot-Garcia, Pauline, 183, 184. Vidal, Pierre, 43. Vigny, Louise von, 172. Vizzani, Orsina, 64. Vorwerk, Henrietta, 227. W Wace, Robert, 48. Wacht-Lieder, 40. Wagner, Cosima, 88. Wagner, Richard, 85-88, 240. Walter, Ida, 142. Walther von der Vogelweide, 41. Ward, Kate Lucy, 152. Wartburg, 41. Weber, Aloysia, 75. Weber, Carl Maria von, 78-80. Weber, Constance, 75, 77. Westrop, Kate, 144. White, Maude Valerie, 150, 238, 239. Wieck, Clara, 90-102, 106. Wieck, Friedrich, 91, 102. Wieck, Marie, 91-171. William of Poitou, 50. Williams, Margaret, 205. Willman, Magdalena, 119. Winkel, Therese, 173. Wiseneder, Caroline, 167, 242. Wodzinski, Marie, 129. Wolfram von Eschenbach, 40. Wood, Mary Knight, 206. Woods, Eliza, 205. Woolf, Sophia, 136. Wurm, Marie, 140. Wurmbrand, Countess, 169. Y Young, Harriet Maitland, 141. Z Zapater, Rosaria, 230. Zaubiter, Ida, 173. Zentner, Clary, 216. Zimmermann, Agnes, 145, 239. Zumsteeg, Emilie, 159. ----------------------------------------------------------------------- FOOTNOTES: [1] For a good account of Hindoo music, see "Curiosities of Music," by L. C. Elson. [2] Aside from the supernatural phase, the great power ascribed to music by all mythologies may well have its foundation in fact. Taking as illustration the ease with which the ignorant classes of the present, especially in thinly settled countries, become the prey of various delusions, it may well be true that whole races have passed through mental stages in which their emotions, aroused by music, exerted an almost irresistible power. [3] Among the early forms of composition, the most important was the mass, consisting of Kyrie, Sanctus, and other prescribed numbers, much as at the present day. More free in form was the motet, in which religious subjects were treated in contrapuntal fashion. The madrigal differed from this only in dealing with secular subjects. That these old madrigals, with their flowing parts and melodic imitations, are not unpleasing to modern ears, has been often proven. Their progressions are at times strange to us, but on repeated hearing often become imbued with remarkable delicacy and appropriateness. [4] La Mara claims that the "Carneval" was inspired wholly by Clara, while Reissmann gives that honour to Ernestine.