39G 
MUSIC. 
to Thorough Bafs, 1801 ; Twelve analyzed Fugues, 
1810. 
Dr. Callcott’s Mufical Grammar, 3d Edition, 1817. 
Heck’s Art of Playing Thorough Bafs. 
Dufl'ec’s Inftruftions for the Piano-forte. 
King’s General Treatifeon Mufic. 
Fux’s Grad us ad Parnaffum. 
Sundry volumes of the Monthly, New Monthly, and 
Gentleman’s Magazines. 
Britifh Mag. Oft. 1810. Britifti Lady’s Mag. vol. v. 
Brady’s CLavis Calendaria. 
Ackermann’s Hift. of St. Peter's, Weftminfter; Introduc¬ 
tion to Woelfl’s Harmonic Budget. 
Baumgarten’s MSS. and other private communications. 
INDEX to the Article MUSIC. 
Abe£, a famous player on the viol da gam- 
ba, 309, 384. 
Abyffinians, their national mufic, 315! 
Ackermann’s pendulums for meafuring time, 
394- 
Aiolian harp, 378, 9. 
Agujari, a finger of wonderful power, 308. 
Aieuton, an instrument “always in tune,” 
375- 
Alcaeus, a Greek mufician, 357; inventor 
of a fpecies of poetry, 358. 
Alcibiades and the flute, 360. 
Aleman, an ancient bard, 357. 
Almahide, the firft Italian opera performed 
in England, 305. 
Alypius’s account of the Greek notation, 
317,815324. 
Amphion’s lyre, that fable ingenioufly ex¬ 
plained, 311 ; deferibed, 348 ; why placed 
with the Egyptian lyre, 353. 
Anticipation, 334. 
Antigenides, an eminent performer on the 
flute, 360. 
Archilochus, the fatirift, 356. 
Ariftides guintilianus, his ftrange notions, 
293. 
Ariftoxenus, his fyftem of mufical founds, 
292. 
Arne Dr. a capital Englilh compofer, 309. 
Arfinoe, the firft Anglo-Itaiian opera, 305. 
Apollo, the god of mufic, 288, 351, 3535 
his contefts with Pan and with Marfyas, 
351 ; received the lyre from Mercury, 
35 2 - 
Apollonicon, a large barrel and finger organ, 
37 2 * , . . 
Apuleius, his defcnption of a concert in an¬ 
cient Rome, 364. 
Auguftine (St.), his writings on mufic, 363. 
Bacchylides, the nephew of Simonides, 358. 
Bagpipe, and its fcale, 366. 
Bard. See Minftrels. 
Baritone, 384. 
Balloon, with anecdotes of celebrated per¬ 
formers, 388. 
Batalaika, or Ruffian dichovd, 345. 
Bavaria, eledtor of, a good mufician, 309. 
Beating time, 339. 
Beethoven’s Mount of Olives, 311. 
Bell-harp, 348. 
Bellows of an organ, 369, 371. 
Berenice, opera of, howreprefented at Padua, 
3°4- 
Bezozzi, celebrated hautbois and bafloon- 
players. 388. 
Billington, Mrs. a very great Englifli finger, 
310. 
Bingham’s Origines Sacrac, 368. 
Blainville, his pretended third mode, 326. 
Blair, his remarkson the ftudy of mufic, 314. 
Blondel, minftrel to Richard I. 297. 
Boethius, his writings on mufic, 363. 
Bordoni, a fine Italian finger, 305. 
Braham, Mr. the beft finger England has 
produced, 310 
Britifh harpers, 298; muficians in the reign 
of Elizabeth, 300. 
Bruce’s praife ol mufic, 314; his account 
of the Abyffinian war-trumpet, 315 ; of 
the Theban harp, 346. 
Buccina, or trumpet of rams’-horns, 349. 
Bugle-horn and its fcale, 389. 
Burney, Dr. his remark on ancient mufic, 
287; his Account of the Commemoration 
of Handel, 309 ; defeription of three great 
fingers, ibid, his explanation of the fable 
of Amphion’s lyre, 3115 remarks on the 
Theban harp, 346. 
Burton, a chorus-finger, his death, 312. 
Cadences of every kind, 329 . 
Cadmus, brought mufic and letters into 
Greece, 350. 
Ctefura, in mufic, 341. 
Callcot, an eminent and unfortunate Eng- 
lifh mufician, 310, II. 
Canons, conftrudtion of, 342, 3. 
Careftini, a great Italian finger, 306. 
Capella, Martianus, 363. 
Carillons, or chimes, 392. 
Carmen feculare of Horace, 363. 
Cafiiodorus, his works on mufic of little value, 
363 ; his defeription of the organ, 367. 
Catalani, the greateft modern female finger, 
310 - 
Catches, otherwife rounds, 344. 
Cecilia, the patronefs of mufic, hiftory of, 
299. 
Characters of mufic, 317; the ancient Greek 
characters not well underftood, 317, 18 ; 
the modern Greek more unintelligible, 
318; why the characters for the words 
were placed above thofe for the inftru- 
nients, ibid, of the ancient and modern 
time-table, ibid, and Plate I. other cha¬ 
racters, 319. 
Charles I. granted the muficians a charter, 
302. 
Charles II. and his four-and-twenty fiddlers, 
302. 
Chinefe fcale, fimilar to the Scottilh, 327. 
Chiroplaft, or hand-direCtor, 320, 1. 
Chiron, the Centaur, 353. 
Chords: common chord, 3305 chord of the 
Gxth, 330, 1; of the fixth and fourth, 
331 ; of the feventh, 331, 2 ; of the fifth, 
fourth, and fecond, 332 ; by fuppofition, 
the ninth, eleventh, and thirteenth, 333. 
Chromatic genus, little ufed at prefent, 326. 
Cibber, Mrs. a finger and aCtrefs, 309. 
Cingalefe fcale of mufic, 327; inftruments, 
328. 
Clagget’s aieuton, 375; its merits fairly 
appreciated, 376. 
Clarion, 390. 
Clarionet, and its (difputed) fcale, 387, 8. 
Clavichord, manichord, ordumb fpinet, 373. 
Claviol, or finger-keyed viol, 374, 5. 
Clayton, an Englilh compofer of little merit, 
3°S- 
Clefs, particularly of the tenor, 316. 
Clonas, an improver of the flute, 360. 
Coda, and codetta, 341. 
Collins, his lamented fate, 313. 
Common chord, 330. 
Commemoration of Handel, 308, 95 pow¬ 
erful effedts of this mufic, 312. 
Concords in general, 330 5 fundamental con¬ 
cord, 3 3 3 > 4* 
Corinna, a female mufician, gave leflbns to 
Pindar, 359. 
Cornet, a Hebrew inftrument, 349; modern, 
389- 
Counterpoint, firft invention of, 298 5 vari¬ 
ous kinds explained, 336-338. 
Couperin’s directions for gaining a good pofi- 
tion at the piano, 319. 
Crexus, the inventor of accompaniment, 
361. 
Crotch, Dr. his diftindtim, as to time, be¬ 
tween ancient mufic and modern, 305 ; 
his great merit as a compofer, 310, 11. 
Crowth, an original Britifh inftrument, 377; 
deferibed, 384. 
Cuzzoni, a famous Italian finger, 305; in 
her old age, 306. 
Cybele, the mother of the gods, 351. 
Cymbals and drums, the firft inftruments 
ufed in Greece, 350; further account, 
39 2 - 
Damon, a famous flute-mafter, 359. 
Dancing, antiquity of, 356. 
Danze, afterwards Mad. le Brun, 308. 
David, a great patron of mufic, a poet, and 
a compofer, 289; conjedtures as to his 
harp, 349, 378. 
Davies, Mifs, a very celebrated Englifli 
finger, 307. 
Demodochus, a very eminent poet and bard, 
355- . 
Dodtor in mufic, antiquity of that title, or 
degree, 2995 how to proceed for obtain¬ 
ing it, 300. 
Dorion, a flute-player, the rival of Antige- 
nides, 360. 
Drums, various kinds among the Singalefe, 
328; among the Abyffinians, 337; of 
Europe, 391; T)urkifh, 392. 
Ecclefiaftical modes, 326, 7. 
Egypt, the high antiquity of its mufic, 288 ; 
lyre, 293 ; had no mufical charadters, 
317; inftruments of, 345; fee alfo the 
Plate of Egyptian Muficians, vol. vi. 
p. 366. 
Eleventh and its derivative chords, 333. 
Elizabeth, queen, her proficiency in mufic, 
300; loved loud mufic, 302 ; her virgi¬ 
nal, 372 ; proficiency in mufic, 373. 
Englifh fingers and muficians of the eigh¬ 
teenth century. 309 ; of the prefent day, 
310 ; have no national mufic, 315; why, 
316; fiute, 385, 
Enharmonic genus, as ufed by the moderns, 
326. 
Epigonius of Sicyon, 360, 1. 
Etrufcan mufic, 361, 363. 
Euclid’s works on mufic, 293. 
Eunuchs, when firft employed on the ftage, 
304. 
Eurylochus, the reftorerof the Pythic games, 
357- . . 
Farinelli, his extraordinary powers as a 
finger, 306, 312. 
Female performers, 295; in Perfia, 359; 
in Greece, 360; forbidden, ibid. 
Fifes of three kinds, 387. 
Fifth and fixth, chord of, 332. 
Fingering on the organ, &c. 319 ; Mr. Lo- 
gier’s fyftem, 320. 
Fir-wood eonftantly ufed for mufical inftru¬ 
ments, 348. 
Fiftula 
