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CHAPTER PAGE I The Origins of Music
ILThe Egyptians Assyrians and Babylonians He brews Arabians Indians Chinese
Cypriote DoublePipe Player c 600 B C Cesnola Collection New York Frontispiece
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ancient artistic aulos B-flat Bach became Beethoven began Brahms called Charles Villiers Stanford Chinese choral chromatic church clef composer composition Concerto contemporaries developed diatonic diatonic scale discant Dorian dramatic early Egyptian England English enharmonic existence faburden fact Fidelio folk-music folk-song French German Gluck Greek Handel harmony Haydn influence instrument invention Italian Italy Josquin kithara known later Liszt Luca Marenzio lute madrigals master means mediaeval melody ment Meyerbeer modern modes motet Mozart musicians neumes never notation notes octave opera oratorio orchestral organ organist organum original overture Palestrina pianoforte pipe pitch plain-song played player poems probably produced pupil Purcell rhythm Rome sackbuts scale Schumann secular semitone shawms singers singing sixteenth century Sonata songs sound style success Sumer is icumen sung Symphony tetrachord tion trumpets tune violin vocal voice Wagner Wilbye words writing written wrote