Nevertheless, what they did under the incentive of a genuine artistic impulse was in direct line with the whole intellectual progress of the Renaissance.

The thing that was patent to them was the importance of studying the models of antiquity to find out how dramatic delineation was to be accomplished; but in doing so they discovered the one element which had been wanting in the Italian lyric drama since its birth in the Mantuan court, namely, the way to set speeches for one actor to music having communicative potency and capable of preserving the intelligibility of the text.
So they completed a cycle of the art of dramatic music, and, having found the link that was missing in the musical chain of Poliziano's "Orfeo," reincarnated Italy's Arcadian prophet, and built the gates through which Monteverde ushered lyric composition to the broad highway of modern opera.
INDEX Agility, vocal, 214 Alemannia, Rudolfo de, 41 Alessandro, Gian Andrea di, 46 Ambros, August Wilhelm, 107 "Amfiparnaso," 191 et seq.
"Apollo and the Python," spectacular intermezzo, 174 Arcadia, the Italian, 62 et seq.
Archilei, Vittoria, 216, 218 Argyropoulos, John, 69 "Arion," spectacular intermezzo, 175 Ariosto, performance of his "Suppositi," 90, 136 Ballata, 76, 116, 144 "Ballet Comique de la Reine," 178 Banchieri, Adriano, 198 Banquets, music at, 139 Basso continuo, 232 Bati, Luca, 30 Beccari, 170 Bembo, Pietro, 61 Boccaccio, 59 Botta, Bergonzo, festal play by, 161 Busnois, Antoine, 115 Caccini, Giulio, 172 "Nuove Musiche," its aim, 221 et seq.
"Calandra," performance of, 96 _Cantori a liuto_, 119, 121 et seq.
Carnival Song (canto carnascialesco), 76, 105, 116 Casella, 119 Castiglione, 61, 114 performance of his "Tirsi," 164 Cavaliere, Emilio del, first recitatives written by, 177 Chant, music of liturgical drama, 11 disappearance from "Sacre Rappresentazioni," 24 Chartreux, Jean le, 40 Chorus, in first secular drama, 89, 116 Comedy, influence on lyric drama, 179 et seq.
Vecchi's theories, 192 Compere, Loyset, 115 Concerts, early, 142 Corteccia, 119 Costumes in early lyric plays, 92 Dance, dramatic, in church ritual, 2, 3 in open-air plays, 16 orchestral music for, 144 executed to concealed chorus, 172 characteristic national, 176 Dante, 58 Della Viola, Alfonso, 170 Della Viola, Gian Pietro, 45 Des Pres, Josquin, 104 Disciplinati di Gesu Cristo, 22 "Divozione," 25 et seq.
Drama, lyric, sources, 4 open-air religious, 13 at Florence, 19 revival in Europe, 54 causes of disappearance, 53 Dramatic dialogue, in madrigal drama, 184 Dramatic element, in early church music, 2 in ceremonials, 4, 5 "Esaltazione della Croce," sacred play, 29 orchestra in, 138 "Euridice," Peri's, 219 Feltre, Vittorino da, 37, 41 Ferrara, musical relations with Mantua, 46 Festa, Constanzo, 165 Fete of the Ass, 14 Ficino, Marsilio, 70 Florence, reform of dramatic music, 220, 234 Florid element, in early church music, 1 its disappearance, 2 in madrigal, 214 in early operas, 231 Frottola, 76, 101, 102, 104 et seq., 122 distinguished from madrigal, 108, 112 arranged for solo voice, 124 et seq.
Gaffori, Franchino, 43 Gonzaga, house of, 35 et seq.
Gian Francesco, 37 Ludovico, 38 Grecian ideals in Italian literature, 54, 58 et seq., 62 et seq.
Gualterotti, spectacular festal play, 171 "Harmony of the Spheres," intermezzo by Cavaliere, 173 Harmony, modern begun, 233 Individuality, medium of expression sought, 155, 157 found, 220 et seq.
Intermezzi, spectacular in 1589, 173 Intermezzo, 91 Isaak, Heinrich, 107 Italian, Latin preferred to, 59 Poliziano's use of, 72 Italian music, defining its character, 149 Italian thought, state of in sixteenth century, 181, 209, 210, 211 Italy, lack of national unity, 60 Kallistos, Andronicus, 69 Landino, 61, 69 Lauds, 21 et seq.
music of, 23 development of, 25 Lavagnolo, Lorenzo, teacher of dance at Mantua, 45 Lighting in early plays, 95 Liturgical drama, 1 et seq.
early examples, 6 et seq.
its longevity, 9 character of music, 5, 6, 10 French as related to opera, 12 costumes, etc., 26 stage used, 26 Luzzaschi, music to "Pastor Fido," 172 Lyra di braccio, 134 Lyre, 130 Madrigal, 102, 104, 105, 112 Italian, 148 solo, 168, 216, 217, 218, 219, 223 florid element in, 214 ornamented by singer, 217, 218 Madrigal drama, transition to from frottola, 147 et seq.
in maturity, 191 et seq.
Madrigal dramas, 166 comedy in, 179 et seq.
dialogue in, 181, 198 et seq., 201, 203 instruments in, 185, 199 manner of performance, 198 et seq.
voices in, 200 solo in, 201 unintelligibility of text, 213 Mantegna, 38, 39, 40 Mantua, birthplace of secular drama, 35 sketch of the marquisate, 35 et seq.
literary and artistic importance, 36 music at, 40 et seq.
musical relations with Ferrara, 46 Marenzio, Luca, 50 "Marienklage, die," liturgical drama, 9 "Mary Magdalen," sacred play, 33 Masques, 32, 33 Medici, Lorenzo de, writer of sacred plays, 29 Merulo, Claudio, his "Tragedia," 171 Minuccio, 119, 120 Monody, movement toward, 149 Caccini's, 222, 225 Music, in sixteenth century lyric dramas, 164 [Transcriber's Note: The letter "N" is absent from the Index.
Possible entries include: Namur, Naples, Narcissus, Naumann, Nero Neri, Netherlands, Noirville, Novellara, Nuremberg.] Oboe, 145 Opera buffa, germs of, 188 Orchestra, in "Sacre Rappresentazioni," 30, 31 at Mantua, 44 in first secular drama, 89, 136 et seq.
Striggio's, 138, 185, 186 in other early lyric plays, 161, 162, 174, 175, 177, 199 "Orfeo," performed at Mantua, 52, 55, 68 Italian estimates of, 55, 56 importance of its production, 57, 66 its lyric character, 66, 77, 79 description of poem, 76 et seq.
how written, 72 Sismondi's comments on, 73 Symonds on, 74 editions compared, 75, 79, 80 how performed, 85 et seq.
examination of its music, 98 et seq.
choruses, 101, 116 solo parts, 101, 117 et seq.
solo parts, frottola as basis of, 124 instrumental parts, 101, 129, 136 et seq., 144 Orpheus, embodiment of Arcadian ideal, 63, 65 Paganism, Italian medieval, 62 Pageant of St.John's Day, Florence, 28 Pageants, relation to "Sacre Rappresentazioni," 27 Part singing, its popularity in fifteenth century, 103 Passion, early performances of, 17 French fourteenth century version, 17 Pastoral drama, 170 Peri, Jacopo, 216, 219 Petrarch, 59 Philosophy, its effect on medieval literature, 64 Poliziano, Angelo, 52, 55 sketch of career, 68 et seq.
Procession, succeeds dance, 3 Prompter, 200 Realism, Italian, 61 "Recitar alla lira," 114, 170 Recitative, in liturgical drama, 10 in first secular plays, 114 Florentine, 118, 212, 224 beginnings, 177 in comic opera, 181 impulses leading to modern, 207 et seq.
Caccini's, 224, 225, 229 Peri's, 227, 229 Romano, Giulio, 39 "Sacre Rappresentazioni," 13, 21 et seq.
music of, 24 time of origin, 27 sources of, 27 their construction and performance, 29 scenic effects, 30 as forerunners of opera, 32 "Saint Uliva," sacred play, 29 Sannazzaro, Jacopo, his "Arcadia," 62 Scene painting, in early plays, 93 Scenic effects, in "Sacre Rappresentazioni," 30 in Poliziano's "Orfeo," 86, 93 Schalmei, 145 Sensualism, esthetic in Italy, 61 Singing, development of technic, 214, 215 Solo, superseded by part song, 117 in madrigal drama, 198, 205 vocal, 114, 119, 222 et seq., 227 adapted from part songs, 119 et seq.
florid element abused, 222 Songs, arranged for lute accompaniment, 121 Spectacular, element in early plays, 93, 155, 166 in early dramatic music, 158 predominance of the, 160 et seq.
in music of sixteenth century, 207 et seq.
in music of sixteenth century, revolt against, 212 Striggio, Alessandro, 51, 185 his art work, 185 Table music, 139 Tasso, "Aminto," music of, 172 Technic, vocal, 214 Thoroughbass, 154, 232 Todi, Jacopone da, 23 Tromboncino, Bartolomeo, 46, 115 Ugolino, Baccio, original _Orfeo_, 79, 87 Vecchi, Orazio, 190 et seq.
artistic theories, 192 Viadana, Ludovico, 232 "Vierges sages et Vierges folles," 6 et seq.
Villanelle, 112 Violinists, early, 142 Virgil, Italian worship of, 59 Visconti, Nicolo de Corregio, his "Cephale et Aurore," 163 Voices, in madrigal plays, 200, 203 Voice, technic in early music, 215 Wert, Jacques de, 49 Willaert, Adrian, 104, 112, 151, 165 * * * * * LAVIGNAC'S MUSIC AND MUSICIANS Translated by WILLIAM MARCHANT.