Bach, Johann Sebastian, his relation to German church music, 282, 287, 289; the Bach family, 284; Bach’s birth, education, and official positions, 286; condition of German music in his early days, 287; his organ music, 290, 292; fugues, 292; choral preludes, 295; cantatas, 300; style of his arias, 304; of his choruses, 305; Passion according to St. Matthew, 307; compared with Händel’s “Messiah,” 307; its formal arrangement and style, 308; performance by Mendelssohn, 312; the Mass in B minor, 204, 211, 312; national and individual character of Bach’s genius, 314; its universality, 316; decline of his influence after his death, 317. Bach Society, New, 322. Bardi, 188. Barnby, 355, 383. Battishill, 354. Beethoven, his Mass in D, 119, 200, 204, 210. Behem, 229. Benedictus, 88. Bennett, 355. Berlioz, his Requiem, 199, 200, 204. Beza, 360. Bisse, quoted, 338. Boleyn, Anne, 326. Bonar, 381. Boniface, 118. Bourgeois, 360. Boyce, 354. Brethren of the Common Life, 234. Bridge, 355. Buxtehude, 292. Byrd, 350.
Caccini, 188, 189, 190. Calvin, his hostility to forms in worship, 358, 363; adopts the psalms of Marot and Beza, 360. Canon of the Mass, 89. Cantata, German church, 270, 272; origin and development, 273. See also Bach. Cartwright, his attack upon the established Church, 367. Cary sisters, 381. Cassell, quoted, 45. Catherine, wife of Henry VIII., 326. Celestine I., pope, 110. Chalil, 22. Chant, nature of, 40, 97; the form of song in antiquity, 40; its origin in the early Church, 51; its systematic culture in the Roman Church, sixth century, 67. Chant, Anglican, 336, 340; Gregorian movement in the Church of England, 342; first harmonized chants, 345. Chant, Catholic ritual, epoch of, 93; liturgic importance, 94, 99, 405; general character, 95, 104; different classes, 103; rhythm, 105; rules of performance, 105; origin and development, 99, 109; key system, 113; mediaeval embellishment, 115; extension over Europe, 117; legends connected with, 122; later neglect and revived modern study, 126; use in the early Lutheran Church, 260; “Gregorians” in the Church of England, 337, 341. Charlemagne, his service to the Roman liturgy and chant, 118. Charles II., king of England, his patronage of church music, 352. Cherubini, mass music of, 204, 213. Choral, German, sources of, 260; at first not harmonized, 262; later rhythmic alterations, 263; its occasional adoption by Catholic churches, 264; its condition in the seventeenth century, 265; decline in the eighteenth century, 266; choral tunes in the cantata, 274, 302; in the Passion music, 280; as an element in organ music, 290, 294; use in Bach’s St. Matthew Passion, 308, 309, 311. Choral, or Cathedral mode of performing the Anglican service, 333. Clement of Alexandria, quoted, 54; his song to the Logos, 56. Clement VII., pope, 326. Colet, 327. Common Prayer, Book of, 328, 330; musical setting by Marbecke, 337, 369. Communion, 90. Congregational singing, its decline in the early Church, 48; vital place in Protestant worship, 223; in Germany before the Reformation, 228 _et seq._; not encouraged in the Catholic Church, 240; in the Church of Luther, 242; among the Puritans, 376. Constantine, edicts of, 62. Constitutions of the Apostles, 47. Cosmas, St., 60. Counterpoint, mediaeval, growth of, 140, 148. Counter-Reformation, 156, 264. Cowper, 381, 387. Coxe, 381. Cranmer, 328, 329, 331, 337. Credo, 88. Croce, 168. Cromwell, 369, 371, 372. Crotch, 354. Crüger, 266. Curwen, quoted, 343. Cymbals, 24, 26.