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.

[5] The term piano trio is used to signify a piece for piano, violin,
and 'cello, in full sonata form.

[6] For more extended lists of English and other composers, see
appendix. The student is referred to Otto Ebel's valuable handbook of
women composers.

[7] A. Michaelis, "Frauen als Schaffende Tonkuenstler."

[8] See "Music in the Nineteenth Century," by J. A. Fuller-Maitland.

End of the