PROGRAMME MUSIC (Lat. prograninut, from GI:. r phpapp,a, edict, from rperypdcpev, pro gra ph (-in, to write before, from irp6, pro, before ^ypdepeLv, graphein, to write). A term in ninsic applied to purely instrumental works which are intended to reproduce by musical tones a series of definite ideas or events. The idea of reproduc ing characteristic sounds of nature by means of music is very old. We have a composition by Jannequin, Cris de Paris, published in 1529, in which are imitated the cries of Parisian fish mongers and venders of various commodities. In another, La. Botanic, the same composer imitates the rattling of musketry, trumpet-signals, etc. In his "Pastoral Symphony" Beethoven reproduces the niarmuring of the brook and the calls of vari ous birds. Schubert in his famous song Gretchen, am Spinorad imitates admirably the hum and buzz of the spinning-wheel by the figure in the ac companiment. But Schumann went further; he gave some purely instrumental works (Carneval) suggestive titles. These instances do not in reality constitute programme music. This form began with Liszt, who wrote long orchestral works (symphonic poems) where every bar is meant to depict some definite emotion or event. He found his inspiration in works of poetry or the plastic arts. Thus Die Ilannenschlacht is in
tended to reproduce in musical tones the impres sion aroused by Kaulbach's famous picture. In his Dante and Faust symphonies Liszt has taken certain episodes from Dante and Goethe, and he intends to say in music what the two poets have said in words. This school of programme music has had many followers and is still very powerful. (See STRAUSS, Rimuaao.) Opinions differ as to the value of such music. In Schumann's sense Ralf and Saint-SaIins, and even Schubert and Beethoven, have written programme music. But these masters never forced music beyond its nat ural limits. Wagner occupies a distinct position. In one sense his music is programme music, but it is dramatic. and always accompanies and illus trates the spoken word. And even in the purely instrumental passages, such as the Preludes, Siegfried's Rhine-Journey. Funeral March (Got teraii»lnserung), Ids method of leading motives enables the hearer to follow every bar in detail. Richard Strauss also has taken up this idea of leading motives and applied it to purely instru mental works (Death and Apotheosis, Tilt Ea Ein HeidenIcheo, etc.). See SYM PHONY; INSTRUMENTAL MUSIC.