Index

A

Academic Overture of Brahms, 233. Aeolian mode, 24. Aeschylus, compared with Brahms, 239. Albeniz, pianoforte pieces, 327. answer (to a fugue), 42. Apthorp, W.F., comments on Brahms, 238; eulogy on Brahms's First Symphony, 246; comments on Istar, 283. arabesque, 83. Aristophanes, his humor compared with Beethoven's, 150. Arnold, Matthew, lines on Byron apropos of Berlioz, 203; stanza applicable to Brahms, 233; definition of style, 234. Atherton, Percy Lee, 329. Auber, 255. augmentation, definition of, 44.

B

Babbitt, Irving, book on Romanticism, 161; The New Laocoön, 207. Bach, Emmanuel, use of two themes, 93; contributions to the Sonata-form, 100. Bach, J.S., Well-tempered Clavichord, 23; choral (Phrygian mode), 25; polyphonic style, 34; Goldberg Variations, 37; celebrated organ fugues, 41; analysis of Fugue in E-flat major, 42-43. Bagatelles, of Beethoven, 166. Balakireff, works and features of style, 315-316. Baldensperger, F., eulogy of Franck, 258. Ballet music to Prometheus, 140. Balzac, comment on Chopin, 189. Barcarolle, of Chopin, color effect therein, 193; analysis of, 200-201. Bartered Bride Overture, 121, 322. basso ostinato, 86. Baudelaire, 293. Beach, Mrs., Menuet Italien, 78, 329. Beethoven, 2, 5, 8: motive of Fifth Symphony, 12; Waldstein Sonata, 15; String Quartet (Lydian mode), 26; fugal passages in symphonies, 41; sentences from sonatas, 58-61; Egmont Overture, 77; Rondo Capriccio, 82; sets of Variations, 88; biography, 122-126; love of Nature, 125; features of style, 126-129; development of the Sonata-form, 126-127; treatment of the Coda, 127; variety of rhythm, 127-128; use of dissonances, 128; humor, 128-129; development of Program music, 129; development of varied air, 129; characterization of the Symphonies, 130-132; estimate of the Pianoforte Sonatas, 140; pianistic effect in Sonatas, 145; as a programmistic composer, 153-154; quality of themes, 156; dramatic use of single notes, 156-157; theme of Ninth Symphony compared with theme from Brahms's First Symphony, 247. Béla Bartok, 328. Berlioz, quotation from Grotesques de la Musique, 21; canon in Carnaval Romain Overture, 37; comment on Trio of Fifth Symphony, 150; biography, 202-205; names of his Parisian friends, 204; features of style, 205-206; Fantastic Symphony, analysis of, 207-211; Carnaval Romain Overture, analysis of, 211-212; Damnation of Faust, instrumental numbers from, 213-214; Harold in Italy Symphony, analysis of, 214-215; Romeo and Juliet Symphony, comments on, 215-216. Bie, Oscar, 74; on the style of Couperin and Rameau, 152. Bizet, L'Arlésienne Suites, 80. Bohemian School, 320-321. Boieldieu, comment on Beethoven, 134, 255. bolero, 75. Boris Godounoff, description of, 320. Borodin, works and features of style, 316-317. Boschot, work, in three parts, on Berlioz, 207. bourrée, 75. Brahms, First Symphony, 8, 14, 21, 44; modal expression in works, 23; Fourth Symphony (Phrygian mode), 25; canonic style, 36; C minor Trio, 67; sets of variations, 88; biography, 231-233; features of style, 233-238; analysis of First Symphony, 239-249; of Violin Sonata, 250-252; of G minor Ballade for Pianoforte, 252-253; attitude toward program music, 253; the nature of his Intermezzi, 253; of the Capriccios, 253; his Rhapsodies, 254; analysis of song Meine Liebe ist grün, 254; other songs, 255. branle (brawl), 75. Branscombe, Gena, 329. Brenet, M., Life of Haydn, 104. Brockway, H., on American folk-songs, 33, 329. Browning, 1; quotation apropos of the fugue, 49; quotations apropos of the Fifth Symphony, 146, 150. Bruckner, movement from Seventh Symphony, 231. Bruneau, History of Russian Music, 314. Bull, John, 79, 85. Bülow, Sonatas of E. Bach, 100; comment on Grieg, 325. Burney, on the 18th Century, 103. Buxtehude, 34. Byrd, William, 12, 79, 85. Byron, influence on Schumann's style, 177.

C

C minor Symphony (Beethoven), analysis of, 145-151. C minor Symphony (Brahms), analysis of, 239-249. cadences, 55-57. Calvacoressi, on dominant relationship, 52. canon, 11; account of, 36-37. canzona, 69. Carnaval Romain Overture, analysis of, 211-212. Carpenter, John Alden, Adventures in a Perambulator, 80, 329. Casella, 328. Casse-Noisette Suite, 80. Cellini, Benvenuto, compared with Berlioz, 202; opera by Berlioz, 211. Chabrier, Bourrée Fantasque, 80, 297; España, 80, 297; Overture to Gwendoline, 99, 297; account of style, 297. chaconne, 86; Bach's for violin solo, 87. Chadwick, Canonic Studies, 36; fugal passage in Vagrom Ballad, 41, 329. Chamisso, texts for Schumann's songs, 170. Chantavoine, Life of Beethoven, 159. Charpentier, Impressions of Italy, 80. Chausson, Ernest, account of style, 298. Chavannes, Puvis de, compared with Franck, 258. Chopin, type of melody, 10, 21; Sonata in C minor, 67; biography and features of style, 188-189; analysis of Prelude in C major, 198; Étude in A-flat major, 199; Mazurka in F-sharp minor, 199; analysis of Polonaise in E-flat minor, 200; of Barcarolle, 200-201; of Scherzo in C-sharp minor, 201. chromatic changes, 51. Clapp, P.G., 48, 329. coda, definition and examples of, 99. color, in different keys, 51. Combarieu, Jules, 2. Converse, F.S., Dramatic Poem, Job (Phrygian mode), 26; String Quartet, 99, 329. Corelli, 70, 74. Coriolanus Overture, analysis of, 152-156. counterpoint, definition of, 11. counter-subject (of a fugue), 42. Couperin, 70, 74, 81, 85; descriptive pieces, 152, 255. courante (corrente), 75. Croatian Folk-songs (in Haydn), 101-102. csárdás, 76.

D

D major Sonata of Beethoven, analysis of, 140-145. D Minor Symphony of Schumann, 179-184. d'Albert, Suite for Pianoforte, 78. Damnation of Faust, instrumental numbers from, 213-214. Daniels, Mabel, 329. Dannreuther, eulogy on Beethoven, 159; comment on Berlioz's counterpoint, 209. Dargomijsky, use of whole-tone scale, 289. Debussy, modal expression in works, 23, 288-289; Pelléas et Mélisande (Dorian mode), 24; comments upon, 294; Minstrels (cadence in), 55-56; Sarabande for pianoforte, 77; comment on development, 97; compared with Mendelssohn, 185; apropos of new music, 204; features of style, 287-297; whole-tone scale, 289-290; titles of pianoforte pieces, 292-293; on his pianoforte style, 295-296. de Musset, quotation apropos of Grieg, 325. deceptive cadence, 56. Dent, E.J., Mozart's Operas, 112. De Pachman, playing of Mendelssohn's pieces, 185. De Quincey, quotation from the Dream Fugue, 49. Deutsches Requiem, 233. development section of Sonata-form, 93-94, 97-98. Dickinson, Edward, estimate of Haydn, 101. diminution, definition of, 44. d'Indy, modal expression in works, 23; canonic style, 36; Symphonic Variations, Istar, 67; comments on the Sonata-form, 95, 100; comment on Beethoven's Seventh Symphony, 131; comment on Sonata Pathétique, 142; comments on D major Sonata, 145; comments on Fifth Symphony, 145; Life of Beethoven, 159; comments on Franck's themes, 268; biography and features of style, 280-282; Istar, analysis of, 283-287. dissonance, discord, distinction between terms, 143. Dohnányi, 328. Dominant, acoustical and harmonic importance of, 22-23, 52. Don Giovanni, 111, 119. Don Juan, 85. Don Quixote, 89. Dorian mode, 24. Dostoyevsky, 314, 319, 320. Doumic, René, essay on George Sand, 189. Dowland, John, his Pavans, 80. Duparc, Henri, account of his style, 298. Dvořák, New World Symphony, 9, 21; modal expression in works, 23; New World Symphony (Aeolian mode), 26; Suite for Orchestra, 79; works and features of style, 322-324.

E

Eichendorff, texts for Schumann's songs, 176. Eighth Symphony of Beethoven, Finale, 157. Elgar, Edward, works and features of style, 328-329. Ellis, W.A., translation of Wagner's Essays, 154. Enesco, 327. enharmonic, modulation, 52-53. episode, definition of, 39-40. exposition of Sonata-form, 96. extended cadences, 62-63.

F

F major Sonata of Mozart, analysis of, 113-115. Fairchild, Blair, 329. Fantastic Symphony, analysis of, 207-211; quotation from, 207-209. Farwell, Arthur, on folk-music, 33. Fauré, Gabriel, account of style, 297-298. Faust Symphony, analysis of, 223-226. Fay, Amy, account of Liszt, 217. feminine ending, 57. Fibich, 321. Finck, H.T., Songs and Song Writers, 265; Chopin and Other Essays, 198; comments on Program Music, 226; biography of Grieg, 324. Fitzwilliam Virginal Book, 79, 152. five-bar rhythm, 63-64. Flonzaley Quartet, 105. folk-songs, principle of restatement in, 16; origin and importance of, 19-33. Foote, Arthur, fugal Finale to Suite, 41, 329. Forsyth, Cecil, eulogy of Mendelssohn, 185. Francesca da Rimini, 154. Franck, Symphony, 8, 15; polyphonic structure, 13; canonic style, 36; canon in Symphony, 37; in Violin Sonata, 37; Fugue in B minor for Pianoforte, 41; comparison of his scoring with that of Schumann, 181; limitations of his pianoforte style, 190; his fusion of movements compared with that of Brahms, 251; biography, 256-257; features of style, 257-258; analysis of D minor Symphony, 259-268; of Sonata for Violin, 268-274; use of generative themes, 268; Symphonic Variations, 274-280; comparison of his style with that of Bach and Beethoven, 274; his group of pupils, 280. French folk-song, 29. French Overture, 119. Frescobaldi, 34. Friedländer, Max, apropos of Chabrier, 281. fugue, 11; definition of, 39. Fuller-Maitland, life of Brahms, 238. furiant, 75, 321.

G

G major Pianoforte Concerto of Beethoven, 152-158. G minor Symphony, analysis of, 115-119. Gade, Neils, 324. galliard, 75, 80. Galuppi, as a pioneer in Sonata-form, 93. Gardiner, Balfour, 329. Gautier, Théophile, eulogy of Berlioz, 207. gavotte, 75; account of, and examples, 78-79. Gilbert, H.F., on folk-songs, 20, 33, 329. Gilman, Lawrence, essay on Berlioz, 214; comments on Istar, 283; essay on Debussy, 293; comments on Pelléas el Mélisande, 297. Glinka, 301, 315. Gluck, Ballet music, 87; Operatic Overtures, 119. Goethe, eulogy on Mozart, 112. Gogol, 314, 320. Gosse, Edmund, comment on Mallarmé's eclogue, 293. Gossec, as a pioneer in Sonata-form, 93. Granados, Spanish folk-dance, 167; works, 327. Gregorian Chant, 10. Gregorian modes in folk-songs, 20. Grétry, comments on Sonata-form, 98, 255. Grieg, 21; Canon for Pianoforte, 37; Peer Gynt Suite, 80; Holberg Suite, 80; works and features of style, 324-325. ground bass, 86; from Bach's Mass, 86. Grove, Beethoven and his Nine Symphonies, 130. Grove's Dictionary, 70, 73, 79, 81, 86, 104, 119, 154, 161, 172, 200, 217, 238. Guilmant, March in Dorian Mode, 24; Canon for Organ, 36. Gurney, The Power of Sound, 2.

H

habañera, 76. Habets, Alfred, account of Borodin and Liszt, 316. Hadley, Henry, 329. Hadow, W.H., 72, 81, 92, 96; Studies in Modern Music, 184, 198, 207, 238; essay on Dvořák, 321; article on Scryabin, 326. Hale, Philip, comments on Saint-Saëns, 256; comments on Lalo, 256; essay on Mozart, 112; comments on Scheherazade, 317-318. halling, 76. Handel, fugue from the Messiah, 41; Harpsichord Lessons, 74; Air in Sarabande rhythm, 77; Harmonious Blacksmith, 86; Overture to Messiah, 119. Harmonic Series, 51. Harold in Italy Symphony, analysis of, 214-215. Haydn, 21, 81, 87; ancestry, 101; features of style, 101-105; his freedom of rhythm, 102; development of the String-Quartet and the Orchestra, 102-103; Sonata in E-Flat major, 105-106; Surprise Symphony, 106-108; comment on Minuet, 144; Prelude to the Creation, 152. Hazlitt, comment on Mozart, 111. Hebrides Overture of Mendelssohn, 185. Heilman, William C., 329. Heine, texts for songs of Schubert and Schumann, 176; comment on Berlioz's music, 205. Helmholtz, 193, 291. Henderson, W.J., Preludes and Studies, 184. Henschel, vocal canon, 37; conversation with Brahms, 233. Heroic Symphony, analysis of, 132-140. Hérold, 255. Hill, Edward Burlingame, Stevensoniana, 80; comments on Saint-Saëns, 256; essay on d'Indy, 281, 329. Hinton, Arthur, 329. Hoffman, E.T.A., Essay on Fifth Symphony, 151. Holberg Suite, 80. Holbrook, 329. Holmès, Augusta, 280. homophonic, 10. hornpipe, 75. Hull, Eaglefield, Biography of Scryabin, 326. Huneker, Life of Chopin, 198; on the playing of Chopin, 199; comment on Chopin's Scherzo, 201; Life of Liszt, 217; comment on Liszt's Songs, 220; essay on Brahms, 238; essay on Tchaikowsky, 306. Hungarian folk-song, 30, 328. Hungarian Rhapsodies, 227. Hungarian rhythms in Schubert, Liszt and Brahms, 30; in Schubert's Symphonies, 166; in Brahms's First Symphony, 244.

I

Impromptus of Schubert, 165-166. Indian Suite, 80. invention, 11. Invention in C major, analysis of, 38-89. inversion, definition of, 43-44. Ionian mode, 24. Ireland, John, 329. Irish Folk-song, 29, 35. Istar, Symphonic Poem of d'Indy, as example of a varied air, 89; analysis of, 283-287. Italian Overture, 119.

J

Jadassohn, Canonic Pieces, 37. James, Henry, essay on George Sand, 189. Jannequin, descriptive pieces for voices, 152. jota (aragonesa), 76.

K

Kaiser Quartet, 87. Keats, quotation apropos of Fifth Symphony, 148; quotation from, 163. Kelly, E.S., Chopin the Composer, 198. Kelly, Michael, Reminiscences of Mozart, 112. King Lear, quotation from by Berlioz, 207. Kjerulf, 324. Korbay, F., Hungarian Melodies, 30. Krehbiel, essay on Haydn, 103; The Pianoforte and its Music, 152. Kreisleriana, 83. Kuhnau, Bible Sonatas, 152.

L

Lalo, Eduard, works and features of style, 256. Laloy, Louis, Life of Chopin, 198; essay on Debussy, 294. Laparra, 327. L'apprenti Sorcier, 154. L'après-midi d'un Faune, 154, 293-294. Lavoix, estimate of the Fifth Symphony, 127. Legouvé, Recollections of Berlioz, 205. Lekeu, 257. L'idée fixe, 207-210. Liebich, Mrs., essay on Debussy, 294. Liszt, 4, 21; characterization of Schubert, 164; Faust Symphony (theme in augmentation), 45; Life of Chopin, 198; biography, 217-218; features of style, 218-219; analysis of Symphonic Poem, Orpheus, 221-222; of Faust Symphony, 223-226; pianoforte compositions, 226-227; alleged influence on Brahms, 232; use of whole-tone scale, 289. Locke, A.W., article in Musical Quarterly, 151. Loeffler, Charles Martin, works and features of style, 329-330. Lonesome Tunes, 33. loure, 75; example of, from Bach, 79. Lowell, J.R., definition of a classic, 161. Lully, 70, 119. Lydian mode, 24.

M

MacCunn, Hamish, Scottish Melodies, 28. MacDowell, Rigaudon, 79; Indian Suite, 80, 329. madrigal, 69. Maeterlinck, compared with Franck, 257; comment on the theatre, 294; influence on Loeffler, 330. Magic Flute Overture, analysis of, 119-121. Mahler, comments on his style, 231. malagueña, 76. Mallarmé, 293. Malipiero, 328. Manfred Overture, 177-179. Mannheim Orchestra, 102. Manuel, Roland, life of Ravel, 299. march, 75. Marriage of Figaro, 111. masculine ending, 57. Mason, D.G., 7, 9; essay on Haydn, 102; on Mozart, 112; comment on Chopin's style, 196; essay on Berlioz, 211; on Saint-Saëns, 256; on d'Indy, 281; comments on Istar, 283; essay on Debussy, 295; on Tchaikowsky, 306; on Dvořák, 322; as composer, 329. mazurka, 75. mediant relationship, 52, 96. Méhul, 255. Melpomene Overture, 154. Melusine Overture of Mendelssohn, 185. Mendelssohn, 89; biography and features of style, 184-186; Violin Concerto, comments on, 185-186. Merkel, canon for organ, 36. Midsummer Night's Dream Overture, analysis of, 186-187. Milton, quotation from Paradise Lost, 49. minuet, 75; account of, and examples, 78. Mixolydian mode, 24. modal, chart of modes, 23-24. modulation, 51-52. Moments Musicaux of Schubert, 165-166. Montagu-Nathan, History of Russian Music, 314, 326. Monteverde, 119. Morales, 327. Moor, 328. Mother Goose Suite, 81. Moussorgsky, works and features of style, 318-320. Mozart, Magic Flute Overture, 40; Finale of Jupiter Symphony, 40, 81; biography, 108-110; features of style, 110-112; Mozart and Haydn, reactive influence, 110-111; polyphonic skill, 110, 112; dramatic power, 111; examples from works, 113-121. Mundy, John, descriptive pianoforte piece, 152. musette, 78. Mystic Trumpeter, 154.

N

National Music, distinctive features of, 300-301. Neefe, Beethoven's teacher, 124. Neue Zeitschrift für Musik, founded by Schumann, 174. New World Symphony, critical comments on, 323-324. Newman, Musical Studies, 154, 178, 207; comment on Debussy, 296. Newmarch, Rosa, Life of Tchaikovsky, 305. Niecks, Programme Music, 152, 214, 221, 305; Life of Chopin, 198; eulogy of Liszt, 228. Nordraak, 324.

O

Organ, the, its tone compared with that of pianoforte, 191. organum, 10. Orpheus, Symphonic Poem, analysis of, 221-222. Osgood, George L., 329. overtones, chart of, 193. Oxford History of Music, 10, 12, 102, 103, 110, 119, 161, 165, 185, 216, 221, 226.

P

Paderewski, 77; Minuet of, 78; playing of Mendelssohn's pieces, 185. Paganini, connection with Berlioz, 214. Paine, J.K., Fuga Giocosa, 46, 49; tribute to Beethoven, 129, 329. Palestrina, 34. Parker, H.W., fugue from Hora Novissima, 41, 329. Parry, Evolution of the Art of Music, 9, 16, 21, 69, 70; choral works, 328. Passacaglia, 86; of Brahms, 86; of Bach for organ, 87. passepied, 75. Pater, Walter, remark on Romanticism, 161. pavane, 75; example from Ravel, 79. pedals of the pianoforte, the damper and the una corda, 192-195. Peer Gynt Suite, 80. period, definition of, 50. Pérotin, 34. Perry, Baxter, 90. Phaëton, 256. Philidor, 255. Phrygian cadence, 24-25. Phrygian mode, 23; Brahms's use of, 239. pianoforte, the, account of its characteristics, 189-195. plagal cadence, 55. polka, 75, 321. polonaise, 75. polyphonic, 10. polyphonic music, complete account of, 33-49. Poirée, Elié, Life of Chopin, 198. Pope, apropos of the jig, 80. Pougin, Arthur, comments on Moussorgsky, 318-319. Powell, John, 329. Pratt, History of Music, 10, 93, 159, 161. prelude (to Sonata-form), 99. Prix de Rome, won by Berlioz, 205; by Debussy, 288. Prout, 85. Puccini, fugal prelude to Madama Butterfly, 41. Purcell, 70; his Jig, 71. Pushkin, 314.

Q

Quilter, Roger, 329.

R

Rabelais, his humor compared with Beethoven's, 150, 157. Rameau, acoustical reforms of, 23, 70, 74, 81, 85; descriptive pieces, 152, 255. Ravel, Daphnis and Chloe, 68; his Pavane, 79; Mother Goose Suite, 81; works and account of style, 299-300. recapitulation (or résumé), 98-99. Reinecke, Canonic Vocal Trios, 37. Remenyi, Brahms's tour with, 232. repetition, importance of, 12, 13; types of, 14-18. Rheinberger, Canonic Pieces, 87; Tarantelle for Pianoforte, 79. rhythmic variety (five and seven beats a measure), 66-68. Richter, Jean Paul, influence on Schumann, 172. Riemann, 93. rigaudon, 75; examples of, from Grieg, Rameau and MacDowell, 79, 81. Rimsky-Korsakoff, works and features of style, 317. Roi d'Ys, Le, 256. Rolland, Romain, account of Beethoven in Jean Christophe, 125; Life of Beethoven, 159; essay on Berlioz, 207. Romanticism and Romantic School, account of, 160-165. Romeo and Juliet Symphony, comments on, 215-216. rondo, account of, 81-85. rondo-sonata form, 144. Ropartz, 257; characterization of a theme in Franck's Symphony, 266. Rossetti, Blessed Damozel, set by Debussy, 288. Rossini, "crescendo" in Overtures, 62; eulogy of Mozart, 121. Rouet d'Omphale, Le, 256. round, 11; Old English Rounds, 12. rubato (tempo), definition of, 199. Rubinstein, movements in Ocean Symphony, 95; estimate of Mozart, 111; characterization of the damper pedal, 191. Runciman, quotation apropos of Weber from Old Scores and New Readings, 169-170. Russian folk-songs, 30-33. Russian music, general tendencies of, 314-315.

S

Saint-Saëns, 1, 2; comment on Berlioz's Romeo and Juliet Symphony, 216; account of works and style, 255-256. Sakuntala, 154. saltarello, 75; Berlioz's use of the rhythm, 211. Sammartini, as a pioneer in Sonata-form, 93. Santayana, 5. sarabande, 75, 76, 77. Scandinavian Music, 324. Scarlatti, Alessandro, Aria da capo, 14; operatic overture, 119. Scarlatti, D., the Cat-Fugue, 48; as virtuoso, 74; anticipation of Sonata-form, 93; Courante for pianoforte, 79; crossing of hands in Beethoven, 141, 144. Schumann, 7; motive from the Carnaval, 13; from the Kinderscenen, 13; Arabesque, 14: saying about folk-songs, 20; Canon for organ, 36; Canonic Variations, 37; Carnaval, 68; Phantasiestücke, 68; his use of the Rondo, 82-83; Variations, 88; comment on Schubert, 166; biography and features of style, 172-174; analysis of Des Abends, 174-175; of Warum, 175-176; of Novellette in E major, 176; of Song, Mondnacht, 176-177; of Manfred Overture, 177-179; characterization of the four Symphonies, 179; Symphony in D minor, analysis of, 179-184; eulogy of Brahms in the Neue Zeitschrift, 232. Schola Cantorum, account of, 282. Scottish folk-tune, 28. Scryabin, as harmonic innovator, 143; works and features of style, 327. seguidilla, 76, 79. sentence, complete analysis of, 53, 54. sequence, definition of, 38. Scheherazade Suite, 81. scherzo, of Beethoven, 128-129. Schmitt, Florent, 280. Schubert, 21; Variations, 88; account of style and works, 162-169; character of songs, 165; symphonic style, 166; chamber music, 166; pianoforte style, 167; as great colorist, 167-168; analysis of Unfinished Symphony, 167-169. seven-bar rhythm, 66. Shakespeare, 1; apropos of the galliard, 80. Sharp, Cecil, English Folk-Song, 27; on American folk-songs, 33. Shepherd, Arthur, 329. Shedlock, J.S., 93, 100. shifted rhythm, 46. Sibelius, features of his style, 230, 324, 327. siciliano, 76. Sinding, 325. Sinigaglia, Overture, 99. Sjögren, 324. Smetana, Bartered Bride Overture, 40, 121; works and features of style, 321-322. Smith, Stanley, 329. Smithson, Henrietta, her life with Berlioz, 204-205. sonata and sonata-form, distinction between, 94-95. sonata-form, account of 91-100; tabular view, 100. Song of Destiny, Brahms, 233. Songs without Words, Mendelssohn, 185. Spanish music, its influence in modern times, 327-328. Spitta, essay on Brahms, 238. Stamitz, J., influence on Sonata-form, 93. Stanford, Villiers, Irish folk-songs, 29; features of style, 328. Stanford-Forsyth history, 121, 328. Stendhal, remark on Romanticism, 161. Stevensoniana, 80. Strauss, R., motive from Till's Merry Pranks, 18; Don Juan, 85; Till Eulenspiegel, 85; estimate of Mozart, 111. Stravinsky, as harmonic innovator, 143; works and features of style, 326-327. Streatfield, essay on Tchaikowsky, 306. stretto, 46. string-quartet, definition of, 94. subdominant, acoustical and harmonic importance, 22-23, 52. subject (of a fugue), 42-43. suite, the classical, 73-80; the modern, 80-81. Suites, French and English, 74. Sullivan, Arthur, operas, 328. Sumer is icumen in (Ionian mode) 27. Surette, T.W., comments on Bach's style, 48, 72; Development of Symphonic Music, 159. Surprise Symphony, analysis of, 106-108. Svendsen, 324. Sweelinck, 34. Symonds, Arthur, Studies in the Seven Arts, 159. Symphonic Études, 88. symphonic poem, definition of, 149, 220. symphonic style, development of, 228-231.

T

Tallys, Thomas, vocal canon, 37. tambourin, 71. tango, 76. tarantella, 75. Taylor, Bayard, translation of stanza from Faust, 225. Tchaikowsky, Modeste, biography of his brother, 306. Tchaikowsky, P., Fifth Symphony, 8, 21; analysis of, 306-314; modal expression in works, 23; Legend (Aeolian mode), 26; Fourth Symphony, finale of, 33; analysis of, 305; Sixth Symphony, 67; analysis of, 305-306; Quartet in F major, 67-68; variations from Trio, 89; estimate of Mozart, 111, 121; biography, 302-303; features of style, 303-305. Thackeray, W.M., characterization of Berlioz, 204. Thayer, Alexander, Life of Beethoven, 159. thematic development, 34. three-bar rhythm, 65-66. three-part form, complete account of, 72-73; examples of, 73. Tiersot, J., on folk-melodies, 21; Chansons Populaires, 30; work on Berlioz, 207. Till Eulenspiegel, 85. Tolstoi, 315, 319, 320. tonality, principles of, 50-51. tonic, acoustical and harmonic importance of, 22-23. Tragic Overture, Brahms, 233. transformation of theme, its use in Schumann, 182. Turgenieff, 315. two-part form, definition of, 38; complete account of, 69-72.

V

Van Vechten, book on Spanish music, 328. variation form, account of, 85-91. Variations, in F minor of Haydn, 87; on Death and the Maiden, 88; Sérieuses, 88; on a Theme from Handel, 88; on the St. Anthony Choral, 88; (Enigma) by Elgar, 89; Symphoniques, 89. Verdi, Minuet from Falstaff, 78. Veretschagin, 320. Verlaine, 293. Violin Concerto of Beethoven, 156-157. Vittoria, 327. Vivaldi, 70. von Breuning family, 125.

W

Wagner, comment on operas, 4; quality of themes, 8; motive from the Valkyrie, 12; polyphonic structure of operas, 13; motive from Tristan and Isolde, 17; fugal Prelude to third act of the Mastersingers, 41; comments on Leonore Overture, 98; eulogy of Mendelssohn, 185. Waldesrauschen, Étude of Lizst, 227. Waldstein, friendship with Beethoven, 125. Waldstein Sonata, 83. Walker, E., on English folk-music, 22. Wallace, estimate of Haydn, 102; Threshold of Music, 291, 329. Wallaschek, R., on primitive music, 21. Wallenstein Trilogy (d'Indy), 281. waltz, 75. Weber, Moto Perpetuo, 83; orchestral treatment in his Overtures, 164-165; account of style, 169-172; Invitation to the Dance, arrangement by Weingartner, 169; compared with that by Berlioz, 171; Oberon Overture, analysis of, 170-171; compositions for pianoforte, 171. Weckerlin, example from Echos du Temps Passé, 71. Weingartner, eulogy of Berlioz, 206; comments on the Symphonic Poem, 220; comments on Brahms's First Symphony, 244, 246. Whistler, compared with Debussy, 293. Whiting, Arthur, Scottish Melodies, 28; Irish Melodies, 29; Suite Moderne, 80; Pedal Studies, 193, 194, 329. Whitman, 1; quotation from Mystic Trumpeter, 146. Widor, canon for organ, 36. Willaert, harmonic basis of choruses, 23. Williams, Abdy, on Brahms's rhythm, 253. Williams, Vaughan, 329. Wordsworth, quotation from, 163. Wyman, Loraine, 33.