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].