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].