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].