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].