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].