Jadassohn, Canonic Pieces, [37].
James, Henry, essay on George Sand, [189].
Jannequin, descriptive pieces for voices, [152].
jota (aragonesa), [76].
K
Kaiser Quartet, [87].
Keats, quotation apropos of Fifth Symphony, [148];
quotation from, [163].
Kelly, E.S., Chopin the Composer, [198].
Kelly, Michael, Reminiscences of Mozart, [112].
King Lear, quotation from by Berlioz, [207].
Kjerulf, [324].
Korbay, F., Hungarian Melodies, [30].
Krehbiel, essay on Haydn, [103];
The Pianoforte and its Music, [152].
Kreisleriana, [83].
Kuhnau, Bible Sonatas, [152].
L
Lalo, Eduard, works and features of style, [256].
Laloy, Louis, Life of Chopin, [198];
essay on Debussy, [294].
Laparra, [327].
L'apprenti Sorcier, [154].
L'après-midi d'un Faune, [154], [293]-[294].
Lavoix, estimate of the Fifth Symphony, [127].
Legouvé, Recollections of Berlioz, [205].
Lekeu, [257].
L'idée fixe, [207]-[210].
Liebich, Mrs., essay on Debussy, [294].
Liszt, [4], [21];
characterization of Schubert, [164];
Faust Symphony (theme in augmentation), [45];
Life of Chopin, [198];
biography, [217]-[218];
features of style, [218]-[219];
analysis of Symphonic Poem, Orpheus, [221]-[222];
of Faust Symphony, [223]-[226];
pianoforte compositions, [226]-[227];
alleged influence on Brahms, [232];
use of whole-tone scale, [289].
Locke, A.W., article in Musical Quarterly, [151].
Loeffler, Charles Martin, works and features of style, [329]-[330].
Lonesome Tunes, [33].
loure, [75];
example of, from Bach, [79].
Lowell, J.R., definition of a classic, [161].
Lully, [70], [119].
Lydian mode, [24].
M
MacCunn, Hamish, Scottish Melodies, [28].
MacDowell, Rigaudon, [79];
Indian Suite, [80], [329].
madrigal, [69].
Maeterlinck, compared with Franck, [257];
comment on the theatre, [294];
influence on Loeffler, [330].
Magic Flute Overture, analysis of, [119]-[121].
Mahler, comments on his style, [231].
malagueña, [76].
Mallarmé, [293].
Malipiero, [328].
Manfred Overture, [177]-[179].
Mannheim Orchestra, [102].
Manuel, Roland, life of Ravel, [299].
march, [75].
Marriage of Figaro, [111].
masculine ending, [57].
Mason, D.G., [7], [9];
essay on Haydn, [102];
on Mozart, [112];
comment on Chopin's style, [196];
essay on Berlioz, [211];
on Saint-Saëns, [256];
on d'Indy, [281];
comments on Istar, [283];
essay on Debussy, [295];
on Tchaikowsky, [306];
on Dvořák, [322];
as composer, [329].
mazurka, [75].
mediant relationship, [52], [96].
Méhul, [255].
Melpomene Overture, [154].
Melusine Overture of Mendelssohn, [185].
Mendelssohn, [89];
biography and features of style, [184]-[186];
Violin Concerto, comments on, [185]-[186].
Merkel, canon for organ, [36].
Midsummer Night's Dream Overture, analysis of, [186]-[187].
Milton, quotation from Paradise Lost, [49].
minuet, [75];
account of, and examples, [78].
Mixolydian mode, [24].
modal, chart of modes, [23]-[24].
modulation, [51]-[52].
Moments Musicaux of Schubert, [165]-[166].
Montagu-Nathan, History of Russian Music, [314], [326].
Monteverde, [119].
Morales, [327].
Moor, [328].
Mother Goose Suite, [81].
Moussorgsky, works and features of style, [318]-[320].
Mozart, Magic Flute Overture, [40];
Finale of Jupiter Symphony, [40], [81];
biography, [108]-[110];
features of style, [110]-[112];
Mozart and Haydn, reactive influence, [110]-[111];
polyphonic skill, [110], [112];
dramatic power, [111];
examples from works, [113]-[121].
Mundy, John, descriptive pianoforte piece, [152].
musette, [78].
Mystic Trumpeter, [154].
N
National Music, distinctive features of, [300]-[301].
Neefe, Beethoven's teacher, [124].
Neue Zeitschrift für Musik, founded by Schumann, [174].
New World Symphony, critical comments on, [323]-[324].
Newman, Musical Studies, [154], [178], [207];
comment on Debussy, [296].
Newmarch, Rosa, Life of Tchaikovsky, [305].
Niecks, Programme Music, [152], [214], [221], [305];
Life of Chopin, [198];
eulogy of Liszt, [228].
Nordraak, [324].