Organ, the, its tone compared with that of pianoforte, [191].
organum, [10].
Orpheus, Symphonic Poem, analysis of, [221]-[222].
Osgood, George L., [329].
overtones, chart of, [193].
Oxford History of Music, [10], [12], [102], [103], [110], [119], [161], [165], [185], [216], [221], [226].
P
Paderewski, [77];
Minuet of, [78];
playing of Mendelssohn's pieces, [185].
Paganini, connection with Berlioz, [214].
Paine, J.K., Fuga Giocosa, [46], [49];
tribute to Beethoven, [129], [329].
Palestrina, [34].
Parker, H.W., fugue from Hora Novissima, [41], [329].
Parry, Evolution of the Art of Music, [9], [16], [21], [69], [70];
choral works, [328].
Passacaglia, [86];
of Brahms, [86];
of Bach for organ, [87].
passepied, [75].
Pater, Walter, remark on Romanticism, [161].
pavane, [75];
example from Ravel, [79].
pedals of the pianoforte, the damper and the una corda, [192]-[195].
Peer Gynt Suite, [80].
period, definition of, [50].
Pérotin, [34].
Perry, Baxter, [90].
Phaëton, [256].
Philidor, [255].
Phrygian cadence, [24]-[25].
Phrygian mode, [23];
Brahms's use of, [239].
pianoforte, the, account of its characteristics, [189]-[195].
plagal cadence, [55].
polka, [75], [321].
polonaise, [75].
polyphonic, [10].
polyphonic music, complete account of, [33]-[49].
Poirée, Elié, Life of Chopin, [198].
Pope, apropos of the jig, [80].
Pougin, Arthur, comments on Moussorgsky, [318]-[319].
Powell, John, [329].
Pratt, History of Music, [10], [93], [159], [161].
prelude (to Sonata-form), [99].
Prix de Rome, won by Berlioz, [205];
by Debussy, [288].
Prout, [85].
Puccini, fugal prelude to Madama Butterfly, [41].
Purcell, [70];
his Jig, [71].
Pushkin, [314].
Q
Quilter, Roger, [329].
R
Rabelais, his humor compared with Beethoven's, [150], [157].
Rameau, acoustical reforms of, [23], [70], [74], [81], [85];
descriptive pieces, [152], [255].
Ravel, Daphnis and Chloe, [68];
his Pavane, [79];
Mother Goose Suite, [81];
works and account of style, [299]-[300].
recapitulation (or résumé), [98]-[99].
Reinecke, Canonic Vocal Trios, [37].
Remenyi, Brahms's tour with, [232].
repetition, importance of, [12], [13];
types of, [14]-[18].
Rheinberger, Canonic Pieces, [87];
Tarantelle for Pianoforte, [79].
rhythmic variety (five and seven beats a measure), [66]-[68].
Richter, Jean Paul, influence on Schumann, [172].
Riemann, [93].
rigaudon, [75];
examples of, from Grieg, Rameau and MacDowell, [79], [81].
Rimsky-Korsakoff, works and features of style, [317].
Roi d'Ys, Le, [256].
Rolland, Romain, account of Beethoven in Jean Christophe, [125];
Life of Beethoven, [159];
essay on Berlioz, [207].
Romanticism and Romantic School, account of, [160]-[165].
Romeo and Juliet Symphony, comments on, [215]-[216].
rondo, account of, [81]-[85].
rondo-sonata form, [144].
Ropartz, [257];
characterization of a theme in Franck's Symphony, [266].
Rossetti, Blessed Damozel, set by Debussy, [288].
Rossini, "crescendo" in Overtures, [62];
eulogy of Mozart, [121].
Rouet d'Omphale, Le, [256].
round, [11];
Old English Rounds, [12].
rubato (tempo), definition of, [199].
Rubinstein, movements in Ocean Symphony, [95];
estimate of Mozart, [111];
characterization of the damper pedal, [191].
Runciman, quotation apropos of Weber from Old Scores and New Readings, [169]-[170].
Russian folk-songs, [30]-[33].
Russian music, general tendencies of, [314]-[315].
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].