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].
V
Van Vechten, book on Spanish music, [328].
variation form, account of, [85]-[91].
Variations, in F minor of Haydn, [87];
on Death and the Maiden, [88];
Sérieuses, [88];
on a Theme from Handel, [88];
on the St. Anthony Choral, [88];
(Enigma) by Elgar, [89];
Symphoniques, [89].
Verdi, Minuet from Falstaff, [78].
Veretschagin, [320].
Verlaine, [293].
Violin Concerto of Beethoven, [156]-[157].
Vittoria, [327].
Vivaldi, [70].
von Breuning family, [125].
W
Wagner, comment on operas, [4];
quality of themes, [8];
motive from the Valkyrie, [12];
polyphonic structure of operas, [13];
motive from Tristan and Isolde, [17];
fugal Prelude to third act of the Mastersingers, [41];
comments on Leonore Overture, [98];
eulogy of Mendelssohn, [185].
Waldesrauschen, Étude of Lizst, [227].
Waldstein, friendship with Beethoven, [125].
Waldstein Sonata, [83].
Walker, E., on English folk-music, [22].
Wallace, estimate of Haydn, [102];
Threshold of Music, [291], [329].
Wallaschek, R., on primitive music, [21].
Wallenstein Trilogy (d'Indy), [281].
waltz, [75].
Weber, Moto Perpetuo, [83];
orchestral treatment in his Overtures, [164]-[165];
account of style, [169]-[172];
Invitation to the Dance, arrangement by Weingartner, [169];
compared with that by Berlioz, [171];
Oberon Overture, analysis of, [170]-[171];
compositions for pianoforte, [171].
Weckerlin, example from Echos du Temps Passé, [71].
Weingartner, eulogy of Berlioz, [206];
comments on the Symphonic Poem, [220];
comments on Brahms's First Symphony, [244], [246].
Whistler, compared with Debussy, [293].
Whiting, Arthur, Scottish Melodies, [28];
Irish Melodies, [29];
Suite Moderne, [80];
Pedal Studies, [193], [194], [329].
Whitman, [1];
quotation from Mystic Trumpeter, [146].
Widor, canon for organ, [36].
Willaert, harmonic basis of choruses, [23].
Williams, Abdy, on Brahms's rhythm, [253].
Williams, Vaughan, [329].
Wordsworth, quotation from, [163].
Wyman, Loraine, [33].