Eichendorff, texts for Schumann's songs,176.Eighth Symphonyof 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 major Sonataof 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.FaustSymphony, 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 toSuite,41,329.Forsyth, Cecil, eulogy of Mendelssohn,185.Francesca da Rimini,154.Franck,Symphony,8,15;polyphonic structure,13;canonic style,36;canon inSymphony,37;inViolin 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 ofD minor Symphony,259-268;ofSonata 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 major Pianoforte Concertoof 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 onIstar,283;essay on Debussy,293;comments onPelléas 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'sDictionary,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.
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 onScheherazade,317-318.halling,76.Handel, fugue from the Messiah,41;Harpsichord Lessons,74;Air in Sarabande rhythm,77;Harmonious Blacksmith,86;Overture toMessiah,119.Harmonic Series,51.Harold in ItalySymphony, 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 theCreation,152.Hazlitt, comment on Mozart,111.HebridesOverture 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 onFifth 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.
Impromptusof 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.
Jadassohn, Canonic Pieces,37.James, Henry, essay on George Sand,189.Jannequin, descriptive pieces for voices,152.jota(aragonesa),76.
Kaiser Quartet,87.Keats, quotation apropos ofFifth 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.
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 theFifth Symphony,127.Legouvé,Recollectionsof Berlioz,205.Lekeu,257.L'idée fixe,207-210.Liebich, Mrs., essay on Debussy,294.Liszt,4,21;characterization of Schubert,164;FaustSymphony (theme in augmentation),45;Life of Chopin,198;biography,217-218;features of style,218-219;analysis of Symphonic Poem,Orpheus,221-222;ofFaustSymphony,223-226;pianoforte compositions,226-227;alleged influence on Brahms,232;use of whole-tone scale,289.Locke, A.W., article inMusical 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.
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 FluteOverture, analysis of,119-121.Mahler, comments on his style,231.malagueña,76.Mallarmé,293.Malipiero,328.ManfredOverture,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 onIstar,283;essay on Debussy,295;on Tchaikowsky,306;on Dvořák,322;as composer,329.mazurka,75.mediant relationship,52,96.Méhul,255.MelpomeneOverture,154.MelusineOverture 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 DreamOverture, analysis of,186-187.Milton, quotation fromParadise Lost,49.minuet,75;account of, and examples,78.Mixolydian mode,24.modal, chart of modes,23-24.modulation,51-52.Moments Musicauxof 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 FluteOverture,40;Finale ofJupiterSymphony,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.
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.
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.
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 fromHora 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 GyntSuite,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 toMadama Butterfly,41.Purcell,70;his Jig,71.Pushkin,314.
Quilter, Roger,329.
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 (orrésumé),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;Tarantellefor 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 inJean Christophe,125;Life of Beethoven,159;essay on Berlioz,207.Romanticism and Romantic School, account of,160-165.Romeo and JulietSymphony, 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 inOcean Symphony,95;estimate of Mozart,111;characterization of the damper pedal,191.Runciman, quotation apropos of Weber fromOld Scores and New Readings,169-170.Russian folk-songs,30-33.Russian music, general tendencies of,314-315.