Saint-Saëns,1,2;comment on Berlioz'sRomeo 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., theCat-Fugue,48;as virtuoso,74;anticipation of Sonata-form,93;Courantefor pianoforte,79;crossing of hands in Beethoven,141,144.Schumann,7;motive from theCarnaval,13;from theKinderscenen,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 ofDes Abends,174-175;ofWarum,175-176;ofNovellette in E major,176;of Song,Mondnacht,176-177;ofManfredOverture,177-179;characterization of the four Symphonies,179;Symphony in D minor, analysis of,179-184;eulogy of Brahms in theNeue 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 ofUnfinished 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 fromTill'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.
Tallys, Thomas, vocal canon,37.tambourin,71.tango,76.tarantella,75.Taylor, Bayard, translation of stanza fromFaust,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.
Van Vechten, book on Spanish music,328.variation form, account of,85-91.Variations, in F minorof Haydn,87;onDeath and the Maiden,88;Sérieuses,88;on a Theme from Handel,88;on theSt. Anthony Choral,88;(Enigma) by Elgar,89;Symphoniques,89.Verdi, Minuet fromFalstaff,78.Veretschagin,320.Verlaine,293.Violin Concertoof Beethoven,156-157.Vittoria,327.Vivaldi,70.von Breuning family,125.
Wagner, comment on operas,4;quality of themes,8;motive from theValkyrie,12;polyphonic structure of operas,13;motive fromTristan and Isolde,17;fugal Prelude to third act of theMastersingers,41;comments onLeonoreOverture,98;eulogy of Mendelssohn,185.Waldesrauschen, Étude of Lizst,227.Waldstein, friendship with Beethoven,125.WaldsteinSonata,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;OberonOverture, analysis of,170-171;compositions for pianoforte,171.Weckerlin, example fromEchos du Temps Passé,71.Weingartner, eulogy of Berlioz,206;comments on the Symphonic Poem,220;comments on Brahms'sFirst 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 fromMystic 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.
CRITICAL and HISTORICALESSAYSByEdward MacDowell(Lectures Delivered at Columbia University)Especially valuable to that circle of readers who desire to secure the essential elements of a liberal culture in music. With this aim, Mr. MacDowell outlines somewhat the technical side of music, and with it, gives a general idea of the history and aesthetics of the art.Price $1.50
ByEdward MacDowell
(Lectures Delivered at Columbia University)
Especially valuable to that circle of readers who desire to secure the essential elements of a liberal culture in music. With this aim, Mr. MacDowell outlines somewhat the technical side of music, and with it, gives a general idea of the history and aesthetics of the art.
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Professor of Music in Harvard University
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JUST ISSUED
MODULATIONand RELATED HARMONIC QUESTIONS
By ARTHUR FOOTEPrice $1.25
Scales and Key RelationshipModulation in GeneralChange of Keys or Chords without ModulationChange of Keys by moving to a New TonicModulation by means of Various ChordsDiatonic, Chromatic, and Enharmonic ModulationHarmonic Changes resulting from the SymmetricalMovement of Individual VoicesHarmonic Changes resulting from the Elisionof ChordsA Table of Modulations
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