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.
T
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.
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