great works already
composed, and to train himself liberally for the welcome of new works.
Towards such an end we hope that this book may offer a helpful
contribution.

Index

A

_Academic Overture_ of Brahms, 233.

Aeolian mode, 24.

Aeschylus, compared with Brahms, 239.

Albeniz, pianoforte pieces, 327.

answer (to a fugue), 42.

Apthorp, W.F., comments on Brahms, 238;
eulogy on Brahms's _First Symphony_, 246;
comments on _Istar_, 283.

arabesque, 83.

Aristophanes, his humor compared with Beethoven's, 150.

Arnold, Matthew, lines on Byron apropos of Berlioz, 203;
stanza applicable to Brahms, 233;
definition of style, 234.

Atherton, Percy Lee, 329.

Auber, 255.

augmentation, definition of, 44.

B

Babbitt, Irving, book on Romanticism, 161;
_The New Laocoon_, 207.

Bach, Emmanuel, use of two themes, 93;
contributions to the Sonata-form, 100.

Bach, J.S., _Well-tempered Clavichord_, 23;
choral (Phrygian mode), 25;
polyphonic style, 34;
_Goldberg Variations_, 37;
celebrated organ fugues, 41;
analysis of _Fugue in E-flat major_, 42-43.

_Bagatelles_, of Beethoven, 166.

Balakireff, works and features of style, 315-316.

Baldensperger, F., eulogy of Franck, 258.

Ballet music to _Prometheus_, 140.

Balzac, comment on Chopin, 189.

_Barcarolle_, of Chopin, color effect therein, 193;
analysis of, 200-201.

_Bartered Bride Overture_, 121, 322.

basso ostinato, 86.

Baudelaire, 293.

Beach, Mrs., _Menuet Italien_, 78, 329.

Beethoven, 2, 5, 8:
motive of _Fifth Symphony_, 12;
_Waldstein Sonata_, 15;
String Quartet (Lydian mode), 26;
fugal passages in symphonies, 41;
sentences from sonatas, 58-61;
_Egmont Overture_, 77;
_Rondo Capriccio_, 82;
sets of Variations, 88;
biography, 122-126;
love of Nature, 125;
features of style, 126-129;
development of the Sonata-form, 126-127;
treatment of the Coda, 127;
variety of rhythm, 127-128;
use of dissonances, 128;
humor, 128-129;
development of Program music, 129;
development of varied air, 129;
characterization of the Symphonies, 130-132;
estimate of the Pianoforte Sonatas, 140;
pianistic effect in Sonatas, 145;
as a programmistic composer, 153-154;
quality of themes, 156;
dramatic use of single notes, 156-157;
theme of _Ninth Symphony_ compared with theme from Brahms's _First
Symphony_, 247.

Bela Bartok, 328.

Berlioz, quotation fro