f
ideas--Movement delineated--Handel's frogs--Water in the "Hebrides"
overture and "Ocean" symphony--Height and depth illustrated by acute
and grave tones--Beethoven's illustration of distance--His rule
enforced--Classical and Romantic music--Genesis of the terms--What
they mean in literature--Archbishop Trench on classical books--The
author's definitions of both terms in music--Classicism as the
conservative principle, Romanticism as the progressive, regenerative,
and creative--A contest which stimulates life. _Page 36_

[Sidenote: CHAP. IV.]

_The Modern Orchestra_

Importance of the instrumental band--Some things that can be learned
by its study--The orchestral choirs--Disposition of the players--Model
bands compared--Development of instrumental music--The extent of an
orchestra's register--The Strings: Violin, Viola, Violoncello, and
Double-bass--Effects produced by changes in manipulation--The
wood-winds: Flute, Oboe, English horn, Bassoon, Clarinet--The Brass:
French Horn, Trumpet and Cornet, Trombone, Tuba--The Drums--The
Conductor--Rise of the modern interpreter--The need of him--His
methods--Scores and Score-reading. _Page 71_

[Sidenote: CHAP. V.]

_At an Orchestral Concert_

"Classical" and "Popular" as generally conceived--Symphony Orchestras
and Military bands--The higher forms in music as exemplified at a
classical concert--Symphonies, Overtures, Symphonic Poems, Concertos,
etc.--A Symphony not a union of unrelated parts--History of the
name--The Sonata form and cyclical compositions--The bond of union
between the divisions of a Symphony--Material and spiritual links--The
first movement and the sonata form--"Exposition, illustration, and
repetition"--The subjects and their treatment--Keys and nomenclature
of the Symphony--The _Adagio_ or second movement--The _Scherzo_ and
its relation to the Minuet--The Finale and the Rondo form--The latter
illustrated in outline by a poem--Modifications of the symphonic form
by Beethoven, Schumann, Berlioz, Mendelssohn, Liszt, Saint-Saens and
Dvorak--Augmentation of the forces--Symphonies with voices--The
Symphonic Poem--Its three characteristics--Concertos and Cadenzas--M.
Ysaye's opinion of the latter--Designations in Chamber music--The
Overture and its descendants--Smaller forms: Serenades, Fantasias,
Rhapsodies, Variations, Operatic Excerpts. _Page 122_

[Sidenote: CHAP. VI.]

_At a Pianoforte R