Music: An Art and a Language

By Walter Raymond Spalding | Go to book overview
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Index

A
Academic Overture of Brahms233.
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 Sym­ phony,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 Laocoön,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 Sonataform, 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, 130132; 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, 156157; theme of Ninth Symphony compared with theme from Brahms's First Symphony,247.
Béla, Bartok, 328.
Berlioz, quotation from Grotesques de la Musique,21; canon in Carnaval Romain Overture, 37, comment on Trio of Fifth Symphony,150; biography, 202-205; names of his Parisian friends, 204; features of style, 205206; Fantastic Symphony, analysis of, 207-211; Carnaval Romain Overture, analysis of, 211-212; Damnation of Faust, instrumental numbers from, 213-214; Harold in Italy Symphony, analysis of, 214-215; Romeo and Juliet Symphony, comments on, 215216.
Bie, Oscar, 74; on the style of Couperin and Rameau, 152.
Bizet, L'Arlésienne Suites,80.
Bohemian School, 320-321.
Boieldieu, comment on Beethoven, 134; 255.
bolero,75.
Boris Godounoff, description of, 320.
Borodin, works and features of style, 316-317.
Boschot, work, in three parts, on Berlioz, 207.
bourrée,75.
Brahms, First Symphony,8, 14, 21, 44; modal expression in works, 23; Fourth Symphony (Phrygian mode), 25; canonic style, 36; C minor Trio,67; sets of variations, 88; biography, 231-233;

-333-

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