Chapter XX: The Varied Tendencies of Modern Music

Modern music--broadly speaking, music since the beginning of the twentieth century--is certainly manifesting the characteristics which the preceding survey has shown to be inherent in its nature: that is, it has grown by a course of free experimentation, it is the youngest of the arts, and it is a human language as well as a fine art. Hence we find that modern composers are making daring experiments in dissonance, in rhythmic variety, in subtle blends of color and, above all, in the treatment of the orchestra. In comparison with achievements in the other arts music often seems in its infancy; being limited by no practical or utilitarian considerations, and employing the boundless possibilities of sound and rhythm, there is so much still before it. The truth contained in the saying, that music is the youngest as well as the oldest of the arts, becomes more apparent year by year; for although a work which originally had imaginative life can never die, yet many former works have passed out of recognition simply because they have been superseded by more inspired ones, composed since their day. We can no longer listen with whole-hearted enthusiasm to many of the older symphonies, songs and pianoforte pieces, because Brahms, Franck, Debussy and d'Indy have given us better ones.

These experiments, just referred to, have been particularly notable on the part of two composers of the neo-Russian group, Stravinsky and Scryabin. Stravinsky,[336] in his brilliant pantomime ballets, _L'Oiseau du Feu_, _Petroushka_, and _Le Sacre du Printemps_, has proved incontestably that he is a genius--it being of the essence of genius to create something absolutely new. These works, in their expressive melody, harmonic originality and picturesque orchestration, have widened the bounds of musical characterization. Scryabin[337] (1871-1915) is noted for his esoteric harmonic scheme, shown in a series of pianoforte preludes, sonatas and, above all, in his orchestral works, the _Divine Poem_, the _Poem of Ecstacy_ and _Prometheus_ or _Poem of Fire_. The effect of Scryabin's harmonies is one of great power, and, as previously said of Debussy in his earlier days, his imagination has undoubtedly heard sounds hitherto unrealized. The sensational style of _Prometheus_ is augmented by the use of a color machine which flashes upon a screen hues supposed to supplement the various moods of the music. How many of these experiments will be incorporated into the accepted idiom of music, time alone will tell; but they prove conclusively that modern music is thoroughly awake and is proving true to that spirit of freedom which is the breath of its being.

[Footnote 336: For a detailed account of his life and works consult the essay in _Contemporary Russian Composers_ by Montagu-Nathan and Vol. III of _The Art of Music_.]

[Footnote 337: For a comprehensive estimate of his style and achievements the following works will prove useful: the _Biography_, by Eaglefield Hull; the Essay, by Montagu-Nathan in the volume referred to, and an article by W.H. Hadow in the Musical Quarterly for Jan. 1915.]

Music is, furthermore, not only a fine art in which have worked and are working some of the best intellects of our race, but is inevitably becoming a universal language. We see this clearly in the rapid growth of music among peoples and nations which, comparatively a short time ago, were thought to be quite outside the pale of modern artistic development. No longer is music confined exclusively to the Italians, French and Germans. A national spokesman for the Finns is the gifted Sibelius, the composer of five symphonies, several Symphonic poems, numerous songs and pianoforte pieces; his second Symphony in E minor being a work of haunting beauty, and the Fourth noted for its bold use of the dissonant element. The Roumanians have come to the fore in Enesco, who has written several characteristic works for orchestra. The Spaniards are endeavoring to restore their former glories--for we must not forget that, in past centuries, the Spanish composers Morales and Vittoria ranked with the great painters which that nation has produced. Three Spanish composers, indeed, are worthy of distinct recognition: Albeniz for his pianoforte pieces, _tangos_, _malaguenas_, etc., in which there is such a fascinating treatment of national dance rhythms; Granados,[338] with several operas to his credit, and Laparra, the composer of a fantastic suite recently played by the Boston Symphony Orchestra. Spanish rhythms, melodies and local color have been frequently incorporated in the works of other composers, _e.g._, by Bizet in _Carmen_, by Debussy in _Iberia_, and in the pianoforte piece _Soiree dans Granade_, by Chabrier in _Espana_, by Lalo in several works, and by the Russians, Glinka and Rimsky-Korsakoff, in brilliant orchestral works. The Spanish influence,[339] in fact, may be called one of the most potent in modern music.

[Footnote 338: Who lost his life on the Sussex when it was torpedoed by the Germans.]

[Footnote 339: For a comprehensive account, historical and critical, of this influence consult the volume by Carl Van Vechten _The Music of Spain_.]

Although there is no doubt of the strong musical instinct inherent in the Hungarians--witness the prevalence of Hungarian rhythms in Schubert, Liszt, Brahms and others--their country has always been so torn with political dissensions that the lack of a national artistic culture is not to be wondered at. Recently however three Hungarian composers, Dohnanyi, Moor and Bela Bartok, have produced works embodying racial tendencies and yet of such significant content and sound workmanship as to attract the attention of the world outside.

Italy, also, is awakening from a long sleep, and there is now a group of young men representing New Italy (of whom Malipiero and Casella are the best known) which should accomplish results worthy of the glorious musical traditions of that country.

England is shaking off her subserviency[340] to the influence of Handel and Mendelssohn, and at last has made a promising start toward the achievement of works which shall rank with her glories in poetry, in fiction and in painting. Among the older group we have such names as Sullivan, with his inimitable series of operas, the _Mikado_, _Gondoliers_, _Iolanthe_, etc.; Parry, with some notable choral works, and Stanford--a most versatile man--Irish by birth, and with the humor and spontaneity natural to his race; his _Irish Symphony_ and his opera _Shamus O'Brien_ would give lustre to any period. The only genius of the first rank however which England has produced since the days of Purcell is Edward Elgar (1857-still living). Practically self-educated and spending his early life in his native country he escaped the influences of German training which so deadened the efforts of former composers, such as Pierson and Bennett. Elgar's music is thoroughly English in its sturdy vigor[341] and wholesome emotion. With something first-hand to say he has acquired such a technique in musical expression that his compositions rank in workmanship with those of the great continental masters. In his use of the modern orchestra Elgar need be considered second to none. His overtures _In the South_ and _Cockaigne_, his two Symphonies and his _Enigma Variations_ are universally acknowledged to be models of richly-colored and varied scoring. Although his music is English it is never parochial but has that note of universal import always found in the work of a real genius. Among the younger men there are Wallace, both composer and writer on musical subjects (his Threshold of music being particularly stimulating), Holbrook, Vaughan Williams, Roger Quilter, Arthur Hinton, Balfour Gardiner and John Ireland, a composer of genuine individuality, as is evident from his Violin Sonata in D Minor.

[Footnote 340: Some pithy remarks on the habitual English attitude toward music may be found in the history of Stanford and Forsyth, page 313, _seq._]

[Footnote 341: See for example the broad theme in the middle portion of the March, _Pomp and Circumstance_.]

Even such outlying parts of the world as Australia and South America have contributed executive artists of great ability though, to our knowledge, as yet no composer.

What, now, in this connection can be said of America? This much at least: when we consider that, beyond the most rudimentary attempts, music in our land is not yet a century old, a start has been made which promises great things. Such pioneers as Paine, Chadwick, MacDowell, Foote, Parker, Osgood, Whiting and Mrs. H.H.A. Beach have written works, often in the larger forms, showing genuine inspiration and fine workmanship, many of which have won permanent recognition outside of their own country. Of late years a younger group has arisen, the chief members[342] of which are Converse, Carpenter, Gilbert, Hadley, Hill, Mason, Atherton, Stanley Smith, Brockway, Blair Fairchild, Heilman, Shepherd, Clapp, John Powell, Margaret Ruthven Lang, Gena Branscombe and Mabel Daniels. These composers all have strong natural gifts, have been broadly educated, and, above all, in their music is reflected a freedom, a humor and an individuality which may fairly be called American; that is, it is not music which slavishly follows the "made-in-Germany" model.[343] The composer of greatest genius and scope in America is undoubtedly Charles Martin Loeffler; but, although he has become a loyal American, and although his best works have been composed in this country, we can hardly claim him as an American composer, for his music vividly reflects French taste and ideals. His inspired works--in particular _La Mort de Tintagiles_, _The Pagan Poem_ and a Symphony (in one movement)--are of peculiar importance for their connection with works of literature and for consummate power in orchestration. Not even Debussy has expressed more subtly the tragic spirit of Maeterlinck than has Loeffler in _La Mort de Tintagiles_; and _The Pagan Poem_, founded on an Eclogue of Virgil portrays most eloquently the romance of those pastoral days. Loeffler's latest work, a String Quartet[344] dedicated to the memory of Victor Chapman, the Harvard aviator, is remarkable for the heart-felt beauty of its themes and for advanced technique in treating the four solo instruments.

[Footnote 342: This valuation of American composers is made solely on the basis of published compositions.]

[Footnote 343: For additional comments on this point see an article by the author in the Musical Quarterly for January, 1918.]

[Footnote 344: Performed recently several times by the Flonzaley Quartet.]

Let us now indulge in a few closing remarks of advice to the young student faced with all this perplexing novelty. Our studies should have made plain two definite facts: first, that the real message of music is contained in its melody--that part of the fabric which we can carry with us and sing to ourselves. Harmony and color are factors closely involved with melodic inspiration, but their impression is more fleeting; and in general, no work lacking in melody, however colorful or filled with daring harmonic effects, can long endure. But we must be judicious and fair in estimating exactly what constitutes a real melody. The genius is always ahead of his time; if he thought just as other men, he would be no genius. New types of melody are continually being worked out; all we can say is that the creative composer hears sounds in his imagination, the result of his emotional and spiritual experiences and of his sympathy with the world. He recreates these sounds in terms of notation, hoping that, as they mean so much to him, they may be a delight and inspiration to his fellowmen. If enough people like these works for a long enough time, they _are_; that is, they live--no matter how much they differ from _a priori_ standards as to what music should be.

The second fact concerns the structure of music; that is, the way in which the thought is presented. We have seen that music always has a carefully planned architecture--that being necessary by reason of the indefiniteness of the material. But let us always remember that without abandoning the fundamental principles of all organic life, form may be--and should be--free and elastic. Every work which lives reveals a perfect balance between the emotional and imaginative factors and their logical presentation. If we are puzzled by the structure of a new work the assumption should be, not that it is formless but that, when we know the work, it will be seen to employ simply a new use of old and accepted principles; for the works analyzed must have convinced us that the principles of unity, contrast, balance and symmetry are eternal; and, however modified, can never be abandoned. The normal imagination must express itself logically, and can no more put forth incoherent works than the human body would give birth to misshapen offspring. Musical compositions, which after study prove to be incoherent, diffuse and flabby, are to be considered exceptional and not worth condemning; they are only to be pitied. The chief aim of the music-lover should be to become an intelligent and enthusiastic appreciator of the 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 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, 205-206;
_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, 215-216.

Bie, Oscar, 74;
on the style of Couperin and Rameau, 152.

Bizet, _L'Arlesienne 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.

_bourree_, 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;
features of style, 233-238;
analysis of _First Symphony_, 239-249;
of _Violin Sonata_, 250-252;
of _G minor Ballade for Pianoforte_, 252-253;
attitude toward program music, 253;
the nature of his _Intermezzi_, 253;
of the _Capriccios_, 253;
his _Rhapsodies_, 254;
analysis of song _Meine Liebe ist gruen_, 254;
other songs, 255.

branle (brawl), 75.

Branscombe, Gena, 329.

Brenet, M., _Life of Haydn_, 104.

Brockway, H., on American folk-songs, 33, 329.

Browning, 1;
quotation apropos of the fugue, 49;
quotations apropos of the _Fifth Symphony_, 146, 150.

Bruckner, movement from _Seventh Symphony_, 231.

Bruneau, _History of Russian Music_, 314.

Bull, John, 79, 85.

Buelow, _Sonatas_ of E. Bach, 100;
comment on Grieg, 325.

Burney, on the 18th Century, 103.

Buxtehude, 34.

Byrd, William, 12, 79, 85.

Byron, influence on Schumann's style, 177.

C

_C minor Symphony_ (Beethoven), analysis of, 145-151.

_C minor Symphony_ (Brahms), analysis of, 239-249.

cadences, 55-57.

Calvacoressi, on dominant relationship, 52.

canon, 11;
account of, 36-37.

canzona, 69.

_Carnaval Romain_ Overture, analysis of, 211-212.

Carpenter, John Alden, _Adventures in a Perambulator_, 80, 329.

Casella, 328.

_Casse-Noisette Suite_, 80.

Cellini, Benvenuto, compared with Berlioz, 202;
opera by Berlioz, 211.

Chabrier, _Bourree Fantasque_, 80, 297;
_Espana_, 80, 297;
Overture to _Gwendoline_, 99, 297;
account of style, 297.

_chaconne_, 86;
Bach's for violin solo, 87.

Chadwick, _Canonic Studies_, 36;
fugal passage in _Vagrom Ballad_, 41, 329.

Chamisso, texts for Schumann's songs, 170.

Chantavoine, Life of Beethoven, 159.

Charpentier, _Impressions of Italy_, 80.

Chausson, Ernest, account of style, 298.

Chavannes, Puvis de, compared with Franck, 258.

Chopin, type of melody, 10, 21;
_Sonata in C minor_, 67;
biography and features of style, 188-189;
analysis of _Prelude in C major_, 198;
_Etude in A-flat major_, 199;
_Mazurka in F-sharp minor_, 199;
analysis of _Polonaise in E-flat minor_, 200;
of _Barcarolle_, 200-201;
of _Scherzo in C-sharp minor_, 201.

chromatic changes, 51.

Clapp, P.G., 48, 329.

coda, definition and examples of, 99.

color, in different keys, 51.

Combarieu, Jules, 2.

Converse, F.S., Dramatic Poem, _Job_ (Phrygian mode), 26;
_String Quartet_, 99, 329.

Corelli, 70, 74.

_Coriolanus_ Overture, analysis of, 152-156.

counterpoint, definition of, 11.

counter-subject (of a fugue), 42.

Couperin, 70, 74, 81, 85;
descriptive pieces, 152, 255.

_courante_ (_corrente_), 75.

Croatian Folk-songs (in Haydn), 101-102.

_csardas_, 76.

D

_D major Sonata_ of Beethoven, analysis of, 140-145.

_D Minor Symphony_ of Schumann, 179-184.

d'Albert, _Suite for Pianoforte_, 78.

_Damnation of Faust_, instrumental numbers from, 213-214.

Daniels, Mabel, 329.

Dannreuther, eulogy on Beethoven, 159;
comment on Berlioz's counterpoint, 209.

Dargomijsky, use of whole-tone scale, 289.

Debussy, modal expression in works, 23, 288-289;
_Pelleas et Melisande_ (Dorian mode), 24;
comments upon, 294;
_Minstrels_ (cadence in), 55-56;
_Sarabande_ for pianoforte, 77;
comment on development, 97;
compared with Mendelssohn, 185;
apropos of new music, 204;
features of style, 287-297;
whole-tone scale, 289-290;
titles of pianoforte pieces, 292-293;
on his pianoforte style, 295-296.

de Musset, quotation apropos of Grieg, 325.

deceptive cadence, 56.

Dent, E.J., _Mozart's Operas_, 112.

De Pachman, playing of Mendelssohn's pieces, 185.

De Quincey, quotation from the _Dream Fugue_, 49.

_Deutsches Requiem_, 233.

development section of Sonata-form, 93-94, 97-98.

Dickinson, Edward, estimate of Haydn, 101.

diminution, definition of, 44.

d'Indy, modal expression in works, 23;
canonic style, 36;
Symphonic Variations, _Istar_, 67;
comments on the Sonata-form, 95, 100;
comment on Beethoven's _Seventh Symphony_, 131;
comment on _Sonata Pathetique_, 142;
comments on D major Sonata, 145;
comments on _Fifth Symphony_, 145;
Life of Beethoven, 159;
comments on Franck's themes, 268;
biography and features of style, 280-282;
_Istar_, analysis of, 283-287.

dissonance, discord, distinction between terms, 143.

Dohnanyi, 328.

Dominant, acoustical and harmonic importance of, 22-23, 52.

_Don Giovanni_, 111, 119.

_Don Juan_, 85.

_Don Quixote_, 89.

Dorian mode, 24.

Dostoyevsky, 314, 319, 320.

Doumic, Rene, essay on George Sand, 189.

Dowland, John, his _Pavans_, 80.

Duparc, Henri, account of his style, 298.

Dvo[vr]ak, _New World Symphony_, 9, 21;
modal expression in works, 23;
_New World Symphony_ (Aeolian mode), 26;
_Suite for Orchestra_, 79;
works and features of style, 322-324.

E

Eichendorff, texts for Schumann's songs, 176.

_Eighth Symphony_ of Beethoven, Finale, 157.

Elgar, Edward, works and features of style, 328-329.

Ellis, W.A., translation of Wagner's Essays, 154.

Enesco, 327.

enharmonic, modulation, 52-53.

episode, definition of, 39-40.

exposition of Sonata-form, 96.

extended cadences, 62-63.

F

_F major Sonata_ of Mozart, analysis of, 113-115.

Fairchild, Blair, 329.

_Fantastic Symphony_, analysis of, 207-211;
quotation from, 207-209.

Farwell, Arthur, on folk-music, 33.

Faure, Gabriel, account of style, 297-298.

_Faust_ Symphony, analysis of, 223-226.

Fay, Amy, account of Liszt, 217.

feminine ending, 57.

Fibich, 321.

Finck, H.T., _Songs and Song Writers_, 265;
_Chopin and Other Essays_, 198;
comments on Program Music, 226;
biography of Grieg, 324.

Fitzwilliam Virginal Book, 79, 152.

five-bar rhythm, 63-64.

Flonzaley Quartet, 105.

folk-songs, principle of restatement in, 16;
origin and importance of, 19-33.

Foote, Arthur, fugal Finale to _Suite_, 41, 329.

Forsyth, Cecil, eulogy of Mendelssohn, 185.

_Francesca da Rimini_, 154.

Franck, _Symphony_, 8, 15;
polyphonic structure, 13;
canonic style, 36;
canon in _Symphony_, 37;
in _Violin Sonata_, 37;
_Fugue in B minor for Pianoforte_, 41;
comparison of his scoring with that of Schumann, 181;
limitations of his pianoforte style, 190;
his fusion of movements compared with that of Brahms, 251;
biography, 256-257;
features of style, 257-258;
analysis of _D minor Symphony_, 259-268;
of _Sonata for Violin_, 268-274;
use of generative themes, 268;
_Symphonic Variations_, 274-280;
comparison of his style with that of Bach and Beethoven, 274;
his group of pupils, 280.

French folk-song, 29.

French Overture, 119.

Frescobaldi, 34.

Friedlaender, Max, apropos of Chabrier, 281.

fugue, 11;
definition of, 39.

Fuller-Maitland, life of Brahms, 238.

_furiant_, 75, 321.

G

_G major Pianoforte Concerto_ of Beethoven, 152-158.

_G minor Symphony_, analysis of, 115-119.

Gade, Neils, 324.

_galliard_, 75, 80.

Galuppi, as a pioneer in Sonata-form, 93.

Gardiner, Balfour, 329.

Gautier, Theophile, eulogy of Berlioz, 207.

_gavotte_, 75;
account of, and examples, 78-79.

Gilbert, H.F., on folk-songs, 20, 33, 329.

Gilman, Lawrence, essay on Berlioz, 214;
comments on _Istar_, 283;
essay on Debussy, 293;
comments on _Pelleas el Melisande_, 297.

Glinka, 301, 315.

Gluck, Ballet music, 87;
Operatic Overtures, 119.

Goethe, eulogy on Mozart, 112.

Gogol, 314, 320.

Gosse, Edmund, comment on Mallarme's eclogue, 293.

Gossec, as a pioneer in Sonata-form, 93.

Granados, Spanish folk-dance, 167;
works, 327.

Gregorian Chant, 10.

Gregorian modes in folk-songs, 20.

Gretry, comments on Sonata-form, 98, 255.

Grieg, 21;
Canon for Pianoforte, 37;
_Peer Gynt Suite_, 80;
_Holberg Suite_, 80;
works and features of style, 324-325.

ground bass, 86;
from Bach's Mass, 86.

Grove, _Beethoven and his Nine Symphonies_, 130.

Grove's _Dictionary_, 70, 73, 79, 81, 86, 104, 119, 154, 161, 172, 200,
217, 238.

Guilmant, March in Dorian Mode, 24;
Canon for Organ, 36.

Gurney, _The Power of Sound_, 2.

H

_habanera_, 76.

Habets, Alfred, account of Borodin and Liszt, 316.

Hadley, Henry, 329.

Hadow, W.H., 72, 81, 92, 96;
_Studies in Modern Music_, 184, 198, 207, 238;
essay on Dvo[vr]ak, 321;
article on Scryabin, 326.

Hale, Philip, comments on Saint-Saens, 256;
comments on Lalo, 256;
essay on Mozart, 112;
comments on _Scheherazade_, 317-318.

_halling_, 76.

Handel, fugue from the Messiah, 41;
_Harpsichord Lessons_, 74;
Air in Sarabande rhythm, 77;
_Harmonious Blacksmith_, 86;
Overture to _Messiah_, 119.

Harmonic Series, 51.

_Harold in Italy_ Symphony, analysis of, 214-215.

Haydn, 21, 81, 87;
ancestry, 101;
features of style, 101-105;
his freedom of rhythm, 102;
development of the String-Quartet and the Orchestra, 102-103;
_Sonata in E-Flat major_, 105-106;
_Surprise Symphony_, 106-108;
comment on Minuet, 144;
Prelude to the _Creation_, 152.

Hazlitt, comment on Mozart, 111.

_Hebrides_ Overture of Mendelssohn, 185.

Heilman, William C., 329.

Heine, texts for songs of Schubert and Schumann, 176;
comment on Berlioz's music, 205.

Helmholtz, 193, 291.

Henderson, W.J., _Preludes and Studies_, 184.

Henschel, vocal canon, 37;
conversation with Brahms, 233.

_Heroic Symphony_, analysis of, 132-140.

Herold, 255.

Hill, Edward Burlingame, _Stevensoniana_, 80;
comments on Saint-Saens, 256;
essay on d'Indy, 281, 329.

Hinton, Arthur, 329.

Hoffman, E.T.A., Essay on _Fifth Symphony_, 151.

_Holberg Suite_, 80.

Holbrook, 329.

Holmes, Augusta, 280.

homophonic, 10.

hornpipe, 75.

Hull, Eaglefield, Biography of Scryabin, 326.

Huneker, Life of Chopin, 198;
on the playing of Chopin, 199;
comment on Chopin's Scherzo, 201;
Life of Liszt, 217;
comment on Liszt's Songs, 220;
essay on Brahms, 238;
essay on Tchaikowsky, 306.

Hungarian folk-song, 30, 328.

_Hungarian Rhapsodies_, 227.

Hungarian rhythms in Schubert, Liszt and Brahms, 30;
in Schubert's Symphonies, 166;
in Brahms's First Symphony, 244.

I

_Impromptus_ of Schubert, 165-166.

_Indian Suite_, 80.

invention, 11.

_Invention in C major_, analysis of, 38-89.

inversion, definition of, 43-44.

Ionian mode, 24.

Ireland, John, 329.

Irish Folk-song, 29, 35.

_Istar_, Symphonic Poem of d'Indy, as example of a varied air, 89;
analysis of, 283-287.

Italian Overture, 119.

J

Jadassohn, Canonic Pieces, 37.

James, Henry, essay on George Sand, 189.

Jannequin, descriptive pieces for voices, 152.

_jota_ (_aragonesa_), 76.

K

_Kaiser Quartet_, 87.

Keats, quotation apropos of _Fifth Symphony_, 148;
quotation from, 163.

Kelly, E.S., _Chopin the Composer_, 198.

Kelly, Michael, _Reminiscences of Mozart_, 112.

_King Lear_, quotation from by Berlioz, 207.

Kjerulf, 324.

Korbay, F., _Hungarian Melodies_, 30.

Krehbiel, essay on Haydn, 103;
_The Pianoforte and its Music_, 152.

_Kreisleriana_, 83.

Kuhnau, _Bible Sonatas_, 152.

L

Lalo, Eduard, works and features of style, 256.

Laloy, Louis, Life of Chopin, 198;
essay on Debussy, 294.

Laparra, 327.

_L'apprenti Sorcier_, 154.

_L'apres-midi d'un Faune_, 154, 293-294.

Lavoix, estimate of the _Fifth Symphony_, 127.

Legouve, _Recollections_ of Berlioz, 205.

Lekeu, 257.

_L'idee fixe_, 207-210.

Liebich, Mrs., essay on Debussy, 294.

Liszt, 4, 21;
characterization of Schubert, 164;
_Faust_ Symphony (theme in augmentation), 45;
Life of Chopin, 198;
biography, 217-218;
features of style, 218-219;
analysis of Symphonic Poem, _Orpheus_, 221-222;
of _Faust_ Symphony, 223-226;
pianoforte compositions, 226-227;
alleged influence on Brahms, 232;
use of whole-tone scale, 289.

Locke, A.W., article in _Musical Quarterly_, 151.

Loeffler, Charles Martin, works and features of style, 329-330.

_Lonesome Tunes_, 33.

_loure_, 75;
example of, from Bach, 79.

Lowell, J.R., definition of a classic, 161.

Lully, 70, 119.

Lydian mode, 24.

M

MacCunn, Hamish, _Scottish Melodies_, 28.

MacDowell, _Rigaudon_, 79;
_Indian Suite_, 80, 329.

madrigal, 69.

Maeterlinck, compared with Franck, 257;
comment on the theatre, 294;
influence on Loeffler, 330.

_Magic Flute_ Overture, analysis of, 119-121.

Mahler, comments on his style, 231.

_malaguena_, 76.

Mallarme, 293.

Malipiero, 328.

_Manfred_ Overture, 177-179.

Mannheim Orchestra, 102.

Manuel, Roland, life of Ravel, 299.

march, 75.

_Marriage of Figaro_, 111.

masculine ending, 57.

Mason, D.G., 7, 9;
essay on Haydn, 102;
on Mozart, 112;
comment on Chopin's style, 196;
essay on Berlioz, 211;
on Saint-Saens, 256;
on d'Indy, 281;
comments on _Istar_, 283;
essay on Debussy, 295;
on Tchaikowsky, 306;
on Dvo[vr]ak, 322;
as composer, 329.

_mazurka_, 75.

mediant relationship, 52, 96.

Mehul, 255.

_Melpomene_ Overture, 154.

_Melusine_ Overture of Mendelssohn, 185.

Mendelssohn, 89;
biography and features of style, 184-186;
Violin Concerto, comments on, 185-186.

Merkel, canon for organ, 36.

_Midsummer Night's Dream_ Overture, analysis of, 186-187.

Milton, quotation from _Paradise Lost_, 49.

minuet, 75;
account of, and examples, 78.

Mixolydian mode, 24.

modal, chart of modes, 23-24.

modulation, 51-52.

_Moments Musicaux_ of Schubert, 165-166.

Montagu-Nathan, _History of Russian Music_, 314, 326.

Monteverde, 119.

Morales, 327.

Moor, 328.

_Mother Goose Suite_, 81.

Moussorgsky, works and features of style, 318-320.

Mozart, _Magic Flute_ Overture, 40;
Finale of _Jupiter_ Symphony, 40, 81;
biography, 108-110;
features of style, 110-112;
Mozart and Haydn, reactive influence, 110-111;
polyphonic skill, 110, 112;
dramatic power, 111;
examples from works, 113-121.

Mundy, John, descriptive pianoforte piece, 152.

_musette_, 78.

_Mystic Trumpeter_, 154.

N

National Music, distinctive features of, 300-301.

Neefe, Beethoven's teacher, 124.

_Neue Zeitschrift fuer Musik_, founded by Schumann, 174.

_New World Symphony_, critical comments on, 323-324.

Newman, _Musical Studies_, 154, 178, 207;
comment on Debussy, 296.

Newmarch, Rosa, _Life of Tchaikovsky_, 305.

Niecks, _Programme Music_, 152, 214, 221, 305;
_Life of Chopin_, 198;
eulogy of Liszt, 228.

Nordraak, 324.

O

Organ, the, its tone compared with that of pianoforte, 191.

organum, 10.

_Orpheus_, Symphonic Poem, analysis of, 221-222.

Osgood, George L., 329.

overtones, chart of, 193.

_Oxford History of Music_, 10, 12, 102, 103, 110, 119, 161, 165, 185,
216, 221, 226.

P

Paderewski, 77;
Minuet of, 78;
playing of Mendelssohn's pieces, 185.

Paganini, connection with Berlioz, 214.

Paine, J.K., _Fuga Giocosa_, 46, 49;
tribute to Beethoven, 129, 329.

Palestrina, 34.

Parker, H.W., fugue from _Hora Novissima_, 41, 329.

Parry, _Evolution of the Art of Music_, 9, 16, 21, 69, 70;
choral works, 328.

_Passacaglia_, 86;
of Brahms, 86;
of Bach for organ, 87.

_passepied_, 75.

Pater, Walter, remark on Romanticism, 161.

_pavane_, 75;
example from Ravel, 79.

pedals of the pianoforte, the damper and the una corda, 192-195.

_Peer Gynt_ Suite, 80.

period, definition of, 50.

Perotin, 34.

Perry, Baxter, 90.

_Phaeton_, 256.

Philidor, 255.

Phrygian cadence, 24-25.

Phrygian mode, 23;
Brahms's use of, 239.

pianoforte, the, account of its characteristics, 189-195.

plagal cadence, 55.

_polka_, 75, 321.

_polonaise_, 75.

polyphonic, 10.

polyphonic music, complete account of, 33-49.

Poiree, Elie, Life of Chopin, 198.

Pope, apropos of the jig, 80.

Pougin, Arthur, comments on Moussorgsky, 318-319.

Powell, John, 329.

Pratt, _History of Music_, 10, 93, 159, 161.

prelude (to Sonata-form), 99.

_Prix de Rome_, won by Berlioz, 205;
by Debussy, 288.

Prout, 85.

Puccini, fugal prelude to _Madama Butterfly_, 41.

Purcell, 70;
his Jig, 71.

Pushkin, 314.

Q

Quilter, Roger, 329.

R

Rabelais, his humor compared with Beethoven's, 150, 157.

Rameau, acoustical reforms of, 23, 70, 74, 81, 85;
descriptive pieces, 152, 255.

Ravel, _Daphnis and Chloe_, 68;
his Pavane, 79;
_Mother Goose Suite_, 81;
works and account of style, 299-300.

recapitulation (or _resume_), 98-99.

Reinecke, Canonic Vocal Trios, 37.

Remenyi, Brahms's tour with, 232.

repetition, importance of, 12, 13;
types of, 14-18.

Rheinberger, _Canonic Pieces_, 87;
_Tarantelle_ for Pianoforte, 79.

rhythmic variety (five and seven beats a measure), 66-68.

Richter, Jean Paul, influence on Schumann, 172.

Riemann, 93.

_rigaudon_, 75;
examples of, from Grieg, Rameau and MacDowell, 79, 81.

Rimsky-Korsakoff, works and features of style, 317.

_Roi d'Ys, Le_, 256.

Rolland, Romain, account of Beethoven in _Jean Christophe_, 125;
_Life of Beethoven_, 159;
essay on Berlioz, 207.

Romanticism and Romantic School, account of, 160-165.

_Romeo and Juliet_ Symphony, comments on, 215-216.

rondo, account of, 81-85.

rondo-sonata form, 144.

Ropartz, 257;
characterization of a theme in Franck's Symphony, 266.

Rossetti, _Blessed Damozel_, set by Debussy, 288.

Rossini, "crescendo" in Overtures, 62;
eulogy of Mozart, 121.

_Rouet d'Omphale, Le_, 256.

round, 11;
_Old English Rounds_, 12.

rubato (tempo), definition of, 199.

Rubinstein, movements in _Ocean Symphony_, 95;
estimate of Mozart, 111;
characterization of the damper pedal, 191.

Runciman, quotation apropos of Weber from _Old Scores and New Readings_,
169-170.

Russian folk-songs, 30-33.

Russian music, general tendencies of, 314-315.

S

Saint-Saens, 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;
_Phantasiestuecke_, 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.

Sjoegren, 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 Etudes_, 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;
_Serieuses_, 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_, Etude 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 Passe_, 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.

LIST OF COMPOSITIONS REFERRED TO IN THIS WORK

I. _Sumer is icumen in._ Old English Round.

II. _To the Green Wood._ Round by Byrd.

III. Finale of Wagner's _Valkyrie_.

IV. _Reconnaissance_ from Schumann's _Carnaval_.

V. Irish Folk Song.

VI. Epilogue of Strauss's _Till's Merry Pranks_.

VII. _March in Dorian Mode._ Guilmant.

VIII. _Movement in Lydian Mode._ Beethoven.

IX. _Canon._ Thomas Tallys.

X. _Canon_ from _Etudes Symphoniques_. Schumann.

XI. No. VI of the _Goldberg Variations_. J.S. Bach.

XII. _Canon for Pianoforte._ Grieg.

XIII. _Canon for Pianoforte._ Jadassohn.

XIV. _Two-voiced Invention in C major._ J.S. Bach.

XV. _Three-voiced Fugue in E-flat major._ J.S. Bach.

XVI. Final portion of _Organ Fugue in G major_. J.S. Bach.

XVII. _Cat Fugue for Pianoforte._ D. Scarlatti.

XVIII. _Fuga Giocosa for Pianoforte._ J.K. Paine.

XIX. Song, _The Evening Star_. Schumann.

XX. _Gavotte in F major._ Corelli.

XXI. _Waltz in A-flat major._ Schubert.

XXII. _Traeumerei._ Schumann.

XXIII. _Prelude in A major._ Chopin.

XXIV. _Lyric Piece in E-flat major._ Grieg.

XXV. _Nocturne in F major._ Chopin.

XXVI. _Berceuse in G major._ Grieg.

XXVII. _Intermezzo in E-flat minor._ Heilman.

XXVIII. _Sarabande in D major._ J.S. Bach.

XXIX. Gavotte from _Third English Suite_. J.S. Bach.

XXX. Minuet from _Don Giovanni_. Mozart.

XXXI. Two Minuets from _Castor and Pollux_. Rameau.

XXXII. _Gigue in G major._ J.S. Bach.

XXXIII. _Gigue in G major._ Mozart.

XXXIV. _Courante in F minor._ D. Scarlatti.

XXXV. _French Suite in E major._ J.S. Bach.

XXXVI. _Soeur Monique._ Rondo by Couperin.

XXXVII. _Romance in E major._ Rondo by Schumann.

XXXVIII. _Rondo a Capriccio in G major._ Beethoven.

XXXIX. Aria from _Dido and Aeneas_ (Ground bass). Purcell.

XL. _Sonata in C major._ D. Scarlatti.

XLI. Finale from _Sonata in E-flat major_. Haydn.

XLII. First Movement from the _Surprise Symphony_. Haydn.

XLIII. _Adagio in B minor._ Mozart.

XLIV. First Movement from the _Heroic Symphony_. Beethoven.

XLV. _Sonata in D Major._ Beethoven.

XLVI. Finale from _Sonata in A-flat major_. Beethoven.

XLVII. Portion of Slow Movement of _Seventh Symphony_. Beethoven.

XLVIII. Slow Movement of _Trio in B-flat major_. Beethoven.

XLIX. Theme of Slow Movement from _Sonata in E major_, Op. 109. Beethoven.

L. _The Young Nun_. Song by Schubert.

LI. Intermezzo from the _Euryanthe Overture_. Weber.

LII. Portion of Fantasy Piece, _Grillen_. Schumann.

LIII. _Novellette in E major._ Schumann.

LIV. _Moonlight._ Song by Schumann.

LV. _Venetian Boat Song._ Mendelssohn.

LVI. _Barcarolle._ Chopin.

LVII. _The Carnaval Romain Overture._ Berlioz.

LVIII. _March of the Pilgrims_ from the _Harold in Italy Symphony_. Berlioz.

LIX. _Forest Murmurs._ Etude by Liszt.

LX. _Ballade in G minor._ Brahms.

LXI. _My Love is Green as the Alder Bush._ Song by Brahms.

LXII. Finale of Symphonic Poem, _Istar_. D'Indy.

LXIII. _Chanson triste_ for Pianoforte. Tchaikowsky.

LXIV. _Invocation to Sleep._ Song by Tchaikowsky.

LXV. _Serenade._ Borodin.

LXVI. _Cradle Song of the Poor._ Moussorgsky.

LXVII. _Silhouette._ Dvo[vr]ak.

LXVIII. _Spring Song._ Grieg.

LXIX. _Dance of Spring._ Grieg.

CRITICAL and HISTORICAL ESSAYS

_By Edward 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_

* * * * *

TONAL COUNTERPOINT

Studies in Part-Writing

_By WALTER R. SPALDING_

Professor of Music in Harvard University

_Price $2.00_

* * * * *

MODERN HARMONY;

ITS THEORY AND PRACTICE

Arthur Foote, A.M. and Walter R. Spalding, A.M.

_Price $1.50_

* * * * *

JUST ISSUED

MODULATION and RELATED HARMONIC QUESTIONS

_By ARTHUR FOOTE_

_Price $1.25_

Scales and Key Relationship Modulation in General Change of Keys or Chords without Modulation Change of Keys by moving to a New Tonic Modulation by means of Various Chords Diatonic, Chromatic, and Enharmonic Modulation Harmonic Changes resulting from the Symmetrical Movement of Individual Voices Harmonic Changes resulting from the Elision of Chords A Table of Modulations

* * * * *

THE ARTHUR P. SCHMIDT CO.

BOSTON 120 Boylston Street

NEW YORK 8 West 40th Street