MUSICAL COMPOSITION

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192 INDEXHaydn, Joeef, 12, 63, 77, 126, Programme-music, 155-160, 179.156, 188. Purcell, Henry, 56, 131, 132.Henley, W. E., 139.Hogarth, D., 11.Horn, treatment of the, 101-103,107, 109, 174.Improvising, 179, ISO.Intervals, difficult vocal, 3, 20,127, 12S, 147-152.Intervala, ratia. of, 13-17,Italian language for IDUIiaalsigns, 11S, 119.Liszt, FrIUUl, 4, 157,Melody, 6-9; rhythmical, 25-27,29-31; construction of, 34-4S; treatment of, 49 et 8eq.,131-133, 183-1S6.MendelBBohn-Bartholdy, F., 77,91, 157, 161, 170.Metronome, use of, 11S, 166, 167.Meyerbeer, G., ISO, 185.Modulation, 21, 36, 53, 57, SI et8eq., 131-133, 183-186.Mozart, W. A., 12, 45, 101, 103-lOS, 110, 122, 123, 125, 146,15S, 173, 177, 188.Nottebohm, G. von, 42.Orchestration, 9S-111, 171-177.Originality, 76, 188, lS9.Painting, analogy of music to,1, 2, 42, 75, 7S, 93, 96, 110,178, 186.Palestrina, 10, 12, 13, 19, 20,147-150, 158.Parry, Sir Hubert, 74.Passage-writing, 89, 129.Plays, incidental music to, 161,162.Poetry, declamation of, 23, 24,28, 129-134, 139, 140, 145,146, 178.Polyphony and monopho,llY, contrastof, 83, 178.Quantity and accent (see Accent).Quartets, string, 13, 31, 44, 45,63, 111-119, 121, 162.RaphaelSansio, 75,178.Recitative, 144-146.Rembrandt van Rijn, 42.Repetition, 36, 90, 91, 160.a.e.. _ of, II, 22. 43,113, 126,153, 170, 171.Reynolds, Sir Joshua, 111.Rhythm, 23; of detail, 24-21;of phrase, 27-32, 52-54, 57,129-131; of figure, 137, 146,167-170.Rhythm, overlapping, 31, 54.Rondo, 77, 78.Rosalia, 185.RoBBini, G., 138.Scale, pure, 13-11, 22, 114, 122,a2,147.Scale, whole tone, 17, 18.Schubert, Frans, 27, 39-41, 52,69,77-79, 122, 125, 136-138.140. 155. 171.Schumann. Robert, 4, 52, 54, 61.63. 125, 157, 162.Shake8peare, W., 129, 178.Sonata-form. 51, 7S, 80-90.Sonatas. 42, 79.Songs, 33-36. 39, 69-72, 128-144.Bongs, accompaniment of, 135-138, 140-143.Spohr, Ludwig, 46, 157.Sterndale, Bennett W., 157.StrauBB, Johann, 10.StrauSB, Richard, 26.Strings (see Quartet and Trio).Symphonic poems, 157, 160.Technique, 2, 6 et 8eq., 42, 51,52; orche8tral, 98 et 8eq., 147.Temperament, equal, 13, 17, 147.Tennyson, Alfred, Lord, 134,155,156.
Themes, contrast of, 89.Tonality, 36, 84, 90, 159, 160,182, 185.Tonllll, greater and lauer, 13-17.Trios, string, 120, 121; pianoforte,124, 125.Tschaikowsky, P., 167.Variations, 49-72, 141.Verdi, G., 126, 177.Violin, treatment of the, 4, 16,34, 42, 55, 92, 101, 103, 1M,109, 122-125.INDEX 193Violoncello, treatment of the,106, 112, 113, 123-125.Voice, character and treatmentof the, 3, 20, 97, 98, 108,127-154, 175, 177.Vowels, treatment of, 135.Wagner, Riohard, 10, 12, 13, 18,25, 26, 34-36, 46--47, 96, 99,101-103, 108-110, 146, 158,159, 170, 172, 173, 181, 182,185, 186, 188.Wiertz, 75.Wolf, Hugo, 26.
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MUSICALCOMPOSITIONA SHORT TREATISE
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OB&PTDCONTENTS.AQ_I. INTRODUCTORY 1
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INTRODUCTORY 3and should be kept wh
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TECHNIQUE 7Harmony which results fr
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TECHNIQUE 9or, in slightly more orn
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12 MUSICAL COMPOSITIONauricular, ar
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TECHNIQUE 15if t of the string lies
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TECHNIQUE 17coincide absolutely wit
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TECHNIQUE 19To the inexperienced li
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TECHNIQUE 21first entries of the su
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CHAPTER IIIRHYTHMIF melody is the l
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RHYTHM 25with the unmistakeable ind
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II p~RHYTHM 27tt.: J J -f4 J.: JoB(
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RHYTHM 29(As the tune given above i
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32 MUSICAL COMPOSITIONsmall things
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34 MUSICAL COMPOSITIONbe doubly and
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38 MUSICAL COMPOSITIONfirst four no
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40 MUSICAL COMPOSITION---This tune,
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42 MUSICAL COMPOSITIONAll the other
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