CORNELL

GENERAL INDEX 9.2,1Laryngeal development, 166Leit-motif, 183, 184Lenormand, 193Less regular divisions of pulse,172Liadoff, 149Lied ohne Worte, 207Limitations, 62of "whole-tone" reproduc:tion, 54Lines and streams, 134Liszt, 66, 172, 182Lohengrin, 188MaeDowell, 14, 179, 181, 189on form, 181McEwen, 174Machault, 2Mackenzie, 25, 101, 179Maeterlinck, 199"Magic Helm," 108Magnitude, 197Major common chord with7th on leading note, 16second, 98thirds and major sixths, 39Manet, 115Marcato, 176Masculine cadences, 110" Mastersinger " Overture, 184Mediseval harmony, 29, 116Mediant as pedal, 20Medium, 92MelismcB, 36, 50, 172Melodic analysis, 163lines, 131, 133, 164 et seq.outlines, 169prediction of modern harmony,163use of church modes, 28value, 53Melodies, 205Mendelssohn, 5Mental attitude, 60Metamorphosis of themes, 183Metre, 170Meyerbeer, 192Miniature pieces, 209Miniatures, 189, 210Minor ninth, 96second in harmony, 156triad, origin, 91" Mirror idea," 41Mirroring device, 140Mirrors, 55 /Modal cadences, 31 /'feeling, 29, 37, 68,. 209influence, 26music, 24, 27Modernity, 1Modern melody, 164Modification of scale notes, 64,65, 66, 70Modulation, 15, 58, 96Modulatory power of "Tonal"chords, 58Monothematic forms, 188Monteverde, 1Moret, 193Motive, 184Mottoes, musical, 183Mixed cliordal structures, 98Mixing the two "Tonal" series,57Moussorgsky, 20, 66, 155Mozart, augmented triad, 53combined movements, 176horizontal harmony, 100, 144modernism, 3, 36, 114phrasing, 170" Tonal" chords, 60Mozartian type of melody,164Multiplicity of themes, 184Music, five senses of, 199Musical analysis, 170appreciation, class, 130rhetoric, 165Musicrhall ditties, 162Nasmyth hammer, 197Nationalism in music, 66Native scales, 66Neapolitan sixth, 80, 109Necessity for elisions, 109New chords, 47, 55, 81, 84, 85,86, 90 et seq., 108, 140 et seq.Newer scales, 71Niecks, Professor, 34, 114Ninth, chord of, 161Ninths, 125, 161Notation, 5, 34, 35, 60, 96of tertiatonal system, 77Notational inadequacies, 171system, 61No tonal centre, 49