CORNELL

GENERAL INDEX 233Resonance, 157Reversion to Dominant supremacy,73Revolutionary, 70Rhetoric in music, 105Rhyming of cadences, 179Rhythm, 171Rimsky-Korsakow, 28, 149Romantic, 191Root in inversions of tlie 9th, 18Ropartz, 193Rubinstein, 67Rule of roots, 59Rummel, W. Morse, 155Ruskin's "frozen music," 181Russian Impressionism, 60, 129schools, 129Saint-Saens, 66, 67, 174, 182, 185Samson et Dalila, 67Satie, 36, 50Scale, 197effeteness, 64Scales altered, 64, 65, 70duodecuple, 83modal, 24native, 66new, 70, 164Seriabine's, 72 et seg.Sibelius, 71tertiatonal, 77"whole-tone" or tonal, 53Schiller, 185Schmitt, 87, 174, 193Schonberg, 3, 11, 86, 87, 100, 127,141, 145, 163, 192bass, 97chords, 11, 86, 87, 100, 127,141early pieces, 192"Erwartung," 211Kammer - Symphony analyzed,188referred to, 3, 162orchestration, 150pedal-chords, 145planes, 100, 150Schubert, " Erlaf See," 20scale, 5Schumann, combination of dupleand triple times, 177consecutive fifths, 8, 116final cadences. 111Schumann, "Muth," 130 (footnote)mystic letters, 183pianoforte concerto, 14Scott, Cyril, 179, 193Scriabine, absorption of hischords into general practice,76combined rhythms, 180favourite chords, 4form, 185orchestration, 154"Preludes," 189quintiiple time, 174scales, 72String Quartet, 22system of harmony, 72 et seq.temperamental tuning, 23tonality, 187, 188tone-poem " Prometheus,"189Second in chord-formation, 108,156cult of, 155, 156inversions, 12Semitone, 33Senses, the five musical, 199Sequencing, 48Sequential progression of thebass, 45, 134Seiies of thirds, 94of " tonal" sounds, 54Sevenths, 123 et seq., 161Shakespeare, 111, 185Shield, 173Sibelius, 66, 70, 168Similar motion, common chords,etc., 119 et seq.Simplification of teehniqxie, 155of theory, 15Sincerity in music, 192Slav music, 171Small scale works, 198Smetana, 20, 183Somervell, 8Sonata lines, 185Spacing, 158Spohr's style, 155Stanford, 28, 66, 179Strauss, added-note chords, 88allusion and quotation, 24contrasted styles, 49forestalled, 4melody, 166