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 theDream 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’sSeventh Symphony, 131;
comment onSonata Pathétique, 142;
comments on D major Sonata, 145;
comments onFifth 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.
Dohnányi, 328.
Dominant, acoustical and harmonic importance of, 22-23, 52.
Don Giovanni, 111, 119.