hope will be realized.
The author’s gratitude is herewith expressed to Mr. Percy Lee
Atherton
for his critical revision of the text and to Professor William C.
Heilman for valuable assistance in selecting and preparing the
musical
illustrations.
W.R.S.
Cambridge, Massachusetts
June, 1919
Contents
I. PRELIMINARY CONSIDERATIONS 1
II. THE FOLK-SONG 18
III. POLYPHONIC MUSIC; SEBASTIAN BACH, THE FUGUE
33
IV. THE MUSICAL SENTENCE 50
V. THE TWO-PART AND THREE-PART FORMS 69
VI. THE CLASSICAL AND THE MODERN SUITE 73
VII. THE RONDO FORM 81
VIII. THE VARIATION FORM 85
IX. THE SONATA-FORM AND ITS FOUNDERS—EMMANUEL
BACH AND HAYDN 91
X. MOZART. THE PERFECTION OF CLASSIC STRUCTURE
AND STYLE 108
XI. BEETHOVEN, THE TONE-POET 122
XII. THE ROMANTIC COMPOSERS. SCHUBERT, WEBER
160
XIII. SCHUMANN AND MENDELSSOHN 172
XIV. CHOPIN AND PIANOFORTE STYLE 188
XV. BERLIOZ AND LISZT. PROGRAM MUSIC 202