Smithson, Henrietta, her life with Berlioz, 204-205.
sonata and sonata-form, distinction between, 94-95.
sonata-form, account of 91-100;
tabular view, 100.
Song of Destiny, Brahms, 233.
Songs without Words, Mendelssohn, 185.
Spanish music, its influence in modern times, 327-328.
Spitta, essay on Brahms, 238.
Stamitz, J., influence on Sonata-form, 93.
Stanford, Villiers, Irish folk-songs, 29;
features of style, 328.
Stanford-Forsyth history, 121, 328.
Stendhal, remark on Romanticism, 161.
Stevensoniana, 80.
Strauss, R., motive fromTill’s Merry Pranks, 18;
Don Juan, 85;
Till Eulenspiegel, 85;
estimate of Mozart, 111.
Stravinsky, as harmonic innovator, 143;
works and features of style, 326-327.
Streatfield, essay on Tchaikowsky, 306.
stretto, 46.
string-quartet, definition of, 94.
subdominant, acoustical and harmonic importance, 22-23, 52.
subject (of a fugue), 42-43.
suite, the classical, 73-80;
the modern, 80-81.
Suites, French and English, 74.