308 



INDEX 



Calls and cries, 56. 



Canon, 181. 



Cantata, 157. 



Canticle, 157. 



Cantus-firmus, 288. 



Cardinal principle, 15, 21, 24, 28, 162. 



Carlyle, 159. 



Chant, antiphonal, 181 ; primitive, 165. 



China, 16, 17, 212. 



Chopin, 169, 171, 212. 



Chord, 3, 4, 11, 20, 37, 49-51, 61, 62, 71, 

 73, 84, 90, 92, 102, 104, 134, 135, 137, 

 143, 149, 191, 209, 231, 233, 234, 236, 

 266, 278-280, 284, 285, 288; aug- 

 mented, 249, 262; cadence-, 99; com- 

 ponents of, 89, 91, 242, 245, 259; 

 compound, 90, 141, 237, 240, 243- 

 245, 248, 255-257, 259-263, 272, 274; 

 consonant or dissonant, 232, 245; 

 derived from the original consonance 

 and dissonance in one voice, 133-141 ; 

 from the minor forms of consonance 

 and dissonance in one voice, 231-236 ; 

 diatonic, 202; diminished seventh-, 

 234, 239, 240, 260; diminished-di- 

 minished seventh-, 240 ; diminished-, 

 small seventh-, 240; dissonant, 144, 

 232, 245 ; dominant-seventh-, 84, 239; 

 double, 211, 212; fourth-sixth-, 238; 

 ground-seventh-, 240; harmonic re- 

 port of, 138, 139, 141, 234, 245, 259, 

 266; large ninth-, 240-242; large 

 third-, 249; major, 227; major-small 

 seventh-, 239; major subtonic-sev- 

 enth-, 239 ; major tonic-seventh-, 255 ; 

 minor, 177,227; minor ninth-, 139, 

 140, 141, 234, 240-244, 247, 275; 

 minor subtonic-, seventh-, 239 ; minor 

 tonic-seventh-, 255 ; ninth-, 240-244 ; 

 passing, 275; primary, 133, 248; re- 

 pose-, 99; secondary, 248; secondary 

 ninth-, 256; secondary seventh-, 253, 

 255, 268; self-reports of a, 233, 234, 

 847, 255; seventh-, 84, 139, 140, 234, 

 238-242 244, 247, 253, 255, 256, 260, 

 268-270; simple, 90, 141, 144, 243- 

 245, 248, 249, 251-253, 256; simple 



and compound, defined, 243-276; 



sixth-, 238; small ninth-, 240-242; 



subdominant-seventh-, 254 ; submedi- 



ant-seventh-, 254, 256; subsecond-, 



261, 262, 265, 267-270; subtonic- 



seventh-, 235, 254 ; supersixth-, 261- 



264, 267-271 ; supertonic-seventh-, 



254; tone-, 86; tonic-, 66. 

 Chord-analysis, 68, 135. 

 Chord-basis of harmony, 69. 

 Chord-building, 140, 244. 

 Chord-cadence, 99, 136. 

 Chord -conception of harmony, 86. 

 Chord-concepts, 91. 

 Chord-fifth, 234, 238, 240, 241, 248, 



275. 

 Chord of the fifth-sixth, 240. 

 Chord-forms, 71, 72, 135, 139. 

 Chord-harmony, 68-74, 147. 

 Chord-intervals, 89-91, 136, 137, 232, 



237, 249. 

 Chord of the major ninth, 84. 

 Chord-material, 233, 277, 278, 282, 



286. 

 Chord-ninth, 275. 

 Chord-position, 240-243, 266. 

 Chord prototype, 140. 

 Chord-root, 135, 136, 140, 232, 234, 



237-243, 245, 248, 249, 258-261, 268, 



274, 275, 278. 

 Chord of the second, 240. 

 Chord-seventh, 268, 275. 

 Chord-sixth, 248. 

 Chord-structure, 242, 257, 261, 263, 



264, 265, 268, 271, 272. 

 Chord-theories, 89, 230. 

 Chord-third, 234, 238, 240, 241, 248, 



274. 

 Chord of the third-fourth, 240. 

 Chord type, 239. 

 Chromatic, 39, 59, 93, 124, 132, 187, 



190, 193, 201-204, 215, 219, 220, 



221. 

 Chromatic scale-system, 95. 

 Classics, 49. 

 Composer, 75, 104, 150. 157, 159, 171, 



172, 175, 217, 261. 



