314 



INDEX 



Music-structure, 15, 173, 181, 270. 

 Music-theory, 3, 16, 20, 51, 69, 70, 230, 



234. 

 Music-thought, 23, 24, 161, 171, 280. 

 Music-works, 13, 159, 170. 

 Musician, 2, 39, 51, 57, 66, 100, 159, 



234, 289. 



Ninth, 25-27, 29, 38, 41, 47, 63, 67, 76, 

 77, 81, 82, 85, 89, 118, 137, 180, 189, 

 202-210, 223, 287; harmonic, 234; 

 large, 223; original, 253; prototype, 

 208;small, 223, 260. 



Notation, 60, 65, 229, 275, 276 ; staff, 88. 



Nucleus, 141 ; septonal, 142. 



Nucleus-triad, 261-264, 268, 269. 



Numbers, 89, 90; acoustic, 227; ele- 

 mentary group-, 167; harmonic, 37, 

 47, 58, 61, 63, 64, 71, 74, 75, 78, 80, 

 86-88, 93, 99, 100, 137, 139, 179, 

 185, 186, 189, 214, 222, 232, 283- 

 286; interval, 93, 139; percept, 246; 

 rhythm, 161; scale, 86-88, 94; tho- 

 rough-bass, 238, 284. 



Octave, 34, 35, 59, 81, 95, 118, 131, 141, 



143, 200; consecutive, 277; parallel, 



231 ; pure, 36. 

 Octonal scale, 144, 146. 

 Octonal terminal, 144. 

 Opera, 157. 

 Orchestra, 166. 

 Organ, 166. 

 Original harmony in one voice, 28, 39, 



40, 47, 50, 64, 66-69, 73, 75, 85, 88, 



104, 124, 133, 140, 148. 

 Overtones, 20, 227. 



Pedagogy, 277, 278. 



Pentatonic melody, 109, 186. 



Pentatonic period, 183. 



Pentatonic scale, 64, 65, 109. 



Pentatonic stage of melody, 108-110, 

 113, 114. 



Percept, 26, 41, 44, 82, 284; five origi- 

 nal harmonic, 77, 84, 85, 95, 122, 

 224, 227, 235, 249; prototype, 95; 



harmonic, 26, 27, 36, 38, 61, 76, 77, 



85, 87, 89, 95, 103, 122, 179, 182, 

 187, 200, 222-225, 234, 235, 275; 

 harmonic, of minor origin, 222-224; 

 major harmonic, 179, 222, 229; minor 

 harmonic, 179, 200, 214, 216, 222, 

 229, 230. 



Percept-numbers, 246. 



Perception, 21, 28, 41, 53, 68, 73, 79, 

 93, 165, 166, 178, 197, 228; common, 

 19, 20, 22, 29, 37, 43, 45, 64, 66, 69, 



86, 89, 91, 108, 179, 181 ; evolution 

 of, 52, 110; harmonic, 78, 106, 110, 

 111, 230. 



Perception of harmony, 24, 110, 111, 

 182. 



Perception of relation, 76, 139. 



Perception of rhythm, 33, 44. 



Period, 42, 125, 152, 160, 161, 162, 

 165, 173, 182; beat-, 160-163; ca- 

 dence-, 121; dual, 29, 162; elemen- 

 tary, 170, measure-, 162, 260, 261 

 repose-, 121; rhythmic, 12, 42, 88 

 120, 121, 127-130, 217; rhythm-, 12 

 32, 33, 125, 127, 129, 153,' 193, 250 

 286; subbeat-, 160, subrhythmic, 163 

 168; time-, 32, 33, 38; triple-, 29. 



Personal election, 25. 



Personal element of choice, 5. 



Personal equation, 5, 40, 70, 71, 205, 

 215, 230. 



Personal prejudice, 5. 



Personal selection, 71, 72, 75, 85, 177, 

 230. 



Peters' edition, 276. 



Phrase, 16, 80, 122, 130, 152, 161, 162, 

 171-173, 187, 278. 



Physical acoustics, 20, 21, 70. 



Physical tone, 20. 



Piano-concerto, 276. 



Pianoforte, 95, 96, 166. 



Pitch, 20, 30, 33, 34, 36, 53-55, 60, 61, 



87, 88, 94, 143, 148, 186; fixed, 60. 

 Pitch relation, 60, 88, 99, 141, 233. 

 Plagal ending, 136, 235. 

 Polyphony, 4, 103, 140, 215, 223, 224, 



235. 



