poser in executing his task; to define each
factor of the structural design, and its relation to every other factor
and to the whole; to determine thus the synthetic meaning of the work,
and thereby to increase not only his own appreciation, interest, and
enjoyment of the very real beauties of good music, but also his power
to _interpret_, intelligently and adequately, the works that engage his
attention.

* * * * * *

The choice of classic literature to which most frequent reference is
made, and which the student is therefore expected to procure before
beginning his lessons, includes:--

The Songs Without Words of Mendelssohn; the _Jugend Album_, Op. 68, of
Schumann; the pianoforte sonatas of Mozart (Peters edition); the
pianoforte sonatas of Beethoven.

Besides these, incidental reference is made to the symphonies of
Beethoven, the sonatas of Schubert, the mazurkas of Chopin, and other
pianoforte compositions of Mendelssohn, Beethoven, Chopin, and Brahms.

PERCY GOETSCHIUS.

BOSTON, MASS., Sept., 1904.

TABLE OF CONTENTS.

CHAPTER I.--INTRODUCTION.

THE NECESSITY OF FORM IN MUSIC
THE EVIDENCES OF FORM IN MUSIC
UNITY AND VARIETY

CHAPTER II.--FUNDAMENTAL DETAILS.

TIME
TEMPO
BEATS
MEASURES
RHYTHM
MELODY

CHAPTER III.--FIGURE AND MOTIVE.

THE MELODIC FIGURE
DEFINING THE FIGURES
THE MELODIC MOTIVE, OR PHRASE-MEMBER
PRELIMINARY TONES

CHAPTER IV.--THE PHRASE.

THE PHRASE
LENGTH OF THE REGULAR PHRASE
EXCEPTIONS
CONTENTS OF THE PHRASE

CHAPTER V.--CADENCES.

CADENCES IN GENERAL
MODIFICATION, OR DISGUISING OF THE CADENCE
THE ELISION
SPECIES OF CADENCE
PERFECT CADENCE
SEMICADENCE
LOCATING THE CADENCES

CHAPTER VI.--IRREGULAR PHRASES.

CAUSES OF IRREGULARITY
THE SMALL AND LARGE PHRASES
THE PRINCIPLE OF EXTENSION
INHERENT IRREGULARITY

CHAPTER VII.--THE PERIOD-FORM.

PHRASE-ADDITION
THE PERIOD

CHAPTER VIII.--ENLARGEMENT OF THE PERIOD-FORM.

ENLARGEMENT BY REPETITION
THE PHRASE-GROUP
THE DOUBLE-PERIOD

CHAPTER IX.--THE TWO-PART SONG-FORM.

THE SONG-FORM, OR PART-FORM
THE PARTS
THE FIRST PART
THE SECOND PART

CHAPTER X.--THE THREE-PART SONG-FORM.

DISTINCTION BETWEEN BIPARTITE AND TRIPARTITE FORMS
PART I
PART II
PART III

CHAPTER XI.--ENLARGEMENT OF THE THREE-PART SONG-FORM.

REPETITION OF THE PARTS
EXACT REPETITIONS