Arts 7 III. Rhythm and Pitch IS IV. Timbre, Harmony, and Counterpoint 31 V. Vocal Music General Considerations 44 VI. The Literal Setting of Vocal Music 53 VII. The Dramatic Setting of Vocal Music 62 VIII. The Dilemma of Opera 87 IX. Repetition and Variation 100 X. Balance and Contrast 114 XI. Theme and Variations 127 XII. ABA Form and the Rondo 135 XIII. The Fugue 149 XIV. Sonata Form 161 XV. The Musical Development of Symbols Whitman 178 XVI. The Poetry of Conrad Aiken 195 XVII. Fiction and the Leitmotiv 208 XVIII. Literary Types in Music 219 XIX. Program Music a Short Guide to the Battlefield 229 XX. Descriptive Music 245 XXI. Narrative Music 257 XXII. Conclusion-268 Notes 272 Index 279 Tii Acknowledgments THE author wishes to express his thanks to the University System of Georgia for their grant in aid of research and to the General Research Fund of the University of Georgia for a grant in aid of publication. The author also wishes to express his thanks to the following per sons and firms for their kind permission to quote material on which they own copyrights To Mr. Conrad Aiken for passages from Ms Nocturne of Remembered Spring, Selected Poems, Blue Voyage, Time in the Rock, and The Coming Forth by Day of Osiris Jones and to Mr. Aiken and the editors of Poetry for passages from his review of The Charnel Rose. To A. C. Black, Ltd., London, and The Macmillan Co., New York American publishers, for a passage from Albert Schweitzer s . S. Bach. To Dodd, Mead Company, Inc., for three passages from quot Lepanto, quot from The Collected Poems of G. K. Chesterton. Reprinted by permission of Dodd, Mead Company, Inc. Copyright, 1911, by Dodd, Mead Company, Inc. Thanks are also due to A. P. Watt and Son and the executrix of the Chesterton estate for the use of this material. To Mr. John Gould Fletcher for passages from his Goblins and Pagodas and Preludes and Symphonies. To Harper Brothers for passages from Lawrence Oilman s Stories of Symphonic Music and Aldous Huxley s Point Counter Point. To Alfred A. Knopf, Inc., for passages from Ernest Newman s A Musical Motley and Thomas Mann s Stories of Three Decades, translated by H. T. Lowe-Porter. To J. B. Lippincott Co. for a passage from P. H. Goepp s Symphonies and their Meaning reprinted as Great Works of Music , vol. III. To Novello Co., Ltd., for a passage from F. Niecks Programme Music in the Last Four Centuries. To the Oxford University Press for passages from Collected Essays, Papers, Etc., of Robert Bridges, Essay No. XXI from Tovey s Essays in Musical Analysis, Vol. IV and for the rondeau quot In After Days, quot from Collected Poems of Austin Dobson. To G. Schirmer, Inc., and the editors of the Musical Quarterly for material reprinted from the author s articles, quot The Musical Structure of De Quincey s Dream Fugue quot and quot The Poetic Use of Musical Forms.

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