By O. B. BOISE WITH SIX PORTRAITS Philadelphia & London J. B. Lippincott Company 1902 Copyright, 1901 By J. B. Lippincott Company Electrotyped and Printed by J. B. Lippincott Company, Philadelphia, U.S.A. TO GEORGE W. STOCKLEY, Esq. Preface I have endeavored through showing the true nature of music, and the conditions that are essential to its growth in breadth and significance, to incite amateurs to a more respectful consideration of its claims. O. B. B. Berlin , March 1, 1901. Contents

A glance backward over the course of music's evolution suffices to show that, until in very recent times, it furnishes no pregnant data for the historian. The first era of music's evolution began before the advent of historic man, for the earliest races of whom we know anything had a well-defined appreciation of its significance, but no noteworthy landmarks appear until after music came in touch with modern culture; indeed, no great advancement is traceable until after the invention of notation.

There are two distinct eras in the course of the evolution of music. The first ended and the second began with the invention and adoption of notation. This mechanical device so revolutionized musical production and taste, that we may properly concede to it the honor of having made possible the formulation of our art, for it chronicled the accomplishments of each generation, thus furnishing its successors with suggestive models. These were virtually lacking in the first era, which accounts amply

The Old Testament is a chronicle of the growth, movements, physical and mental habits, and religious status of the great Jewish race. Its religion with one Godhead, whose immediate presence was often felt, its music addressed to this presence, and its family, tribal, and racial organizations were all Jewish. The great moving lever of Jewish existence was a religion whose creed prohibited the making of "graven images," so painting and sculpture were not cultivated; it recognized the direct agency

The sweep of events in this new era has been so grand in its cumulative momentum and high tendency, that one is quite as much embarrassed by its richness in data as by the poverty of the older period. At the opening of its second era music began to make history, and many painstaking and erudite men have devoted the best years of their lives to collating her records; we are therefore amply supplied with books of reference, which fact would seem to justify me in still further pursuing the path mar

For reasons inherent both in music itself and in man's sluggish and prejudiced perceptions, really great composers have usually to wait longer for recognition than do those of mediocre capacities. Music that is worthy of consideration is as individual as its composer's features or his unconscious habits. It is a tonal utterance of his most intimate nature, an inarticulate but clear expression of his strongest emotions,—a shadow-picture of his very soul. The more intense the nature, the stronger

Although some of the attributes of our art have received repeated mention in previous chapters, I feel that a short summary of their distinguishing qualities might serve to throw the outlines of my sketch into clearer relief. I shall seek this background without resorting to technical analysis. Before undertaking this task I should like to emphasize the oft-announced fact that music is a thing apart. It, like language and the other arts, follows lines that lead from individuality to outside inte