sical history and appreciation
courses all over the country, the demand appeared instantly far in
excess of the supply. The few men who had prepared themselves for
scholarly critical work were, as a rule, in the employ of daily
newspapers, and the colleges were compelled to delegate the historical
and interpretative lectures to those whose training had been almost
wholly in other lines of musical interest. No reputable college would
think for a moment of offering chairs of political science, or general
history, or English literature to men with so meager an equipment.
There is no doubt that the disfavor with which the musical courses are
still regarded by professors of the old school is largely due to the
feeling that their musical colleagues as a rule have undergone an
education so narrow and special that it keeps them apart from the full
life of the institution. That this is the tendency of an education
that is exclusively special, no one can deny. It is equally undeniable
that such an education is quite inadequate in the case of one who
assumes to teach the history and appreciation of music. This subject,
by reason of the multifarious relations between music and individual
and social life, demands not only a complete technical knowledge, but
also a familiarity with languages, general history, literature, and
art not less than that required by any other subject that could be
mentioned. The suggestion by a French critic that a lecturer on art
must be an artist, a historian, a philosopher, and a poet, applies
with equal relevance to a lecturer on music.

It is only fair to the musical profession to say that its members are
as eager to meet these requirements as the colleges are to make them.
If music still holds an inferior place in many colleges, both in fact
and in esteem, the fault lies in no small measure in the ignorance on
the part of trustees, presidents, and faculties of the nature of
music, its demands, its social values, and its mission in the
development of civilization. With the enlightenment of the powers
that control the college machinery, encouragement will be given to men
of liberal culture and scholarly habit to prepare themselves directly
for college work. The hundreds of college graduates now in the musical
profession will be followed by other hundreds still more amply
equipped as critics and expounders. The natural place for the majority
of them, I maintain, is not in the private studio or newspaper