resses directly
but by what it implies, what it suggests. Its office is to stimulate the
imagination rather than to inform by direct statement of facts. The
office of music is to strengthen, accentuate, and supplement the mood of
the poem, to translate the poem into music. The best song then, will be
one in which both words and music most perfectly create the same mood.

Arnold Bennett's definition of literature applies equally well to the
song. He says: "That evening when you went for a walk with your faithful
friend, the friend from whom you hid nothing--or almost nothing--you
were, in truth, somewhat inclined to hide from him the particular matter
which monopolized your mind that evening, but somehow you contrived to
get on to it, drawn by an overpowering fascination. And as your faithful
friend was sympathetic and discreet, and flattered you by a respectful
curiosity, you proceeded further and further into the said matter,
growing more and more confidential, until at last you cried out in a
terrific whisper: 'My boy she is simply miraculous:' At that moment you
were in the domain of literature." Now when such impassioned,
spontaneous utterance is brought under the operation of musical law we
have a perfect song. The composer furnished the words and music, but the
thing which makes it a song comes from the singer, from the earnestness
and conviction with which he delivers the message.

Songs are divided into two general classes: those expressing the
relationships of human beings, such as love, joy, sorrow, chivalry,
patriotism, etc., and those expressing the relationship of man to his
creator; veneration, devotion, praise, etc. The two great sources of
inspiration to song writers have always been love and religion.

What are the principles of song construction? They are all comprised in
the law of fitness. The composer must do what he sets out to do. The
materials with which he has to work are rhythm, melody and harmony. The
most important thing in a song is the melody. This determines to a very
great extent the health and longevity of the song. Most of the songs
that have passed the century mark and still live do so by reason of
their melody. There must be a sense of fitness between the poem and the
melody. A poem which expresses a simple sentiment requires a simple
melody. A simple story should be told simply. If the poem is sad,
joyous, or tragic the melody must correspond. Otherwise the family
discords begin at