g of the present century, and the
romantic composers between 1830 and the present time.

IV.

10. The history of music may be divided into two great
periods--_Ancient_ and _Modern_--the Christian era forming a dividing
line between them. Each of these periods, again, may be subdivided
into two other periods, one long, the other quite short--an Apprentice
Period, when types of instruments were being found out, melodic or
harmonic forms mastered; in other words, the tonal sense undergoing
its primary education. The other, a Master Period, when an art of
music suddenly blossoms out, complete and satisfactory according to
the principles recognized by the musicians of the time. In the natural
course of things such an art, having once found its heart, ought to go
on to perfection; but this has not generally been the case. After a
period of vigorous growth and the production of master works suitable
to the time, a decline has ensued, and at length musical productivity
has entirely ceased. Occasionally a cessation in art progress of this
kind may have been dependent upon the failure of one or other of the
primary conditions of successful art mentioned above, especially the
failure of material prosperity. This had something to do with the
cessation of progress in ancient Egypt, very likely; but more often
the stoppage of progress has been due to the exhaustion of the
suggestive powers of the musical instruments in use. The composers of
the music of ancient Greece had for instruments only lyres of six or
eight strings, with little vibrative power. After ten centuries of use
every suggestion in the compass of these instruments to furnish, had
been carried out. If other and richer instruments could have been
introduced, no doubt Greek music would have taken a new lease of life,
_i.e._, supposing that the material prosperity had remained constant.

The apprentice periods of ancient history extend back to the earliest
traces of music which we have, beginning perhaps with the early Aryans
in central Asia, whom Max Mueller represents as circling around the
family altar at sunrise and sunset, and with clasped hands repeating
in musical tones a hymn, perhaps one of the earliest of those in the
Vedas, or a still older one. From this early association of music with
religious worship we derive something of our heredity of reverence for
the art, a sentiment which in all ages has associated music with
religious ritual and worship, and ou