e lectures.

He was a wide reader, one who, from natural bent, dipped into
the curious and out-of-the-way corners of literature, as will
be noticed in his references to other works in the course
of the lectures, particularly to Rowbotham's picturesque and
fascinating story of the formative period of music. Withal he
was always in touch with contemporary affairs. With the true
outlook of the poet he was fearless, individual, and even
radical in his views. This spirit, as indicated before, he
carried into his lectures, for he demanded of his pupils that
above all they should be prepared to do their own thinking and
reach their own conclusions. He was accustomed to say that we
need in the United States, a public that shall be independent
in its judgment on art and art products, that shall not be tied
down to verdicts based on tradition and convention, but shall be
prepared to reach conclusions through knowledge and sincerity.

That these lectures may aid in this splendid educational
purpose is the wish of those who are responsible for placing
them before the public.

W.J. BALTZELL.

CONTENTS

CHAP. PAGE

I. THE ORIGIN OF MUSIC 1
II. ORIGIN OF SONG VS. ORIGIN OF INSTRUMENTAL MUSIC 16
III. THE MUSIC OF THE HEBREWS AND THE HINDUS 32
IV. THE MUSIC OF THE EGYPTIANS, ASSYRIANS AND CHINESE 42
V. THE MUSIC OF THE CHINESE (continued) 54
VI. THE MUSIC OF GREECE 69
VII. THE MUSIC OF THE ROMANS--THE EARLY CHURCH 90
VIII. FORMATION OF THE SCALE--NOTATION 106
IX. THE SYSTEMS OF HUCBALD AND GUIDO
D'AREZZO--THE BEGINNING OF COUNTERPOINT 122
X. MUSICAL INSTRUMENTS--THEIR HISTORY AND DEVELOPMENT 132
XI. FOLK-SONG AND ITS RELATION TO NATIONALISM IN MUSIC 141
XII. THE TROUBADOURS, MINNESINGERS AND MASTERSINGERS 158
XIII. EARLY INSTRUMENTAL FORMS 175
XIV. THE MERGING OF THE SUITE INTO THE SONATA 188
XV. THE DEVELOPMENT OF PIANOFORTE MUSIC 199
XVI. THE MYSTERY AND MIRACLE PLAY 205
XVII. OPERA 210
XVIII. OPERA (continued)