o attend
the lectures on vocal music; and, besides that, he instituted a special
class to teach the conducting of orchestras--which was something quite
new to France. His object, as he clearly said, was to give a new form to
modern music by means of a knowledge of the music of the past.

On this subject he says:

"Where shall we find the quickening life that will give us fresh
forms and formulas? The source is not really difficult to discover.
Do not let us seek it anywhere but in the decorative art of the
plain-song singers, in the architectural art of the age of
Palestrina, and in the expressive art of the great Italians of the
seventeenth century. It is there, and _there alone_, that we shall
find melodic craft, rhythmic cadences, and a harmonic magnificence
that is really new--if our modern spirit can only learn how to
absorb their nutritious essence. And so I prescribe for all pupils
in the School the careful study of classic forms, because _they
alone_ are able to give the elements of a new life to our music,
which will be founded on principles that are sane, solid, and
trustworthy."[230]

[Footnote 230: _Tribune de Saint-Gervais_, November, 1900.]

This fine and intelligent eclecticism was likely to develop a critical
spirit, but was rather less adapted to form original personalities. In
any case, however, it was excellent discipline in the formation of
musical taste; and, in truth, the _Ecole Superieure de musique_ of the
Rue Saint-Jacques became a new Conservatoire, both more modern and more
learned than the old Conservatoire, and freer, and yet less free,
because more self-satisfied. The school developed very quickly. From
having twenty-one pupils in 1896, it had three hundred and twenty in
1908. Eminent musicians and professors learned in the history and
science of music taught there, and M. d'Indy himself took the
Composition classes.[231] And in its short career the _Schola_ may
already be credited with the training of young composers, such as MM.
Roussel, Deodat de Severac, Gustave Bret, Labey, Samazeuilh, R. de
Castera, Serieyx, Alquier, Coindreau, Estienne, Le Flem, and Groz; and
to these may be added M. d'Indy's private pupils, Witkowski, and one of
the foremost of modern composers, Alberic Magnard.

[Footnote 231: There are actually nine courses of Composition at the
_Schola_--five for men and four for women. M. d'Indy takes eight