Song of Gamelbar," for male voices, is really a masterwork.
Harmonists insist on so much closer compliance with rules for
smoothness in vocal compositions than in instrumental work, that the
usual composer gives himself very little liberty here. Bullard,
however, has found the right occasion for wild dissonances, and has
dared to use them. The effect is one of terrific power. This, his
"Song of Pan" and "The Sisters" give him a place apart from the rest
of native song-writers.

[Illustration: HOMER A. NORRIS.]

With all reverence for German music, it has been too much inclined of
late to domineer the rest of the world, especially America. A useful
counter-influence is that of Homer A. Norris, who has stepped out of
the crowd flying to Munich and neighboring places, and profited by
Parisian harmonic methods.

His book, "Practical Harmony," imparts a, to us, novel method of
disarming the bugaboo of altered chords of many of its notorious
terrors. He also attacks the pedantry of music "so constructed that it
appeals to the eye rather than the ear,--paper-work," a most
praiseworthy assault on what is possibly the heaviest incubus on
inspiration. In a later work on "Counterpoint" he used for chapter
headings Greek vases and other decorative designs, to stimulate the
ideal of counterpoint as a unified complexity of graceful contours.

Norris was born in Wayne, Me., and became an organist at an early
age. His chief interest has been, however, in the theory of music, and
he studied with G.W. Marston, F.W. Hale, and G.W. Chadwick, as well
as Emery. In deciding upon foreign study he was inspired to choose
France instead of Germany. This has given him a distinct place.

After studying in Paris for four years under Dubois, Godard, Guilmant,
and Gigout, he made his home in Boston, where he has since confined
himself to the teaching of composition.

As yet Mr. Norris has composed little, and that little is done on
simple lines, but the simplicity is deep, and the harmonies, without
being bizarre, are wonderfully mellow.

His first song, "Rock-a-bye, Baby," he sold for twelve printed copies,
and it is said to have had a larger sale than any cradle-song ever
published in this country. His song, "Protestations," is tender, and
has a violin obbligato that is really more important than the voice
part. The song, "Parting," is wild with passion, and bases a superb
melody on a fitting harmonic structure. I consider "Twilight" one of